Rasa dance

Expressions researched:
"rasa dance"

SB Preface and Introduction

SB Introduction:

Some of the important places that were visited by the Lord in Vṛndāvana were Kāmyavana, Ādīśvara, Pāvana-sarovara, Khadiravana, Śeṣaśāyī, Khela-tīrtha, Bhāṇḍīravana, Bhadravana, Śrīvana, Lauhavana, Mahāvana, Gokula, Kāliya-hrada, Dvādaśāditya, Keśī-tīrtha, etc. When He saw the place where the rāsa dance took place, He at once fell down in trance. As long as He remained at Vṛndāvana, He made His headquarters at Akrūra-ghāṭa.

SB Canto 1

SB 1.1.1, Purport:

Unscrupulous persons go immediately to the Tenth Canto and especially to the five chapters which describe the Lord's rāsa dance. This portion of the Śrīmad-Bhāgavatam is the most confidential part of this great literature. Unless one is thoroughly accomplished in the transcendental knowledge of the Lord, one is sure to misunderstand the Lord's worshipable transcendental pastimes called rāsa dance and His love affairs with the gopīs. This subject matter is highly spiritual, and only the liberated persons who have gradually attained to the stage of paramahaṁsa can transcendentally relish this rāsa dance.

SB 1.1.3, Purport:

Foolish people who are not in the transcendental disciplic succession commit great blunders by trying to understand the highest transcendental rasa known as the rāsa dance without following in the footsteps of Śukadeva Gosvāmī, who presents this fruit very carefully by stages of transcendental realization. One should be intelligent enough to know the position of Śrīmad-Bhāgavatam by considering personalities like Śukadeva Gosvāmī, who deals with the subject so carefully.

SB 1.1.3, Purport:

A professional man who makes a business out of reciting the Bhāgavatam illegally is certainly not a representative of Śukadeva Gosvāmī. Such a man's business is only to earn his livelihood. Therefore one should refrain from hearing the lectures of such professional men. Such men usually go to the most confidential part of the literature without undergoing the gradual process of understanding this grave subject. They usually plunge into the subject matter of the rāsa dance, which is misunderstood by the foolish class of men. Some of them take this to be immoral, while others try to cove

SB 1.9.40, Translation:

Let my mind be fixed upon Lord Śrī Kṛṣṇa, whose motions and smiles of love attracted the damsels of Vrajadhāma (the gopīs). The damsels imitated the characteristic movements of the Lord (after His disappearance from the rāsa dance).

SB Canto 2

SB 2.2.13, Purport:

According to the Bhāgavata school, the Lord's rāsa dancing is the smiling face of the Lord. Since it is recommended in this verse that one should gradually progress from the lotus feet up to the smiling face, we shall not jump at once to understand the Lord's pastimes in the rāsa dance. It is better to practice concentrating our attention by offering flowers and tulasi to the lotus feet of the Lord. In this way, we gradually become purified by the arcanā process. We dress the Lord, bathe Him, etc., and all these transcendental activities help us purify our existence. When we reach the higher standard of purification, if we see the smiling face of the Lord or hear the rāsa dance pastimes of the Lord, then we can relish His activities. In the Śrīmad-Bhāgavatam, therefore, the rāsa dance pastimes are delineated in the Tenth Canto (Chapters 29-34).

SB 2.4.24, Purport:

By gradual development of transcendental knowledge, one can rise to the stage of the transcendental arts of music and dance displayed by the Lord in His rāsa-līlā. But without having the Vedic knowledge one can hardly understand the transcendental nature of the Lord's rāsa dance and music. The pure devotees of the Lord, however, can equally relish the nectar in the form of the profound philosophical discourses and in the form of kissing by the Lord in the rāsa dance, as there is no mundane distinction between the two.

SB 2.7.33, Translation:

When the Lord was engaged in His pastimes of the rāsa dance in the forest of Vṛndāvana, enlivening the sexual desires of the wives of the inhabitants of Vṛndāvana by sweet and melodious songs, a demon of the name Śaṅkhacūḍa, a rich follower of the treasurer of heaven (Kuvera), kidnapped the damsels, and the Lord severed his head from his trunk.

SB 2.7.33, Purport:

In the previous verses we have seen also that the Lord's engagement in the affairs of the forest fire was described along with His pastimes of punishing the Kāliya snake, and similarly the pastimes of the rāsa dance and the killing of Śaṅkhacūḍa are also described herein. The adjustment is that all these incidents would take place in the future, after the time when it was being foretold by Brahmājī to Nārada.

SB Canto 3

SB 3.9.14, Purport:

The rāsa dance is performed by Lord Kṛṣṇa in the company of the cowherd damsels at Vṛndāvana, and the Personality of Godhead Garbhodakaśāyī Viṣṇu is also engaged in rāsa enjoyment with His external potency, by which He creates, maintains and dissolves the entire material manifestation. Indirectly, Lord Brahmā offers his respectful obeisances unto Lord Śrī Kṛṣṇa, who is factually ever engaged in rāsa enjoyment with the gopīs, as confirmed in the Gopāla-tāpanī Upaniṣad in the following words: parārdhānte so 'budhyata gopa-veśo me puruṣaḥ purastād āvirbabhūva.

SB Canto 4

SB 4.12.44, Purport:

Neophyte devotees simply try to understand the pastimes of the Lord and are not very interested in hearing about the activities of His devotees, but such discrimination should not be indulged in by any real devotee. Sometimes less intelligent men try to hear about the rāsa dance of Kṛṣṇa and do not take care to hear about other portions of Śrīmad-Bhāgavatam, which they completely avoid. There are professional Bhāgavata reciters who abruptly go to the rāsa-līlā chapters of Śrīmad-Bhāgavatam, as if other portions of Śrīmad-Bhāgavatam were useless. This kind of discrimination and abrupt adoption of the rāsa-līlā pastimes of the Lord is not approved by the ācāryas.

SB Canto 5

SB 5.18.23, Purport:

"The gopīs received benedictions from the Lord that neither Lakṣmīdevī nor the most beautiful dancers in the heavenly planets could attain. In the rāsa dance, the Lord showed His favor to the most fortunate gopīs by placing His arms on their shoulders and dancing with each of them individually. No one can compare with the gopīs, who received the causeless mercy of the Lord."

SB 5.18.23, Purport:

"Vyeṅkaṭa Bhaṭṭa replied, 'Lord Kṛṣṇa and Lord Nārāyaṇa are one and the same, but the pastimes of Kṛṣṇa are more relishable due to their sportive nature. They are very pleasing for Kṛṣṇa's śaktis. Since Kṛṣṇa and Nārāyaṇa are both the same personality, Lakṣmī's association with Kṛṣṇa did not break her vow of chastity. Rather, it was in great fun that the goddess of fortune wanted to associate with Lord Kṛṣṇa. The goddess of fortune considered that her vow of chastity would not be damaged by her relationship with Kṛṣṇa. Rather, by associating with Kṛṣṇa she could enjoy the benefit of the rāsa dance.

SB 5.18.23, Purport:

"Lord Caitanya Mahāprabhu replied, 'I know that there is no fault in the goddess of fortune, but still she could not enter into the rāsa dance. We hear this from revealed scriptures. The authorities of Vedic knowledge met Lord Rāmacandra in Daṇḍakāraṇya, and by their penances and austerities, they were allowed to enter into the rāsa dance.

SB Canto 10.1 to 10.13

SB 10.8.19, Purport:

If you can protect this child very cautiously, as Nārāyaṇa always protects you, the child will be as good as Nārāyaṇa." Gargamuni also indicated that although the child was exaltedly qualified like Nārāyaṇa, He would enjoy more than Nārāyaṇa as rāsa-vihārī, the central enjoyer of the rāsa dance. As stated in the Brahma-saṁhitā, lakṣmī-sahasra-śata-sambhrama-sevyamānam: (Bs. 5.29) He would be served by many gopīs, who would all be as good as the goddess of fortune.

SB 10.8.31, Purport:

Kṛṣṇa's business in the neighborhood was not only to steal but sometimes to pass stool and urine in a neat, clean house. When caught by the master of the house, Kṛṣṇa would chastise him, saying, "You are a thief." Aside from being a thief in His childhood affairs, Kṛṣṇa acted as an expert thief when He was young by attracting young girls and enjoying them in the rāsa dance. This is Kṛṣṇa's business.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.33.2, Translation:

There on the Yamunā's banks Lord Govinda then began the pastime of the rāsa dance in the company of those jewels among women, the faithful gopīs, who joyfully linked their arms together.

SB 10.33.3, Translation:

The festive rāsa dance commenced, with the gopīs arrayed in a circle. Lord Kṛṣṇa expanded Himself and entered between each pair of gopīs, and as that master of mystic power placed His arms around their necks, each girl thought He was standing next to her alone. The demigods and their wives were overwhelmed with eagerness to witness the rāsa dance, and they soon crowded the sky with their hundreds of celestial airplanes.

SB 10.33.5, Translation:

A tumultuous sound arose from the armlets, ankle bells and waist bells of the gopīs as they sported with their beloved Kṛṣṇa in the circle of the rāsa dance.

SB 10.33.10, Translation:

When one gopī grew tired from the rāsa dance, She turned to Kṛṣṇa, standing at Her side holding a baton, and grasped His shoulder with Her arm. The dancing had loosened Her bracelets and the flowers in Her hair.

