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
主奎师那的花环在与牧女们的爱戏中被挤压,染上她们胸前的红粉(kuṅkuma)。为消除牧女的疲惫,祂步入亚穆纳河水中;歌唱如甘达婆的群蜂迅疾随行。祂宛如威严的象王与伴侣入水消乏;确然,主也如强象冲破稻田堤埂般,超越了世俗与吠陀的常规界限。
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.