View source for On any platform of activities, the principle of sense gratification is there. But on the spiritual platform, sense gratification is for the Supreme Personality of Godhead, Krsna, whereas on the material platform it is for the performer

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{{terms|"On any platform of activities, the principle of sense gratification is there. But on the spiritual platform, sense gratification is for the Supreme Personality of Godhead, Kṛṣṇa, whereas on the material platform it is for the performer"}}
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[[Category:Platform]]
[[Category:Activities]]
[[Category:Principles of Sense Gratification]]
[[Category:Spiritual Platform]]
[[Category:Krsna's Sense Gratification]]
[[Category:Krsna Is The Supreme Personality of Godhead]]
[[Category:Whereas]]
[[Category:Material Platform]]
[[Category:Performer]]
[[Category:Krsna Book Chapter 28 - Releasing Nanda Maharaja from the Clutches of Varuna]]
[[Category:Krsna Book Chapters 01 to 90]]
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<h2>Other Books by Srila Prabhupada</h2>
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<h3>Krsna, The Supreme Personality of Godhead</h3>
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On any platform of activities, the principle of sense gratification is there. But on the spiritual platform, sense gratification is for the Supreme Personality of Godhead, Kṛṣṇa, whereas on the material platform it is for the performer. For example, on the material platform, when a servant serves a master, he is trying to satisfy not the senses of his master but rather his own senses. The servant would not serve the master if the payment stopped. That means that the servant engages himself in the service of the master just to satisfy his own senses.
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[[Vanisource:KB 29|Krsna Book, 29]]
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The words used in this connection in Śrīmad-Bhāgavatam are bhagavān api. This means that although Kṛṣṇa is the Supreme Personality of Godhead and thus has no desire that needs to be fulfilled (because He is always full with six opulences), He still wanted to enjoy the company of the gopīs in the rāsa dance. Bhagavān api signifies that this dance is not like the ordinary dancing of young boys and young girls. The specific words used in Śrīmad-Bhāgavatam are yogamāyām upāśritaḥ, which mean that this dancing with the gopīs is on the platform of yogamāyā, not mahāmāyā. The dancing of young boys and girls within the material world is in the kingdom of mahāmāyā, or the external energy. The rāsa dance of Kṛṣṇa with the gopīs is on the platform of yogamāyā. The difference between the platforms of yogamāyā and mahāmāyā is compared in the Caitanya-caritāmṛta to the difference between gold and iron. From the viewpoint of metallurgy, gold and iron are both metals, but the quality is completely different. Similarly, although the rāsa dance and Lord Kṛṣṇa’s association with the gopīs appear like the ordinary mixing of young boys and girls, the quality is completely different. The difference is appreciated by great Vaiṣṇavas because they can understand the difference between love of Kṛṣṇa and lust.

On the mahāmāyā platform, dances take place on the basis of sense gratification. But when Kṛṣṇa called the gopīs by sounding His flute, they very hurriedly rushed toward the spot of the rāsa dance with the transcendental desire to satisfy Kṛṣṇa. The author of Caitanya-caritāmṛta, Kṛṣṇadāsa Kavirāja Gosvāmī, has explained that lust means sense gratification, and love also means sense gratification—but for Kṛṣṇa. In other words, when activities are enacted on the platform of personal sense gratification, they are called material activities, but when they are enacted for the satisfaction of Kṛṣṇa, they are spiritual activities. On any platform of activities, the principle of sense gratification is there. But on the spiritual platform, sense gratification is for the Supreme Personality of Godhead, Kṛṣṇa, whereas on the material platform it is for the performer. For example, on the material platform, when a servant serves a master, he is trying to satisfy not the senses of his master but rather his own senses. The servant would not serve the master if the payment stopped. That means that the servant engages himself in the service of the master just to satisfy his own senses. On the spiritual platform, however, the servitor of the Supreme Personality of Godhead serves Kṛṣṇa without payment, and he continues his service in all conditions. That is the difference between Kṛṣṇa consciousness and material consciousness.

As mentined above, it appears that Kṛṣṇa enjoyed the rāsa dance with the gopīs when He was eight years old. At that time, many of the gopīs were married, because in India, especially in those days, girls were married at a very early age. There are even many instances of a girl’s giving birth to a child at the age of twelve. Under the circumstances, all the gopīs who wanted to have Kṛṣṇa as their husband were already married. At the same time, they continued to hope that Kṛṣṇa would be their husband. Their attitude toward Kṛṣṇa was that of paramour love. Therefore, the loving affairs of Kṛṣṇa with the gopīs are called parakīya-rasa. The attitude of a married man who desires another wife or a wife who desires another husband is called parakīya-rasa.

Actually, Kṛṣṇa is the husband of everyone because He is the supreme enjoyer. The gopīs wanted Kṛṣṇa to be their husband, but factually there was no possibility of His marrying all the gopīs. But because they had that natural tendency to accept Kṛṣṇa as their supreme husband, the relationship between the gopīs and Kṛṣṇa is called parakīya-rasa. This parakīya-rasa is ever-existent in Goloka Vṛndāvana, in the spiritual sky, where there is no possibility of the inebriety which characterizes parakīya-rasa in the material world. In the material world, parakīya-rasa is abominable, whereas in the spiritual world it is present in the superexcellent relationship of Kṛṣṇa and the gopīs. There are many relationships with Kṛṣṇa—master and servant, friend and friend, parent and son, and lover and beloved. Out of all these rasas, the parakīya-rasa is considered to be the topmost.
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