SB 10.33.15, Translation:

Enhancing the beauty of the gopīs' faces were the lotus flowers behind their ears, the locks of hair decorating their cheeks, and drops of perspiration. The reverberation of their armlets and ankle bells made a loud musical sound, and their chaplets scattered. Thus the gopīs danced with the Supreme Lord in the arena of the rāsa dance as swarms of bees sang in accompaniment.

SB 10.38.17, Translation:

By offering charity to that lotus hand, Purandara and Bali earned the status of Indra, King of heaven, and during the pleasure pastimes of the rāsa dance, when the Lord wiped away the gopīs' perspiration and removed their fatigue, the touch of their faces made that hand as fragrant as a sweet flower.

SB 10.39.29, Translation:

When He brought us to the assembly of the rāsa dance, where we enjoyed His affectionate and charming smiles, His delightful secret talks, His playful glances and His embraces, we passed many nights as if they were a single moment. O gopīs, how can we possibly cross over the insurmountable darkness of His absence?

SB 10.47.37, Translation:

Although some gopīs had to remain in the cowherd village and so could not join the rāsa dance to sport with Me at night in the forest, they were nonetheless fortunate. Indeed, they attained Me by thinking of My potent pastimes.

SB 10.47.43, Translation:

Does He recall those nights in the Vṛndāvana forest, lovely with lotus, jasmine and the bright moon? As we glorified His charming pastimes, He enjoyed with us, His beloved girlfriends, in the circle of the rāsa dance, which resounded with the music of ankle bells.

SB 10.47.62, Translation:

The goddess of fortune herself, along with Lord Brahmā and all the other demigods, who are masters of yogic perfection, can worship the lotus feet of Kṛṣṇa only within her mind. But during the rāsa dance Lord Kṛṣṇa placed His feet upon these gopīs' breasts, and by embracing those feet the gopīs gave up all distress.

CC Preface and Introduction

CC Introduction:

Unfortunately, unintelligent people turn at once to the sports of Kṛṣṇa in the Daśama-skandha, the Tenth Canto. Kṛṣṇa's embracing Rādhārāṇī or His dancing with the cowherd girls in the rāsa dance are generally not understood by ordinary men, because they consider these pastimes in the light of mundane lust. They foolishly think that Kṛṣṇa is like themselves and that He embraces the gopīs just as an ordinary man embraces a young girl. Some people thus become interested in Kṛṣṇa because they think that His religion allows indulgence in sex. This is not kṛṣṇa-bhakti, love of Kṛṣṇa, but prākṛta-sahajiyā—materialistic lust.

CC Adi-lila

CC Adi 1.17, Translation:

Śrī Śrīla Gopīnātha, who originated the transcendental mellow of the rāsa dance, stands on the shore in Vaṁśīvaṭa and attracts the attention of the cowherd damsels with the sound of His celebrated flute. May they all confer upon us their benediction.

CC Adi 1.52, Purport:

The innumerable forms of the Lord, such as Śyāmasundara, Nārāyaṇa, Rāma and Gaurasundara; the colors of these forms (white, red, yellow, cloudlike śyāma and others); His qualities, as the responsive Personality of Godhead to pure devotees and as impersonal Brahman to dry speculators; His uncommon activities like lifting Govardhana Hill, marrying more than sixteen thousand queens at Dvārakā, and entering the rāsa dance with the damsels of Vraja, expanding Himself in as many forms as there were damsels in the dance—these and innumerable other uncommon acts and attributes are all mysteries, one aspect of which is presented in the scientific knowledge of the Bhagavad-gītā, which is read and adored all over the world by all classes of scholars, with as many interpretations as there are empiric philosophers.

CC Adi 1.68, Purport:

When Lord Kṛṣṇa married sixteen thousand queens in Dvārakā, He did so in sixteen thousand prakāśa expansions. Similarly, during the rāsa dance He expanded Himself in identical prakāśa forms to dance beside each and every gopī simultaneously. When the Lord manifests His vilāsa expansions, however, they are all somewhat different in their bodily features. Lord Balarāma is the first vilāsa expansion of Lord Kṛṣṇa, and the four-handed Nārāyaṇa forms in Vaikuṇṭha expand from Balarāma.

CC Adi 1.69-70, Translation:

When the Personality of Godhead expands Himself in many forms, all nondifferent in Their features, as Lord Kṛṣṇa did when He married sixteen thousand queens and when He performed His rāsa dance, such forms of the Lord are called manifested forms (prakāśa-vigrahas).

CC Adi 1.72, Translation:

"When Lord Kṛṣṇa, surrounded by groups of cowherd girls, began the festivities of the rāsa dance, the Lord of all mystic powers placed Himself between each two girls."

CC Adi 4.34, Purport:

The rāsa dance is arranged by Kṛṣṇa's internal potency yogamāyā, and it is beyond the grasp of the materially affected person. Trying to throw mud into transcendence with their perversity, the sahajiyās misinterpret the sayings tat-paratvena nirmalam (CC Madhya 19.170) and tat-paro bhavet. By misinterpreting tādṛśīḥ krīḍāḥ, they want to indulge in sex while pretending to imitate Lord Kṛṣṇa.

CC Adi 4.81, Translation:

Among them are various groups of consorts in Vraja who have varieties of sentiments and mellows. They help Lord Kṛṣṇa taste all the sweetness of the rāsa dance and other pastimes.

CC Adi 4.81, Purport:

Their transcendental exchanges of love are the superexcellent affairs of the pastimes in Vṛndāvana. By these expansions of Śrīmatī Rādhārāṇī’s personal body, She helps Lord Kṛṣṇa taste the rāsa dance and other, similar activities. Śrīmatī Rādhārāṇī, being the central petal of the rāsa-līlā flower, is also known by the names found in the following verses.

CC Adi 4.114, Translation:

In youth He tasted the essence of rasa, fulfilling His desires in pastimes like the rāsa dance with Śrīmatī Rādhikā and the other gopīs.

CC Adi 4.115, Translation:

In His youth Lord Kṛṣṇa made all three of His ages, and the entire universe, successful by His pastimes of amorous love like the rāsa dance.

CC Adi 4.219, Translation:

"Lord Kṛṣṇa, the enemy of Kaṁsa, left aside the other gopīs during the rāsa dance and took Śrīmatī Rādhārāṇī to His heart, for She is the helper of the Lord in realizing the essence of His desires."

CC Adi 5.212, Translation:

Lord Madana Gopāla, the chief Deity of Vṛndāvana, is the enjoyer of the rāsa dance and is directly the son of the King of Vraja.

CC Adi 5.213, Translation:

He enjoys the rāsa dance with Śrīmatī Rādhārāṇī, Śrī Lalitā and others. He manifests Himself as the Cupid of Cupids.

CC Adi 6.67, Purport:

This verse in connection with the rāsa dance of Kṛṣṇa with the gopīs is quoted from Śrīmad-Bhāgavatam (10.31.6). When Kṛṣṇa disappeared from His companions in the course of dancing, the gopīs sang like this in separation from Kṛṣṇa.

CC Adi 6.71, Purport:

This verse is quoted from Śrīmad-Bhāgavatam (10.30.39). When the rāsa dance was going on in full swing, Kṛṣṇa left all the gopīs and took only Śrīmatī Rādhārāṇī with Him. At that time all the gopīs lamented, and Śrīmatī Rādhārāṇī, being proud of Her position, requested Kṛṣṇa to carry Her wherever He liked. Then Kṛṣṇa immediately disappeared from the scene, and Śrīmatī Rādhārāṇī began to lament.

CC Adi 7.8, Translation:

Lord Śrī Kṛṣṇa, the Supreme Personality of Godhead, is the supreme enjoyer in the rāsa dance. He is the leader of the damsels of Vraja, and all others are simply His associates.

CC Adi 7.8, Purport:

The word rāsādi-vilāsī ("the enjoyer of the rāsa dance") is very important. The rāsa dance can be enjoyed only by Śrī Kṛṣṇa because He is the supreme leader and chief of the damsels of Vṛndāvana. All others are His devotees and associates. Although no one can compare with Śrī Kṛṣṇa, the Supreme Personality of Godhead, there are many unscrupulous rascals who imitate the rāsa dance of Śrī Kṛṣṇa. They are Māyāvādīs, and people should be wary of them. The rāsa dance can be performed only by Śrī Kṛṣṇa and no one else.

CC Adi 13.42, Purport:

One of his famous books is Gīta-govinda, which is full of transcendental mellow feelings of separation from Kṛṣṇa. The gopīs felt separation from Kṛṣṇa before the rāsa dance, as mentioned in Śrīmad-Bhāgavatam, and the Gīta-govinda expresses such feelings. There are many commentaries on the Gīta-govinda by many Vaiṣṇavas.

CC Adi 17.238, Translation:

Śrīvāsa Paṇḍita narrated all the pastimes enacted during the six changing seasons. He described the drinking of honey, the celebration of the rāsa dance, the swimming in the Yamunā and other such incidents.

CC Adi 17.282, Translation:

During the season of springtime, when the rāsa dance was going on, suddenly Kṛṣṇa disappeared from the scene, indicating that He wanted to be alone with Śrīmatī Rādhārāṇī.

CC Adi 17.293, Translation:

"Prior to the rāsa dance, Lord Kṛṣṇa hid Himself in a grove just to have fun. When the gopīs came, their eyes resembling those of deer, by His sharp intelligence He exhibited His beautiful four-armed form to hide Himself. But when Śrīmatī Rādhārāṇī came there, Kṛṣṇa could not maintain His four arms in Her presence. This is the wonderful glory of Her love."

