Rāsa-līlā Begins; Divine Multiplication; Moral Doubt and Its Resolution
ताभिर्युत: श्रममपोहितुमङ्गसङ्ग- घृष्टस्रज: स कुचकुङ्कुमरञ्जिताया: । गन्धर्वपालिभिरनुद्रुत आविशद् वा: श्रान्तो गजीभिरिभराडिव भिन्नसेतु: ॥ २२ ॥
tābhir yutaḥ śramam apohitum aṅga-saṅga- ghṛṣṭa-srajaḥ sa kuca-kuṅkuma-rañjitāyāḥ gandharva-pālibhir anudruta āviśad vāḥ śrānto gajībhir ibha-rāḍ iva bhinna-setuḥ
ゴーピーたちとの愛の戯れで押しつぶされた主クリシュナの花輪は、彼女らの胸のクンクマに染まっていた。彼女らの疲れを払うため、クリシュナはヤムナーの水に入られ、最上のガンダルヴァのように歌う蜂たちが素早く後に従った。伴侶とともに水に入って憩う威厳ある象王のごとく見え、まことに主は、強大な象が田の堤を破るように、世俗とヴェーダの規範をも超越された。
It depicts Kṛṣṇa, accompanied by the gopīs, entering the waters to relieve fatigue, with vivid devotional imagery showing their intimate yet transcendental association.
The simile emphasizes His powerful, majestic movement as He enters the water, while also conveying the playful exhaustion after sportive pastimes with the gopīs.
By remembering that Kṛṣṇa is the center of all pure love and joy, one can redirect worldly longing into devotion—seeking spiritual refreshment through sincere bhakti and remembrance of His līlās.