Shloka 16
Rāsa-līlā Begins; Divine Multiplication; Moral Doubt and Its Resolution
एवं परिष्वङ्गकराभिमर्श- स्निग्धेक्षणोद्दामविलासहासै: । रेमे रमेशो व्रजसुन्दरीभि- र्यथार्भक: स्वप्रतिबिम्बविभ्रम: ॥ १६ ॥
evaṁ pariṣvaṅga-karābhimarśa- snigdhekṣaṇoddāma-vilāsa-hāsaiḥ reme rameśo vraja-sundarībhir yathārbhakaḥ sva-pratibimba-vibhramaḥ
ఇలా ఆలింగనం, చేతి స్పర్శ, స్నిగ్ధ దృష్టి, విస్తారమైన క్రీడామయ హాస్యాలతో రమేశ్వరుడైన భగవాన్ శ్రీకృష్ణుడు వ్రజసుందరీలతో విహరించాడు—ఎలా అంటే, ఒక బాలుడు తన ప్రతిబింబంతో ఆడుకునేలా।
Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura comments as follows on this verse: “Lord Kṛṣṇa alone is the Supreme Absolute Truth, and His potencies are unlimited. All these potencies, taking personal forms, engage Lord Kṛṣṇa in His pastimes. Just as the opulent manifestation of His one supreme transcendental potency manifests all the countless potencies of the Lord, so in the rāsa dance Kṛṣṇa manifests Himself as many times as there are various potencies represented by the gopīs. Everything is Kṛṣṇa, but by His desire His spiritual energy Yoga-māyā manifests the gopīs. When His internal potency Yoga-māyā thus produces such pastimes for the enhancement of His transcendental emotions, it is just like a young boy playing with His own reflection. But since these pastimes are created by His spiritual potency, they are eternal and self-manifesting.”
FAQs
This verse describes Kṛṣṇa’s intimate, playful exchange with the Vraja-gopīs—embraces, loving glances, laughter—while indicating His transcendence by comparing it to a child’s innocent delight in a reflection.
The comparison highlights innocence and wonder, suggesting that the Lord’s līlā is not driven by worldly desire; it is divine play that enchants the devotees while remaining spiritually pure.
Approach sacred narratives with humility and purity—seek loving devotion (bhakti) rather than sensual interpretation, and cultivate affectionate remembrance of Kṛṣṇa through sincere spiritual practice.