CC Madhya-lila

CC Madhya 2.56, Translation:

Śrī Caitanya Mahāprabhu used to lament by saying, "Where is Śrī Kṛṣṇa, whose form is curved in three places? Where is the sweet song of His flute, and where is the bank of the Yamunā? Where is the rāsa dance? Where is that dancing, singing, and laughing? Where is My Lord, Madana-mohana, the enchanter of Cupid?"

CC Madhya 8.81, Purport:

This verse is from Śrīmad-Bhāgavatam (10.32.2). When the rāsa dance was going on, Kṛṣṇa suddenly disappeared, and the gopīs became so overwhelmed, due to His separation and their intense love for Him, that Kṛṣṇa was obliged to appear again.

CC Madhya 8.102, Translation:

“During the rāsa dance Śrī Kṛṣṇa did not exchange loving affairs with Śrīmatī Rādhārāṇī due to the presence of the other gopīs. Because of the dependence of the others, the intensity of love between Rādhā and Kṛṣṇa was not manifest. Therefore He stole Her away.

CC Madhya 8.105, Translation:

“Finding Herself treated equally with all the other gopīs, Śrīmatī Rādhārāṇī displayed Her tricky behavior and left the circle of the rāsa dance. Missing Śrīmatī Rādhārāṇī’s presence, Kṛṣṇa became very unhappy and began to lament and wander throughout the forest to search Her out.

CC Madhya 8.106, Translation:

“‘Lord Kṛṣṇa, the enemy of Kaṁsa, took Śrīmatī Rādhārāṇī within His heart, for He desired to dance with Her. Thus He left the arena of the rāsa dance and the company of all the other beautiful damsels of Vraja.

CC Madhya 8.109, Translation:

“Although Kṛṣṇa was in the midst of hundreds of thousands of gopīs during the rāsa dance, He still kept Himself in one of His transcendental forms by the side of Śrīmatī Rādhārāṇī.

CC Madhya 8.111, Purport:

During the rāsa dance, one form of Kṛṣṇa was between every two gopīs. But by the side of Śrīmatī Rādhārāṇī there was only one Kṛṣṇa. Although this was the case, Śrīmatī Rādhārāṇī still manifested disagreement with Kṛṣṇa. This verse is from the Ujjvala-nīlamaṇi (Śṛṅgāra-bheda-kathana 102), written by Śrīla Rūpa Gosvāmī.

CC Madhya 8.112, Translation:

“When Rādhārāṇī left the rāsa dance out of anger and resentment, Lord Śrī Kṛṣṇa became very anxious because He could not see Her.

CC Madhya 8.114, Translation:

“The rāsa dance does not shine in the heart of Kṛṣṇa without Śrīmatī Rādhārāṇī. Therefore, He also gave up the circle of the rāsa dance and went out to search for Her.

CC Madhya 8.254, Translation:

Śrī Caitanya Mahāprabhu asked, "Where should the living entity live, abandoning all other places?"

Rāmānanda Rāya replied, "He should live in the holy place known as Vṛndāvana or Vrajabhūmi, where the Lord performed His rāsa dance."

CC Madhya 8.255, Purport:

"He who faithfully hears about the dealings between Lord Kṛṣṇa and the gopīs in the rāsa dance and he who describes these activities attain to the perfectional stage of devotional service and simultaneously lose material, lusty desires."

CC Madhya 8.255, Purport:

Unless one is liberated, he should not try to hear about the loving affairs between Rādhā and Kṛṣṇa. If one is not liberated and listens to a relation of the rāsa dance, he may remember his own mundane activities and illicit connections with some woman whose name may also be Rādhā. In the conditioned stage one should not even try to remember such things. By practicing the regulative principles, one should rise to the platform of spontaneous attraction for Kṛṣṇa.

CC Madhya 9.118, Translation:

"The goddess of fortune considered that her vow of chastity would not be damaged by her relationship with Kṛṣṇa. Rather, by associating with Kṛṣṇa she could enjoy the benefit of the rāsa dance."

CC Madhya 9.120, Translation:

Lord Caitanya Mahāprabhu replied, “I know that there is no fault on the part of the goddess of fortune, but still she could not enter into the rāsa dance. We hear this from the revealed scriptures.

CC Madhya 9.122, Translation:

“But can you tell Me why the goddess of fortune, Lakṣmī, could not enter the rāsa dance? The authorities of Vedic knowledge could enter the dance and associate with Kṛṣṇa.

CC Madhya 9.124, Translation:

Having been asked by Caitanya Mahāprabhu why the goddess of fortune could not enter into the rāsa dance whereas the authorities on Vedic knowledge could, Veṅkaṭa Bhaṭṭa replied, "I cannot enter into the mysteries of this behavior."

CC Madhya 9.133, Purport:

The authorities in the Vedic literature who are known as the śruti-gaṇas desired to enter into Lord Śrī Kṛṣṇa's rāsa dance; therefore they began to worship the Lord in the ecstasy of the gopīs. In the beginning, however, they were unsuccessful. When they could not enter the dance simply by thinking of Kṛṣṇa in the ecstasy of the gopīs, they actually accepted bodies like those of the gopīs. They even took birth in Vrajabhūmi just like the gopīs and consequently became engrossed in the ecstasy of the gopīs' love. In this way they were allowed to enter into the rāsa-līlā dance of the Lord.

CC Madhya 14.158, Translation:

“"Lord Śrī Kṛṣṇa, who is the Absolute Truth, enjoyed His rāsa dance every night during the autumn season. He performed this dance in the moonlight and with full transcendental mellows. He used poetic words and surrounded Himself with women who were very much attracted to Him."

CC Madhya 18.9, Translation:

“In that lake, Lord Kṛṣṇa and Śrīmatī Rādhārāṇī used to sport daily in the water and have a rāsa dance on the bank.

CC Madhya 18.72, Translation:

After seeing the holy place called Praskandana, Śrī Caitanya Mahāprabhu went to Dvādaśāditya. From there He went to Keśī-tīrtha, and when He saw the place where the rāsa dance had taken place, He immediately lost consciousness due to ecstatic love.

CC Madhya 19.210, Purport:

This verse, quoted from Śrīmad-Bhāgavatam (10.31.16), describes how the gopīs went to the forest for Kṛṣṇa's enjoyment in the dead of night. The gopīs approached Kṛṣṇa to enjoy themselves with Him in the rāsa dance. Kṛṣṇa knew this very well, but He was superficially trying to avoid them. He is therefore addressed by the gopīs as kitava, a great cheater, because He first attracted them to come dance with Him, and yet when they actually came, neglecting the orders of their friends and relatives, He tried to avoid them by giving them so-called good instructions.

CC Madhya 20.168, Translation:

“When the Lord married 16,108 wives at Dvārakā, He expanded Himself into many forms. These expansions and the expansions at the rāsa dance are called prābhava-prakāśa, according to the directions of revealed scriptures.

CC Madhya 20.384, Translation:

“Lord Kṛṣṇa exhibits His pastimes of childhood, boyhood and pre-youth. When He reaches pre-youth, He continues to exist eternally to perform His rāsa dance and other pastimes.

CC Madhya 21.44, Translation:

“Vṛndāvana is the storehouse of Kṛṣṇa's mercy and the sweet opulences of conjugal love. That is where the spiritual energy, working as a maidservant, exhibits the rāsa dance, the quintessence of all pastimes.

CC Madhya 21.107, Translation:

“Favoring the gopīs, Kṛṣṇa rides on the chariots of their minds, and just to receive loving service from them, He attracts their minds like Cupid. Therefore He is also called Madana-mohana, the attractor of Cupid. Cupid has five arrows, representing form, taste, smell, sound and touch. Kṛṣṇa is the owner of these five arrows, and with His Cupid-like beauty He conquers the minds of the gopīs, though they are very proud of their superexcellent beauty. Becoming a new Cupid, Kṛṣṇa attracts their minds and engages in the rāsa dance.

CC Madhya 24.50, Purport:

This verse from Śrīmad-Bhāgavatam (10.29.39) was spoken by the gopīs when they arrived near Kṛṣṇa for the rāsa dance on a full-moon night. The attracted gopīs were awestruck, and they began to speak about how they came to Kṛṣṇa to enjoy the rāsa dance.

CC Madhya 25.130, Purport:

This is a quotation from Śrīmad-Bhāgavatam (10.30.4). The gopīs almost went mad due to Kṛṣṇa's suddenly leaving the rāsa dance. Because the gopīs were fully absorbed in thoughts of Kṛṣṇa, they were imitating His different postures and pastimes. They became very much saddened because of His absence, and this incident is explained by Śukadeva Gosvāmī to Mahārāja Parīkṣit.

CC Antya-lila

CC Antya 1.7, Translation:

Śrī Śrīla Gopīnātha, who originated the transcendental mellow of the rāsa dance, stands on the shore at Vaṁśīvaṭa and attracts the attention of the cowherd damsels with the sound of His celebrated flute. May they all confer upon us their benediction.

CC Antya 5.45-46, Translation:

“When one hears or describes with great faith the pastimes of Lord Kṛṣṇa, such as His rāsa dance with the gopīs, the disease of lusty desires in his heart and the agitation caused by the three modes of material nature are immediately nullified, and he becomes sober and silent.

CC Antya 5.45-46, Purport:

Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura comments in this connection, “Any person seriously inclined to hear about the pastimes of Kṛṣṇa's rāsa dance, as mentioned in Śrīmad-Bhāgavatam, with great faith and a transcendental, spiritually inspired mind, is immediately freed from the natural lusty desires found within the heart of a materialistic man.”

