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
कर्हिचित्, आलि, मुकुन्दो बर्हिणस्तबकधातुपलाशैः स्वं भूषयित्वा मल्लपरिबर्हविडम्बं करोति; स बलरामेण गोपैश्च सह स्थित्वा वेणुं वादयन् गावः समाह्वयति। तदा सरितो भग्नगतयः स्युः; तासां स्तिमितापाः प्रेमविह्वलाः, अनिलनीतं तत्पदाम्बुजरजः स्पृहयन्त्यः, वयमिव अल्पपुण्याः, प्रेमवेपितभुजाः प्रतीक्षन्ते।
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.