Shloka 12

Devanagari script

ता: समादाय कालिन्द्या निर्विश्य पुलिनं विभु: । विकसत्कुन्दमन्दारसुरभ्यनिलषट्पदम् ॥ ११ ॥ शरच्चन्द्रांशुसन्दोहध्वस्तदोषातम: शिवम् । कृष्णाया हस्ततरलाचितकोमलवालुकम् ॥ १२ ॥

Transliteration

tāḥ samādāya kālindyā nirviśya pulinaṁ vibhuḥ vikasat-kunda-mandāra surabhy-anila-ṣaṭpadam

Translation

The plentiful rays of the autumn moon destroyed the night’s darkness and made that riverbank most auspicious. Kāлиндī’s waves, like hands, had spread soft sand upon the shore, and a breeze scented with blooming kunda and mandāra flowers drew in swarms of bees.

Synonyms

• शरत्-चन्द्र-अंशु-सन्दोह-ध्वस्त-दोष-अतमः: (bank) whose darkness of night was dispelled by the mass of autumn moonbeams
• शरत्-चन्द्र-अंशु-सन्दोह-ध्वस्त-दोष-अतमः: Visheshana (विशेषण)
• Type: Adjective
• Root: शरत् (प्रातिपदिक) + चन्द्र (प्रातिपदिक) + अंशु (प्रातिपदिक) + सन्दोह (प्रातिपदिक) + ध्वस्त (कृदन्त-प्रातिपदिक) + दोष (प्रातिपदिक) + तमस् (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; बहुपद-तत्पुरुषसमासः: ‘शरच्चन्द्रस्य अंशूनां सन्दोहेन ध्वस्तं दोषरूपं तमः यस्मिन्’—पुलिनम् इति विशेषणम्

• शिवम्: auspicious, pleasant
• शिवम्: Visheshana (विशेषण)
• Type: Adjective
• Root: शिव (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण

• कृष्णायाः: of Kṛṣṇa (i.e., of the dark one / of Kṛṣṇa)
• कृष्णायाः: Sambandha (सम्बन्ध/षष्ठी)
• Type: Noun
• Root: कृष्णा (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, षष्ठी-विभक्ति, एकवचन

• हस्त-तरल-आचित-कोमल-वालुकम्: (bank) with soft sand arranged by Kṛṣṇa’s playful hands
• हस्त-तरल-आचित-कोमल-वालुकम्: Visheshana (विशेषण)
• Type: Adjective
• Root: हस्त (प्रातिपदिक) + तरल (प्रातिपदिक) + आचित (कृदन्त-प्रातिपदिक) + कोमल (प्रातिपदिक) + वालुका (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुषसमासः: ‘हस्तेन तरलेन आचिताः (विक्षिप्ताः/रचिताः) कोमलाः वालुकाः यस्मिन्’—पुलिनम् इति विशेषणम्

Characters & Entities

• Kṛṣṇa
• Gopīs
• Kālin̄dī (Yamunā)

FAQs

What does the Srimad Bhagavatam say about Krishna taking the gopis to the Yamuna bank?

In this verse, Śukadeva describes Kṛṣṇa leading the gopīs onto the Kālin̄dī’s fragrant riverbank, setting the devotional and romantic atmosphere for the rāsa-līlā.

Why did Krishna bring the gopis to the Yamuna in Rasa Lila?

The narrative portrays Kṛṣṇa drawing the gopīs into an intimate, sacred setting in Vraja, where their exclusive devotion (ananya-bhakti) is expressed and reciprocated.

Practical application of Krishna’s Vrindavan pastimes in modern life?

Create spaces and moments that support devotion—satsanga, kīrtana, and remembrance—just as the Yamunā bank becomes a conducive setting for loving absorption in Kṛṣṇa.