CC Antya 5.48, Translation:

“"A transcendentally sober person who, with faith and love, continually hears from a realized soul about the activities of Lord Kṛṣṇa in His rāsa dance with the gopīs, or one who describes such activities, can attain full transcendental devotional service at the lotus feet of the Supreme Personality of Godhead. Thus lusty material desires, which are the heart disease of all materialistic persons, are for him quickly and completely vanquished."

CC Antya 10.7, Translation:

During the rāsa dance, Kṛṣṇa asked all the gopīs to return home, but they neglected His order and stayed there for His association.

CC Antya 13.73, Translation:

Jagadānanda Paṇḍita offered obeisances to the Lord on behalf of Sanātana Gosvāmī. Then he gave the Lord the dust from the site of the rāsa dance, along with the other gifts.

CC Antya 14.17, Translation:

One day while He was resting, Śrī Caitanya Mahāprabhu dreamed He saw Kṛṣṇa performing His rāsa dance.

CC Antya 14.20, Translation:

Seeing this, Śrī Caitanya Mahāprabhu was overwhelmed with the transcendental mellow of the rāsa dance, and He thought, "Now I am with Kṛṣṇa in Vṛndāvana."

CC Antya 14.37, Purport:

These are the feelings of Śrīmatī Rādhārāṇī. First Lord Caitanya felt that He had been taken to Vṛndāvana, where He saw Kṛṣṇa's rāsa dance with the gopīs. Then He was brought to Kurukṣetra to see Lord Jagannātha, His sister (Subhadrā) and Lord Balarāma. Śrī Caitanya Mahāprabhu lost Vṛndāvana and Kṛṣṇa, the master of Vṛndāvana. At this time, Caitanya Mahāprabhu experienced divyonmāda, transcendental madness in separation from Kṛṣṇa. At Kurukṣetra, Kṛṣṇa displays His opulence, whereas in Vṛndāvana He is in His original position. Kṛṣṇa never goes even a step away from Vṛndāvana; therefore Kurukṣetra is less important for the gopīs than Vṛndāvana.

CC Antya 14.37, Purport:

Although devotees who worship Kṛṣṇa in opulence (His Vaikuṇṭha aspect) may prefer to see Lord Kṛṣṇa at Kurukṣetra along with Subhadrā and Balarāma, the gopīs want to see Kṛṣṇa in Vṛndāvana, performing the rāsa dance with Śrīmatī Rādhārāṇī. Śrī Caitanya Mahāprabhu showed by practical example how one can cultivate the mood of Rādhārāṇī and the other gopīs in separation from Kṛṣṇa.

CC Antya 14.38, Translation:

When Śrī Caitanya Mahāprabhu dreamed of the rāsa dance, He was fully absorbed in transcendental bliss, but when His dream broke, He thought He had lost a precious jewel.

CC Antya 14.53, Purport:

A woman whose husband has left home and gone to a foreign land is called proṣita-bhartṛkā. Lamenting for Kṛṣṇa in the same way that such a woman laments for her husband, Śrīmatī Rādhārāṇī said, "My dear friend, where is the glory of the family of Mahārāja Nanda, who wears a half-moon ornament on His head? Where is Kṛṣṇa, whose hue is like that of the indranīla jewel and who plays so nicely on His flute? Where is your friend, the best of all men, so expert in dancing in the circle of the rāsa dance? Where is He who is the real medicine to save Me from dying of heart disease? I must condemn Providence, for he has caused Me so many tribulations by separating Me from Kṛṣṇa."

CC Antya 14.53, Purport:

In the following letter, Lalitā chastised Kṛṣṇa for staying in Mathurā: “Simply by dancing in the circle of the rāsa dance, You attracted Śrīmatī Rādhārāṇī’s love. Why are You now so indifferent to my dear friend Rādhārāṇī? She is lying nearly unconscious, thinking of Your pastimes. I shall determine whether She is alive by putting a cotton swab under Her nostrils, and if She is still living, I shall chastise Her.”

CC Antya 15 Summary:

On the night of the rāsa dance, the gopīs, bereaved by Kṛṣṇa's absence, searched for Kṛṣṇa from one forest to another. Śrī Caitanya Mahāprabhu adopted the same transcendental thoughts as those of the gopīs and was filled with ecstatic emotion. Svarūpa Dāmodara Gosvāmī recited a verse from the Gīta-govinda just suitable to the Lord's emotions. Caitanya Mahāprabhu then exhibited the ecstatic transformations known as bhāvodaya, bhāva-sandhi, bhāva-śābalya and so on. The Lord experienced all eight kinds of ecstatic transformations, and He relished them very much.

CC Antya 15.30, Translation:

After Kṛṣṇa disappeared with Rādhārāṇī during the rāsa dance, the gopīs wandered in the forest looking for Him. In the same way, Śrī Caitanya Mahāprabhu wandered in that garden by the sea.

CC Antya 15.70, Purport:

This verse quoted from Śrīmad-Bhāgavatam (10.29.39) was spoken by the gopīs when they arrived before Kṛṣṇa for the rāsa dance.

CC Antya 15.81, Translation:

""The gopīs became proud of their great fortune. To subdue their sense of superiority and show them special favor, Keśava, the subduer of even Lord Brahmā and Lord Śiva, disappeared from the rāsa dance.""

CC Antya 15.84, Translation:

""Here in the arena of the rāsa dance, I remember Kṛṣṇa, who is always fond of joking and performing pastimes.""

CC Antya 17.33, Translation:

Śrī Caitanya Mahāprabhu said, “The gopīs entered the arena of the rāsa dance in ecstasy, but after hearing Kṛṣṇa's words of negligence and detachment, they understood that He was going to renounce them. Thus they began to chastise Him in anger.

CC Antya 17.60, Translation:

“Alas! Where is Kṛṣṇa, the treasure of My life? Where is the lotus-eyed one? Alas! Where is the divine ocean of all transcendental qualities? Alas! Where is the beautiful blackish youth dressed in yellow garments? Alas! Where is the hero of the rāsa dance?

CC Antya 18.6, Translation:

He sang and danced in ecstatic love and sometimes imitated the rāsa dance in emotional ecstasy.

CC Antya 18.25, Translation:

"As an independent leader among elephants enters the water with its female elephants, Kṛṣṇa, who is transcendental to the Vedic principles of morality, entered the water of the Yamunā with the gopīs. His chest had brushed against their breasts, crushing His flower garland and coloring it with red kuṅkuma powder. Attracted by the fragrance of that garland, humming bumblebees followed Kṛṣṇa like celestial beings of Gandharvaloka. In this way, Lord Kṛṣṇa mitigated the fatigue of the rāsa dance."

CC Antya 18.117, Translation:

Śrī Caitanya Mahāprabhu said, “In My dream I went to Vṛndāvana, where I saw Lord Kṛṣṇa perform the rāsa dance with all the gopīs.

CC Antya 20.127, Translation:

Also in that chapter is a description of the attraction of Lord Caitanya's five senses to Kṛṣṇa and how He searched for Kṛṣṇa in the rāsa dance.

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter Intoduction:

In order to learn how Kṛṣṇa's pleasure can be obtained, we must read the Tenth Canto of Śrīmad-Bhāgavatam in which Kṛṣṇa's pleasure potency is displayed in His pastimes with Rādhārāṇī and the damsels of Vraja. Unfortunately, unintelligent people turn at once to the sports of Kṛṣṇa in the Daśama-skandha, the Tenth Canto. Kṛṣṇa's embracing Rādhārāṇī or His dancing with the cowherd girls in the rāsa dance are generally not understood by ordinary men because they consider these pastimes in the light of mundane lust.

Teachings of Lord Caitanya, Chapter 1:

Regarding the dealings of the gopīs with Sri Kṛṣṇa in Vṛndāvana, it is described (SB 10.30.36-40) that when Sri Kṛṣṇa took Śrīmatī Rādhikā alone from the rāsa dance, She thought that Kṛṣṇa had left all the other gopīs. Although they were all equally beautiful, He satisfied Her in this way, and She began to think proudly, "My dear Lord Kṛṣṇa has left the beautiful gopīs, and He is satisfied with Me alone." In the forest, She told Kṛṣṇa, "My dear Kṛṣṇa, I am unable to move anymore.

Teachings of Lord Caitanya, Chapter 1:

When Kṛṣṇa disappeared from the scene of the rāsa dance, all the gopīs began to repent, saying, "Dear Kṛṣṇa! We have come here and have left aside our husbands, sons, relatives, brothers and friends! Neglecting their advice, we have come to You, and You best know the reason for our coming here. You know that we have come because we are captivated by the sweet sound of Your flute. But You are so cunning that in the dead of night You have left girls and women like us! This is not very good for You."

Teachings of Lord Caitanya, Chapter 6:

The personal form of Kṛṣṇa can be divided into two: svayam-rūpa and svayam-prakāśa. As far as His svayam-rūpa (or pastime form) is concerned, it is in that form that He remains always in Vṛndāvana with the inhabitants of Vṛndāvana. This personal form (svayam-rūpa) can be further divided into the prābhava and vaibhava forms. For instance, Kṛṣṇa expanded Himself in multiple forms during the rāsa dance in order to dance with each and every gopī who took part in forms in order to accommodate His 16,108 wives. There are some instances of great mystics' also expanding their bodily features in different ways, but Kṛṣṇa did not expand Himself by any yoga process. Each expansion of Kṛṣṇa was a separate individual.

