Shloka 7
Gopī-gīta in Separation: The Flute’s Call and Vraja’s Ecstatic Response
बर्हिणस्तबकधातुपलाशै- र्बद्धमल्लपरिबर्हविडम्ब: । कर्हिचित् सबल आलि स गोपै- र्गा: समाह्वयति यत्र मुकुन्द: ॥ ६ ॥ तर्हि भग्नगतय: सरितो वै तत्पदाम्बुजरजोऽनिलनीतम् । स्पृहयतीर्वयमिवाबहुपुण्या: प्रेमवेपितभुजा: स्तिमिताप: ॥ ७ ॥
barhiṇa-stabaka-dhātu-palāśair baddha-malla-paribarha-viḍambaḥ karhicit sa-bala āli sa gopair gāḥ samāhvayati yatra mukundaḥ
ສະຫາຍທີ່ຮັກ, ບາງຄັ້ງມຸກຸນດະປະດັບພຣະອົງດ້ວຍໃບໄມ້ ຂົນນົກຢູງ ແລະທາດສີສັນ ເພື່ອລຽນແບບທ່າທາງນັກມວຍ. ແລ້ວພ້ອມກັບພຣະພະລະຣາມ ແລະເດັກລ້ຽງງົວ ພຣະອົງເປົ່າຂຸ່ຍເພື່ອເອີ້ນຝູງງົວ. ໃນເວລານັ້ນ ແມ່ນ້ຳທັງຫຼາຍກໍຢຸດໄຫຼ ເຫມືອນກະແສຖືກຫັກ; ນ້ຳຂອງມັນນິ່ງງັນດ້ວຍຄວາມປິຕິແຫ່ງຮັກ ເພາະປາຖະໜາຝຸ່ນຈາກດອກບົວພຣະບາດຂອງພຣະອົງທີ່ລົມຈະພັດພາມາ. ແຕ່ເພາະບຸນນ້ອຍເຫມືອນພວກເຮົາ ພວກມັນຈຶ່ງໄດ້ແຕ່ຄອຍດ້ວຍແຂນທີ່ສັ່ນໄຫວດ້ວຍຄວາມຮັກ
The gopīs state here that the sound of Kṛṣṇa’s flute causes even inanimate objects like rivers to become conscious and then stunned in ecstasy. Just as the gopīs could not always be in Kṛṣṇa’s physical association, the rivers could not come to the Lord’s lotus feet. Although they desired the Lord, their movement was checked by ecstasy, and their “arms,” their waves, trembled with love of Godhead.
FAQs
The gopīs poetically describe nature responding to Kṛṣṇa: the rivers appear to stop because they long for the dust of His lotus feet carried by the wind, mirroring the gopīs’ own yearning.
Because that dust symbolizes Kṛṣṇa’s intimate presence and mercy; even a trace of it is portrayed as spiritually irresistible, awakening prema (pure love) in all beings—even rivers.
Cultivate longing for Kṛṣṇa’s presence through hearing and chanting; like the rivers “becoming still,” let the mind settle by focusing on the Lord’s feet—humility, service, and remembrance.