Shloka 15

Rāsa-līlā Begins; Divine Multiplication; Moral Doubt and Its Resolution

Devanagari script

कर्णोत्पलालकविटङ्ककपोलघर्म- वक्त्रश्रियो वलयनूपुरघोषवाद्यै: । गोप्य: समं भगवता ननृतु: स्वकेश- स्रस्तस्रजो भ्रमरगायकरासगोष्ठ्याम् ॥ १५ ॥

Transliteration

karṇotpalālaka-viṭaṅka-kapola-gharma- vaktra-śriyo valaya-nūpura-ghoṣa-vādyaiḥ gopyaḥ samaṁ bhagavatā nanṛtuḥ sva-keśa- srasta-srajo bhramara-gāyaka-rāsa-goṣṭhyām

Translation

A beleza dos rostos das gopīs era realçada pelos lótus atrás das orelhas, pelas mechas sobre as faces e pelas gotas de suor. O tilintar de braceletes e guizos dos tornozelos soava como música, e suas guirlandas se espalharam; assim elas dançaram com o Bhagavān na arena do rāsa, ao canto de enxames de abelhas em acompanhamento.

Synonyms

• कर्ण-उत्पल-अलक-विटङ्क-कपोल-घर्म-वक्त्र-श्रियः: the beauties of their ears (with lotuses), curls, ornaments, cheeks with perspiration, and faces
• कर्ण-उत्पल-अलक-विटङ्क-कपोल-घर्म-वक्त्र-श्रियः: Karta (कर्ता)
• Type: Noun
• Root: कर्ण (प्रातिपदिक) + उत्पल (प्रातिपदिक) + अलक (प्रातिपदिक) + विटङ्क (प्रातिपदिक) + कपोल (प्रातिपदिक) + घर्म (प्रातिपदिक) + वक्त्र (प्रातिपदिक) + श्री (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा (1st/Nominative), बहुवचन; बहुपद-तत्पुरुषसमास (determinative chain) समस्तपदं ‘श्रयः’ (beauties/splendors) प्रधानम्

• वलय-नूपुर-घोष-वाद्यैः: with the music of the jingling of bangles and anklets
• वलय-नूपुर-घोष-वाद्यैः: Karana (करण)
• Type: Noun
• Root: वलय (प्रातिपदिक) + नूपुर (प्रातिपदिक) + घोष (प्रातिपदिक) + वाद्य (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, तृतीया (3rd/Instrumental), बहुवचन; तत्पुरुष: वलय-नूपुर-घोषः एव वाद्यं (sound as music)

• गोप्यः: the gopis
• गोप्यः: Karta (कर्ता)
• Type: Noun
• Root: गोपी (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा, बहुवचन

• समम्: together
• समम्: Kriya-visheṣaṇa (क्रियाविशेषण)
• Type: Indeclinable
• Root: सम (प्रातिपदिक)
• Form: अव्यय (adverb)

• भगवता: with the Lord
• भगवता: Saha/Instrument (सह/करण)
• Type: Noun
• Root: भगवत् (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (3rd/Instrumental), एकवचन

• ननृतुः: they danced
• ननृतुः: Kriya (मुख्यक्रिया)
• Type: Verb
• Root: नृत् (धातु)
• Form: लिट् (Perfect), प्रथमपुरुष (3rd), बहुवचन; परस्मैपद

• स्व-केश-स्रस्त-स्रजः: whose garlands had slipped onto their own hair
• स्व-केश-स्रस्त-स्रजः: Karta (कर्ता)
• Type: Adjective
• Root: स्व (सर्वनाम-प्रातिपदिक) + केश (प्रातिपदिक) + स्रस्त (कृदन्त, √स्रंस्) + स्रज्/स्रज (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा, बहुवचन; तत्पुरुष: स्वकेशेषु स्रस्ता स्रजः यासाम् (garlands fallen on their own hair)

• भ्रमर-गायक-रास-गोष्ठ्याम्: in the rāsa-assembly where bees were the singers
• भ्रमर-गायक-रास-गोष्ठ्याम्: Adhikarana (अधिकरण)
• Type: Noun
• Root: भ्रमर (प्रातिपदिक) + गायक (प्रातिपदिक) + रास (प्रातिपदिक) + गोष्ठी (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, सप्तमी (7th/Locative), एकवचन; तत्पुरुष: भ्रमराः गायकाः यस्यां (bees as singers) रासस्य गोष्ठी

Characters & Entities

• Bhagavān Śrī Kṛṣṇa
• The gopīs (Vraja-gopīs)

FAQs

What does the Srimad Bhagavatam say about the gopīs dancing with Kṛṣṇa in the Rāsa-līlā?

This verse depicts the gopīs dancing directly with Bhagavān Śrī Kṛṣṇa in the rāsa assembly, accompanied by the rhythmic sounds of their anklets and bracelets, while nature itself (the bees) seems to sing—highlighting the sweetness and intimacy of Vraja-bhakti.

Why is Śukadeva Gosvāmī describing the gopīs’ ornaments, perspiration, and loosened hair in this verse?

Śukadeva uses vivid details to convey the intensity and absorption of the rāsa dance—how fully the gopīs are immersed in loving service and ecstatic movement with Kṛṣṇa—while also portraying the extraordinary beauty of that transcendental scene.

What is a practical application of this Rāsa-līlā verse for modern spiritual life?

It teaches focused, wholehearted devotion: rather than distracted practice, cultivate steady remembrance and loving attention to Kṛṣṇa—letting one’s “inner music” (disciplined sādhana) support deeper bhakti.