Teachings of Lord Caitanya, Chapter 8:

All His activities—beginning with the killing of the Pūtanā demon—are displayed in innumerable universes, and there is no limit to them. Indeed, at every moment, at every second, His manifestations and various pastimes are seen in different universes (brahmāṇḍas). Thus His activities are just like the waves of the Ganges River. Just as there is no limit to the flowing of the waves of the Ganges, there is no cessation of Lord Kṛṣṇa's incarnations in different universes. From childhood He displays many pastimes, and ultimately He exhibits the rāsa dance.

Teachings of Lord Caitanya, Chapter 10:

Kṛṣṇa is known as Madana-mohana because He conquers the mind of Cupid. He is also known as Madana-mohana due to His accepting the devotional service of the damsels of Vraja and rendering favors unto them. After conquering Cupid's pride, the Lord engages in the rāsa dance as the new Cupid. He is also known as Madana-mohana because of His ability to conquer the minds of women with His five arrows called form, taste, smell, sound and touch.

Teachings of Lord Caitanya, Chapter 23:

"If a person's heart is always tied to the lotus feet of the Supreme Lord with the rope of love, the Lord does not leave him. Indeed, even if his remembrance is not perfect, he is to be considered a first class devotee." There is an example of this described in Śrīmad-Bhāgavatam, Daśa-skandha (10.30.4). When the gopīs assembled to join the rāsa dance with Kṛṣṇa, Kṛṣṇa left them. Consequently the gopīs began to chant the holy name of Kṛṣṇa and, being overwhelmed with madness, began to inquire about Kṛṣṇa from the flowers and the creepers in the forest. Kṛṣṇa is like the sky; He is situated everywhere.

Teachings of Lord Caitanya, Chapter 23:

Unscrupulous people go at once to the Tenth Canto, especially to the five chapters which describe the Lord's rāsa dance. However, this portion of Śrīmad-Bhāgavatam is the most confidential part of that great literature. Unless one is thoroughly accomplished in the transcendental knowledge of the Lord, he is sure to misunderstand the Lord's worshipable transcendental pastimes in the rāsa dance and the Lord's love affairs with the gopīs. This subject matter is highly spiritual and technical, and only liberated personalities who have gradually attained the stage of paramahaṁsa can transcendentally relish the worshipable rāsa dance.

Teachings of Lord Caitanya, Chapter 24:

Sometimes people inquire abou the meaning of these 108 prayer beads, but because we think there are 108 Upanisads which contain full knowledge of the Absolute Truth, therefore 108 beads are accepted. Sometimes on the other hand, the Vaiṣṇava transcendentalists think that the 108 beads represent the 108 companions of Lord Kṛṣṇa in His rāsa dance, and therefore 108 beads are accepted.

Teachings of Lord Caitanya, Chapter 29:

In other words, intimate relationships with Kṛṣṇa develop from an ordinary conception of the Supreme Personality of Godhead, to the conception of master and servant, and, when this becomes confidential, it develops into a friendly relationship, and when this relationship further develops, it becomes paternal, and when this develops to the highest point of love and affection, it is known as conjugal love with the Supreme Lord. Rāmānanda Rāya quoted another verse from Śrīmad-Bhāgavatam (10.47.60) stating that the transcendental mode of ecstasy exhibited during the rāsa dance between the gopīs and Kṛṣṇa was never relished even by the goddess of fortune, who is always situated on the chest of the Lord in the spiritual kingdom.

Teachings of Lord Caitanya, Chapter 30:

"It is as if a river of nectar is flowing from your lips," He said. Rāmānanda Rāya continued to point out that when Kṛṣṇa danced amongst the gopīs He thought, "I am not giving any special attention to Rādhārāṇī." Because amongst the other gopīs Rādhārāṇī was not so much an object of special love, Kṛṣṇa stole Her away from the area of the rāsa dance and showed Her special favor. After explaining this to Lord Caitanya, Rāmānanda Rāya said, "Now let us relish the transcendental loving affairs between Kṛṣṇa and Rādhā. These have no comparison in this material world."

Teachings of Lord Caitanya, Chapter 30:

Rāmānanda Rāya thus continued his descriptions. During one performance of the rāsa dance, Rādhārāṇī suddenly left the area, as if She were angry that no special attention was being shown Her. Kṛṣṇa was desirous of seeing Rādhārāṇī in order to fulfill the purpose of the rāsa dance, but not seeing Rādhārāṇī there, He became very sorrowful and went to search Her out. In Gīta-govinda there is a verse which states that the enemy of Kaṁsa, Kṛṣṇa, also wanted to be entangled in love affairs with women and thus simply took Rādhārāṇī away and left the company of the other damsels of Vraja.

Teachings of Lord Caitanya, Chapter 30:

Kṛṣṇa was very much afflicted by Rādhārāṇī's absence and, being thus mentally distressed, began to search Her out along the banks of the Yamunā. Failing to find Her, He entered the bushes of Vṛndāvana and began to lament. Rāmānanda Rāya pointed out that when one discusses the purport of these two special verses of Gīta-govinda (3.1-2), he can relish the highest nectar of Kṛṣṇa's and Rādhā's loving affairs. Although there were many gopīs to dance with Kṛṣṇa, Kṛṣṇa especially wanted to dance with Rādhārāṇī. In the rāsa dance Kṛṣṇa expanded Himself and placed Himself between every two gopīs, but He was especially present with Rādhārāṇī. However, Rādhārāṇī was not pleased with Kṛṣṇa's behavior.

Teachings of Lord Caitanya, Chapter 30:

As described in Ujjvala-nīlamaṇi: "The path of loving affairs is just like the movement of a snake. Amongst young lovers, there are two kinds of mentality—causeless and causal." Thus when Rādhārāṇī left the area of the rāsa dance out of anger at not receiving special treatment, Kṛṣṇa became very sorrowful to see Her absent. The perfection of the rāsa dance was considered to be complete due to Rādhārāṇī's presence, and in Her absence Kṛṣṇa considered the dance to be disrupted. Therefore He left the arena to search Her out. When He could not find Rādhārāṇī after wandering in several places, He became very distressed. Thus it is understood that Kṛṣṇa could not enjoy His pleasure potency even in the midst of all the gopīs. But in the presence of Rādhārāṇī He was satisfied.

Teachings of Lord Caitanya, Chapter 32:

Thus Rāmānanda Rāya and Caitanya Mahāprabhu talked for the entire night. Sometimes they danced, sometimes sang and sometimes cried. After passing the night in this way, at dawn Rāmānanda Rāya returned to his place. The next evening he returned to see Caitanya Mahāprabhu. After discussing Kṛṣṇa for some time, Rāmānanda Rāya fell at the feet of the Lord and said, "My dear Lord, You are so kind to me that You have told me about the science of Kṛṣṇa and Rādhārāṇī and Their loving affairs, the affairs of the rāsa dance and Their pastimes. I never thought that I should be able to speak on this subject matter. You have taught me as You formerly taught the Vedas to Brahmā."

Nectar of Devotion

Nectar of Devotion 21:

One party would release a certain arrow, and the other party had to defeat it by counteracting it with another arrow. For example, one party might release an arrow which would cause water to pour from the sky, and to counteract this the opposing party would have to release an arrow which could immediately turn the water into clouds. So from this statement it appears that Kṛṣṇa was very expert in counteracting the enemy's arrows. Similarly, at the rāsa dance, each and every gopī requested that Kṛṣṇa individually become her partner, and Kṛṣṇa immediately expanded Himself into so many Kṛṣṇas in order to be coupled with each and every gopī. The result was that each gopī found Kṛṣṇa by her side.

Nectar of Devotion 21:

Kṛṣṇa was very expert in dealing with people according to circumstances, country, time and paraphernalia. How He could take advantage of a particular time, circumstance and person is expressed by Him while talking to Uddhava about His rāsa dance with the gopīs. He says, "The most opportune time is the full-moon night in autumn, like tonight. The best place within the universe is Vṛndāvana, and the most beautiful girls are the gopīs. So, My dear friend Uddhava, I think I should now take advantage of all these circumstances and engage Myself in the rāsa dance."

Nectar of Devotion 22:

Not even a slight distress can touch Kṛṣṇa. Once some of the gopīs went to the place where the brāhmaṇas were performing sacrifices and said, "Dear wives of the brāhmaṇas, you must know that not even a slight smell of distress can touch Kṛṣṇa. He knows no loss, He knows no defamation, He has no fear, He has no anxiety, and He does not know calamity. He is simply encircled by the dancers of Vraja and is enjoying their company in the rāsa dance."

Nectar of Devotion 26:

A person is called mild when he cannot even bear the touch of the most soft thing. It is described that every part of Kṛṣṇa's body was so soft that even at the touch of newly grown leaves, the color of the touched part of His skin would change. At this kaiśora age, Kṛṣṇa's endeavors were always bent toward arranging the rāsa dance, as well as toward killing the demons in the forest of Vṛndāvana. While Kṛṣṇa was engaged in enjoyment with the boys and girls within the forest of Vṛndāvana, Kaṁsa used to send his associates to kill Kṛṣṇa, and Kṛṣṇa would show His prowess by killing them.

Nectar of Devotion 27:

While watching the rāsa dance performed by Lord Kṛṣṇa and the gopīs, Lord Śiva beheld the beautiful face of Kṛṣṇa and immediately began to dance and beat upon his small diṇḍima drum. While Lord Śiva was dancing in ecstasy, his eldest son, Gaṇeśa, joined him.

Nectar of Devotion 28:

The standing up of hair on the body resulting from jubilation is described in the Tenth Canto, Thirtieth Chapter, verse 10, of Śrīmad-Bhāgavatam, in connection with the gopīs engaged in the rāsa dance. During this rāsa dance Kṛṣṇa disappeared all of a sudden with Rādhārāṇī, and the gopīs began to search Him out. At that time they addressed the earth and said, "Dear earthly planet, how many austerities and penances you must have undergone to have the lotus feet of Kṛṣṇa always touching your surface. I think that you must be very jubilant, because the trees and plants, which are just like hairs on your body, are standing up so gloriously.

Nectar of Devotion 29:

In Śrīmad-Bhāgavatam, Tenth Canto, Thirty-third Chapter, verse 20, it is said that after enjoying love affairs with Kṛṣṇa by dancing, embracing and kissing, the gopīs would sometimes become very tired, and Kṛṣṇa, out of His causeless mercy and compassion, would smear their faces with His lotus hands. This is an example of fatigue caused by laboring in the rāsa dance.

Nectar of Devotion 29:

Once during the rāsa dance, when Rādhārāṇī left the arena and Kṛṣṇa went to seek Her out, one of the dear friends of Rādhārāṇī addressed Kṛṣṇa thus: "My dear Kṛṣṇa, You have been very much obliging in serving the form of our Śrī Rādhārāṇī, and now You have left all the other gopīs to search for Her. Please allow me to inquire how You want Her to treat You." This is an instance of feeling pride on account of exquisite beauty.

Nectar of Devotion 30:

It is stated in the Tenth Canto, Thirty-third Chapter, verse 11, of Śrīmad-Bhāgavatam, "Upon seeing that Kṛṣṇa's arm was placed on her shoulder, one of the gopīs engaged in the rāsa dance became so ecstatically happy that she kissed Kṛṣṇa on His cheek." This is an instance of feeling happiness because of achieving a desired goal.

Nectar of Devotion 30:

In the Tenth Canto, Thirtieth Chapter, verse 30, of Śrīmad-Bhāgavatam, there is the following statement: "When the gopīs were searching for Kṛṣṇa and Rādhā after the rāsa dance, they thus began to speak among themselves: 'We have seen the footprints of Kṛṣṇa and Rādhā on the ground of Vṛndāvana, and they are giving us great pain, because although Kṛṣṇa is everything to us, that girl is so cunning that She has taken Him away alone and is enjoying His kissing without sharing Him with us!' " This is another instance of envy of the good fortune of Śrīmatī Rādhārāṇī.

Nectar of Devotion 30:

One of the gopīs informed Kṛṣṇa, "My dear Kṛṣṇa, when You disappeared from the arena of the rāsa dance, our most dear friend, Rādhārāṇī, immediately fell on the ground and lost consciousness. But after this, when I offered Her some of Your chewed betel nut remnants, She immediately returned to consciousness with jubilant symptoms in Her body." This is an instance of alertness caused by tasting.

Nectar of Devotion 45:

In a state of smiling when the nose becomes puffed and the eyes squint, the smiling is called avahasita. Once, early in the morning when Kṛṣṇa returned home after performing His rāsa dance, mother Yaśodā looked upon Kṛṣṇa's face and addressed Him thus: "My dear son, why do Your eyes look like they have been smeared with some oxides? Have You dressed Yourself with the blue garments of Baladeva?" When mother Yaśodā was addressing Kṛṣṇa in that way, a girl friend who was nearby began to smile with a puffed nose and squinting eyes.

Nectar of Devotion 45:

This is an instance of avahasita smiling. The gopī knew that Kṛṣṇa had been enjoying the rāsa dance and that mother Yaśodā could not detect her son's activities or understand how He had become covered with the gopīs' makeup. Her smiling was in the avahasita feature.

Nectar of Devotion 49:

The following statement was made by Kṛṣṇa to the gopīs: "My dear enchanted, don't gaze at Me with longing eyes like this. Be satisfied and return to your homes in Vṛndāvana. There is no necessity of your presence here." While Kṛṣṇa was joking in this way with the damsels of Vraja, who with great hope had come to enjoy the rāsa dance with Him, Subala was also on the scene, and he began to look at Kṛṣṇa with wide and laughing eyes. Subala's feeling contained a mixture of fraternity and laughter in devotional service. Fraternity is considered here to be the whole, and the laughter is considered the part.

Krsna, The Supreme Personality of Godhead

Krsna Book 29:

In Śrīmad-Bhāgavatam it is stated that the rāsa dance took place on the full-moon night of the śarat season. From the statements of previous chapters, it appears that the festival of Govardhana-pūjā was performed just after the dark-moon night of the month of Kārttika, and thereafter the ceremony of Bhrātṛ-dvitīyā was performed; then the wrath of Indra was exhibited in the shape of torrents of rain and hailstones, and Lord Kṛṣṇa held up Govardhana Hill for seven days, until the ninth day of the moon.

Krsna Book 29:

In this way, the full-moon night of the śarat season came to an end. The full-moon night of Āśvina is called śarat-pūrṇimā. It appears from the statements of Śrīmad-Bhāgavatam that Kṛṣṇa had to wait another year for such a moon before enjoying the rāsa dance with the gopīs. At the age of seven years He lifted Govardhana Hill. Therefore the rāsa dance took place during His eighth year.

Krsna Book 29:

From the Vedic literature it appears that when a theatrical actor dances among many dancing girls, the group dance is called a rāsa dance. When Kṛṣṇa saw the full-moon night of the śarat season, decorated with various seasonal flowers—especially the mallikā flowers, which are very fragrant—He remembered the gopīs' prayers to goddess Kātyāyanī, wherein they prayed for Kṛṣṇa to be their husband. He thought that the full-moon night of the śarat season was just suitable for a nice dance. So their desire to have Kṛṣṇa as their husband would then be fulfilled.

Krsna Book 29:

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.

Krsna Book 29:

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.

Krsna Book 29:

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.

Krsna Book 29:

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.

Krsna Book 29:

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.

Krsna Book 29:

This material world is the perverted reflection of the spiritual world; it is just like the reflection of a tree on the bank of a reservoir of water: the topmost part of the tree is seen as the lowest part. Similarly, parakīya-rasa, when pervertedly reflected in this material world, is most abominable. Therefore when people imitate the rāsa dance of Kṛṣṇa with the gopīs, they simply enjoy the perverted, abominable reflection of the transcendental parakīya-rasa. There is no possibility of enjoying this transcendental parakīya-rasa within the material world. It is stated in Śrīmad-Bhāgavatam that one should not imitate this parakīya-rasa even in dream or imagination. Those who do so drink the most deadly poison.

Krsna Book 29:

Mahārāja Parīkṣit heard Śukadeva Gosvāmī explain the situation of the gopīs who assembled with Kṛṣṇa in the rāsa dance. When he heard that some of the gopīs, simply by concentrating on Kṛṣṇa as their paramour, became freed from all contamination of material birth and death, he said, "The gopīs did not know that Kṛṣṇa is the Supreme Personality of Godhead. They accepted Him as a beautiful boy and considered Him to be their paramour. So how was it possible for them to get freed from the material condition just by thinking of a paramour?" One should consider here that Kṛṣṇa and ordinary living beings are qualitatively one. The ordinary living beings, being part and parcel of Kṛṣṇa, are also Brahman, but Kṛṣṇa is the Supreme—Parabrahman.

Krsna Book 29:

When Kṛṣṇa spoke in such a discouraging way to the gopīs, they became very sad, for they thought that their desire to enjoy the rāsa dance with Kṛṣṇa would be frustrated. Thus they became full of anxiety. Out of great sadness, the gopīs began to breathe very heavily. Instead of looking at Kṛṣṇa face to face, they bowed their heads and looked at the ground, and they began to draw various types of curved lines on the ground with their toes. They were shedding heavy tears, and their cosmetic decorations were being washed from their faces. The water from their eyes mixed with the kuṅkuma on their breasts and fell to the ground.

Krsna Book 33:

Thus hearing the Supreme Personality of Godhead, Kṛṣṇa, speaking to pacify them, the gopīs became very much pleased. They became completely relieved of the great suffering of separation, not only by hearing the words of the Supreme Personality of Godhead but also by touching His hands and legs. After this, the Supreme Personality of Godhead began His rāsa dance. A dance in the midst of many girls is called a rāsa dance. So Kṛṣṇa began to dance among the most beautiful and fortunate girls within the three worlds. The gopīs of Vṛndāvana, who were so attracted to Him, danced with Kṛṣṇa, hand in hand.

Krsna Book 33:

Kṛṣṇa's rāsa dance should never be compared to any kind of material dance, such as a ball dance or a society dance. The rāsa dance is a completely spiritual performance. In order to establish this fact, Kṛṣṇa, the supreme mystic, expanded Himself into many forms and stood beside each gopī. Placing His hands on the shoulders of the gopīs on both sides of Him, He began to dance in their midst. The mystic expansions of Kṛṣṇa were not perceived by the gopīs because Kṛṣṇa appeared alone to each of them.

Krsna Book 33:

While Kṛṣṇa was enjoying the company of the gopīs in the rāsa dance, the astonished demigods and their wives gathered in the sky. The moon, being afflicted with a sort of lust, began to watch the dance and became stunned with wonder. The gopīs had prayed to the goddess Kātyāyanī to have Kṛṣṇa as their husband. Now Kṛṣṇa was fulfilling their desire by expanding Himself in as many forms as there were gopīs and enjoying them exactly like a husband.

Krsna Book 33:

The gopīs and Kṛṣṇa entered the water of the Yamunā just to relieve their fatigue from the rāsa dance. The lily-flower garlands around the necks of the gopīs were strewn to pieces due to the gopīs' embracing the body of Kṛṣṇa, and the flowers were reddish from being smeared with the kuṅkuma on their breasts. The bumblebees were humming about in order to get honey from the flowers.

Krsna Book 33:

Kṛṣṇa and the gopīs entered the water of the Yamunā just as an elephant enters a water tank with his many female companions. Both the gopīs and Kṛṣṇa forgot their real identities, playing in the water, enjoying each other's company and relieving the fatigue of rāsa dancing. The gopīs began to splash water on the body of Kṛṣṇa, all the while smiling, and Kṛṣṇa enjoyed this. As Kṛṣṇa was taking pleasure in the joking words and splashing water, the demigods in the heavenly planets showered flowers. The demigods thus praised the superexcellent rāsa dance of Kṛṣṇa, the supreme enjoyer, and His pastimes with the gopīs in the water of the Yamunā.

Krsna Book 33:

It was, as clearly stated in the Bhāgavata description by Śukadeva Gosvāmī, avaruddha-saurata—the sex impulse was completely controlled. There is a distinction between Lord Kṛṣṇa's dancing with the gopīs and the ordinary dancing of living entities within the material world. In order to clear up further misconceptions about the rāsa dance and the affairs of Kṛṣṇa and the gopīs, Mahārāja Parīkṣit, the hearer of Śrīmad-Bhāgavatam, told Śukadeva Gosvāmī, “Kṛṣṇa appeared on the earth to establish the regulative principles of religion and to curb the predominance of irreligion. But the behavior of Kṛṣṇa and the gopīs might encourage irreligious principles in the material world.

Krsna Book 33:

The basic Vedic injunctions never allow a person to enjoy sex with any woman except his own wife. Kṛṣṇa's appreciation of the gopīs appeared to be distinctly in violation of these rules. Mahārāja Parīkṣit understood the total situation from Śukadeva Gosvāmī, yet to further clarify the transcendental nature of Kṛṣṇa and the gopīs in the rāsa dance, he expressed his surprise. This is very important in order to check the unrestricted association with women by the prākṛta-sahajiyās.

Krsna Book 33:

Śukadeva Gosvāmī was an educated brahmacārī, and under the circumstances it was not possible for him to indulge in sex. This is strictly prohibited for brahmacārīs, and what to speak of a brahmacārī like Śukadeva Gosvāmī. But because the circumstances of the rāsa dance were very suspect, Mahārāja Parīkṣit inquired for clarification from Śukadeva Gosvāmī. Śukadeva Gosvāmī immediately replied that transgressions of religious principles by the supreme controller testify to His great power. For example, fire can consume any abominable thing; that is the manifestation of the supremacy of fire.

Krsna Book 33:

A Māyāvādī philosopher may falsely claim to be God or Kṛṣṇa, but he cannot actually act like Kṛṣṇa. He can persuade his followers to falsely imitate the rāsa dance, but he is unable to lift Govardhana Hill. We have many experiences in the past of Māyāvādī rascals who delude their followers by posing themselves as Kṛṣṇa in order to enjoy rāsa-līlā. In many instances they were checked by the government, arrested and punished. In Orissa, Ṭhākura Bhaktivinoda punished a so-called incarnation of Viṣṇu who was imitating the rāsa-līlā with young girls.

Krsna Book 33:

There were many complaints against the so-called incarnation. At that time Bhaktivinoda Ṭhākura was a magistrate, and the government deputed him to deal with that rascal, and he punished him very severely. The rāsa-līlā dance cannot be imitated by anyone. Śukadeva Gosvāmī warns that one should not even think of imitating it. He specifically mentions that if, out of foolishness, one tries to imitate Kṛṣṇa's rāsa dance, he will be killed, just like a person who wants to imitate Lord Śiva's drinking of an ocean of poison. Lord Śiva drank an ocean of poison and kept it within his throat. The poison made his throat turn blue, and therefore Lord Śiva is called Nīlakaṇṭha.

Krsna Book 33:

There are many other circumstances which also testify to the supreme authority of Kṛṣṇa and show that He is not bound by the rules and regulations of the material world. In special cases, He acts as He likes to favor His devotees. This is possible only for Him, because He is the supreme controller. People in general should follow the instructions of Lord Kṛṣṇa as given in the Bhagavad-gītā and should not even imagine imitating Lord Kṛṣṇa in the rāsa dance.

Krsna Book 33:

Kṛṣṇa's lifting of Govardhana Hill and His killing of great demons like Pūtanā are all obviously extraordinary activities. Similarly, the rāsa dance is also an uncommon activity and cannot be imitated by any ordinary man. An ordinary person engaged in his occupational duty, like Arjuna, should execute his duty for the satisfaction of Kṛṣṇa; that is within his power.

Krsna Book 33:

After the rāsa dance was over, the night (the night of Brahmā, a very, very long period, as mentioned in the Bhagavad-gītā) turned into the brāhma-muhūrta. The brāhma-muhūrta takes place about one and a half hours before sunrise. It is recommended that one should rise from bed at that time and, after finishing daily ablutions, take to spiritual activities by performing maṅgala-ārati and chanting the Hare Kṛṣṇa mantra. This period is very convenient for the execution of spiritual activities.

Krsna Book 33:

Śrīla Viśvanātha Cakravartī Ṭhākura points out that according to the Bhagavad-gītā, Brahmā’s day and Brahmā’s night are periods of solar years expanding to 4,300,000 multiplied by 1,000. According to Viśvanātha Cakravartī Ṭhākura, the rāsa dance was performed during the long period of Brahmā’s night, but the gopīs could not understand that. In order to fulfill their desire, Kṛṣṇa extended the night to cover such a great period of time.

Krsna Book 35:

The gopīs of Vṛndāvana were so attached to Kṛṣṇa that they were not satisfied simply with the rāsa dance at night. They wanted to associate with Him and enjoy His company during the daytime also. When Kṛṣṇa went to the forest with His cowherd boyfriends and cows, the gopīs did not physically take part, but their hearts went with Him. And because their hearts went, they were able to enjoy His company through strong feelings of separation. To acquire this strong feeling of separation is the teaching of Lord Caitanya and His direct disciplic succession of Gosvāmīs. When we are not in physical contact with Kṛṣṇa, we can associate with Him like the gopīs, through feelings of separation.

Krsna Book 38:

When the gopīs were dancing with Kṛṣṇa in the rāsa dance, they became fatigued, and Kṛṣṇa wiped His hand, which is as fragrant as a lotus flower growing in Mānasa-sarovara Lake, over the pearllike drops of perspiration on the faces of the gopīs, and immediately the gopīs became refreshed. Thus Akrūra was expecting benediction from that supreme hand of Kṛṣṇa. Kṛṣṇa's hand is capable of bestowing benediction upon all kinds of men if they take to Kṛṣṇa consciousness.

Krsna Book 39:

We have no alternative but to take this direct action. Everyone has gone against us to take away Kṛṣṇa from our sight. Without Him we cannot live for a moment.” The gopīs thus decided to obstruct the passage through which the chariot of Kṛṣṇa was supposed to pass. They began to talk among themselves: “We have passed a very long night—which seemed only a moment—engaged in the rāsa dance with Kṛṣṇa. We looked at His sweet smile and embraced Him and talked with Him. Now, how shall we live even for a moment if He goes away from us? At the end of the day, in the evening, along with His elder brother Balarāma, Kṛṣṇa would return home with His friends.

Krsna Book 47:

Kṛṣṇa reminded the gopīs that at the time of the rāsa dance those gopīs who could not join Him for the rāsa-līlā gave up their bodies simply by thinking of Him. Absorption in Kṛṣṇa consciousness by feeling separation is thus the quickest method for attainment of the lotus feet of Kṛṣṇa. By the personal statement of Kṛṣṇa, the gopīs were convinced about the strength of feelings of separation. They were actually experiencing the supernatural method of Kṛṣṇa worship and were much relieved by understanding that Kṛṣṇa was not away from them but always with them.

Krsna Book 65:

Thus Balarāma also enjoyed the rāsa dance with the gopīs during those two months. Since the season was springtime, the breeze on the bank of the Yamunā was blowing very mildly, carrying the aroma of different flowers, especially the flower known as kaumudī. Moonlight filled the sky and spread everywhere, and thus the banks of the Yamunā appeared very bright and pleasing, and Lord Balarāma enjoyed the company of the gopīs there.

Sri Isopanisad

Sri Isopanisad 7, Purport:

On the nirguṇa platform there is never a clash over the object of enjoyment. Here in the material world there is always a clash between different individual beings because here the proper center of enjoyment is missed. The real center of enjoyment is the Supreme Lord, who is the center of the sublime and spiritual rāsa dance. We are all meant to join Him and enjoy life with one transcendental interest and without any clash. That is the highest platform of spiritual interest, and as soon as one realizes this perfect form of oneness, there can be no question of illusion (moha) or lamentation (śoka).

Bhagavad-gita As It Is Lectures

Lecture on BG 1.4-5 -- London, July 10, 1973:

The Māyāvādīs, they are also enemies. Kṛṣṇe aparādhī. They are offender to Kṛṣṇa because they do not accept the form of Kṛṣṇa. Therefore they are offender. So everything studied in relationship with Kṛṣṇa, that is perfect knowledge, and that is described in the Bhagavad-gītā. So it is not that like sahajiyās that we are interested in Kṛṣṇa's rāsa dance, not with this fighting in the Battlefields of Kurukṣetra. This is sahajiyā-bhāva. This is not wanted. Thank you very much. Hare Kṛṣṇa.

Lecture on BG 1.23 -- London, July 19, 1973:

When you join with Kṛṣṇa in His rāsa dance as gopīs, or as cowherds boy, play with Him, or become His father and mother, Yaśodā, Nanda Mahārāja, Yaśodā-rāṇī, or become servant, or even become like water Yamunā, or land in Vṛndāvana and trees or fruits or flowers, any way, or cows and calves... Join with Kṛṣṇa. Then you get ānanda, real ānanda. Ānandamayo 'bhyāsāt (Vedānta-sūtra 1.1.12). Sac-cid-ānanda-vigraha (Bs. 5.1). That is the description in all Bhāgavatam, how the Kṛṣṇa's associates are enjoying life.

Lecture on BG 1.44 -- London, July 31, 1973:

These rascals, they do not know what is Kṛṣṇa. They think Kṛṣṇa is ordinary man. "Why He is engaging Arjuna in the fighting? Why He is dancing with others' daughter and girls? These are immoral things." Therefore this rasa dance should not be discussed among the fools and rascals. They'll misunderstand. Although the professional reciters, they take part, whenever they speak of Bhāgavata, they immediately jump over the rasa dance. That is not to be done. Caitanya Mahāprabhu never indulged in such thing. For mass of people He engaged Himself in saṅkīrtana.

Lecture on BG 4.6 -- Bombay, March 26, 1974:

This was questioned by Parīkṣit Mahārāja. Parīkṣit Mahārāja, when He danced with the girls of Vrajabhūmi, rāsa dance, so Parīkṣit Mahārāja inquired from Śukadeva Gosvāmī that "Kṛṣṇa, who came to establish the principles of religion, how He danced with girls and wives of others?" That was explained that tejīyasāṁ na doṣāya (SB 10.33.29). Tejīyasāṁ na doṣāya. Kṛṣṇa danced with others' wife or sister or other girls. They were all girls. They came at mid of, midnight to dance with Him. But they were also not material.

Lecture on BG 4.12 -- Bombay, April 1, 1974:

Sometimes it so happened that Kṛṣṇa disappeared from the rāsa dance and the gopīs were very much eager to find out Kṛṣṇa again. So when they were too much eager to see Kṛṣṇa, where He is, Kṛṣṇa appeared as Nārāyaṇa, four-handed Nārāyaṇa. The gopīs saw nārāyaṇa-mūrti but did not become attracted by Him. All the gopīs said, "Oh, He is Nārāyaṇa. Let us offer our respect," and they went away. Actually there is no difference between Kṛṣṇa and Nārāyaṇa. (aside:) What is that? But gopīs were not very much interested with Nārāyaṇa. They wanted Kṛṣṇa, although there is no difference between Nārāyaṇa and Kṛṣṇa.

Lecture on BG 4.14 -- Vrndavana, August 6, 1974:

Just like Kṛṣṇa performed the rāsa dance. At the midnight many young girls came by hearing His flute, and He danced with them. This is, from Vedic standard, it is not very moral. Because at dead of night, with others' wives or sisters or daughters, to dance... Kṛṣṇa was young. That is not very good example from Vedic principles. But He did it. So, so... And that is the highest understanding of Kṛṣṇa consciousness.

Lecture on BG 4.20 -- Bombay, April 9, 1974:

So we fall down when we deny to accept Kṛṣṇa as the supreme or we try to imitate Kṛṣṇa, "Why Kṛṣṇa shall be enjoyer? We shall also enjoy. Why Kṛṣṇa shall have rāsa dance? We shall also (have) rāsa dance. Why Kṛṣṇa will marry sixteen thousand wives? We shall at least sixteen wives." When this competition spirit comes, then we fall down. Fall down means Kṛṣṇa gives the chance. "All right, you also go. You also dance in the hotel, ball dance, and he complicated(?)." Because he does not know what is rāsa dance, he imitates ball dance. So everything, what is going on in this material world, it is imitation of Kṛṣṇa's activities. Janmādy asya yataḥ (SB 1.1.1). The Vedānta-sūtra says. Everything that is going on, it is simply generated from that original. So... But it is contaminated.

Lecture on BG 5.14-22 -- New York, August 28, 1966:

When the ātmā is developed in full knowledge of Kṛṣṇa consciousness, that sort of happiness is real happiness. Now, bāhya-sparśeṣu asakta, asaktātmā vindaty ātmani. Ātmani means with the soul, with the Supersoul, the relation between the soul and the Supersoul. That is called ātmā. That is called rāsa dance. You have heard about Kṛṣṇa's rāsa dance. That is happiness. In the field of spiritual platform that happiness is realized. So sa brahma-yoga-yuktātmā sukham akṣayam aśnute. Akṣayam means that does not pass away, not flickering, not flickering. Here in the material world all happiness, the so-called happiness, they are all flickering.

Srimad-Bhagavatam Lectures

Lecture on SB 1.1.3 -- London, August 20, 1971:

The ripened fruit is not dropped all of a sudden from the highest planet of Kṛṣṇaloka. Rather, it has come down carefully through the chain of disciplic succession without change or disturbance. Foolish people who are not in the transcendental disciplic succession commit great blunders by trying to understand the highest transcendental rasa known as the rāsa dance without following in the footsteps of Śukadeva Gosvāmī, who presents this fruit very carefully by stages of transcendental realization.

Lecture on SB 1.1.3 -- London, August 20, 1971:

Try to understand the philosophy of Bhāgavata. Then gradually, when you are accustomed to understand what is Kṛṣṇa, then go to the Tenth Canto, wherein Kṛṣṇa's rāsa dance is described. Without reading in the beginning what is Kṛṣṇa, if we all of a sudden jump over to understand the rāsa dance... That is a very natural tendency. No, we should not go like that. First of all, try to understand what is Kṛṣṇa. To understand Kṛṣṇa is very difficult subject matter. But by the grace of Lord Caitanya we can understand little about Kṛṣṇa. And then gradually... Of course, the ultimate goal is to enter into the pastimes of Lord Kṛṣṇa. But not by speculation or by material misconception.

Lecture on SB 1.1.3 -- London, August 20, 1971:

So when you come to the platform of love of Kṛṣṇa by this process, at that time if we try to understand Kṛṣṇa's rāsa dance, that will be very relishable. Before that, if we try to understand, the effect will be we shall consider Kṛṣṇa as a young boy of this material world and the gopīs are young girls, and they're enjoying. "So let me imitate also and I become Kṛṣṇa, you become gopīs." That will be the effect. Don't do that. First of all try to understand Kṛṣṇa. Then go to read rāsa dance. Finish it.

Lecture on SB 1.1.3 -- London, August 20, 1971:

Pradyumna: "They usually plunge into the subject matter of the rāsa dance, which is misunderstood by the..."

Prabhupāda: These professional readers, they won't read. Just like we are reading the philosophical side here. They won't go. People are not interested the philosophy. They immediately jump over the rasa dance, and they think, "Oh, Kṛṣṇa is enjoying with the gopīs." Just like we read some novel, one boy is enjoying with another girl. They take it like that. You see? So that is degradation. Avaiṣṇava-mukhodgīrṇaṁ pūtaṁ hari-kathāmṛtam, śravaṇaṁ naiva kartavyam.

Lecture on SB 1.2.9 -- Hyderabad, April 23, 1974:

If Kṛṣṇa is jubilant, then I must be jubilant. Wherefrom we get this idea of happiness? Because we are part of Kṛṣṇa. Just like Kṛṣṇa dances with the gopīs, we also want to dance with young girls here, in this material world, Why? Wherefrom this idea we have got? The idea is already there, and we are part and parcel of Kṛṣṇa. Therefore we have got this propensity. So ānandamayo 'bhyāsāt. But this thing can be purely enjoyed not alone in this material world, but you have to go back to home, go back to Kṛṣṇa, and there is your real life. Kṛṣṇa comes therefore. He displays His rāsa dance in Vṛndāvana to attract these fallen souls, that "If you want enjoyment, why not come back to Me? Here is the enjoyment.

Lecture on SB 2.3.11-12 -- Los Angeles, May 29, 1972:

Asaṅgaḥ, no more connection with this material nature. But I have my connection with Kṛṣṇa. It may be little, very. I may be very minute, but that, I mean to say, connection is very valuable. I have given many times this example that a car running at a speed of 60 miles, and a cycle is running at the rate of 10 miles, but as soon as the cyclist catches the car, the cyclist also runs in the 60 miles. So similarly, instead of trying to satisfy our senses independently, if we join with Kṛṣṇa in His rāsa dance, as cowherd boys, gopīs, we join with Kṛṣṇa, then you get the same pleasure as Kṛṣṇa. This is Kṛṣṇa consciousness. Don't try to enjoy independently. Just like here, in this temple.

Lecture on SB 3.26.19 -- Bombay, December 28, 1974:

The finger can enjoy pleasure so long attached with the body. If the finger is cut off from the body, there is no more pleasure. Similarly, we are also part and parcel of Kṛṣṇa. Because we are now detached from Kṛṣṇa, therefore our position is manaḥ ṣaṣṭhānīndriyāṇi prakṛti-sthāni karṣati (BG 15.7). Detached from Kṛṣṇa, we are in this prakṛti, material nature, and our business is struggle for existence for the same pleasure, which is never obtainable in this material world. Therefore the intelligence is that we should again go back to home, go back to Kṛṣṇa, and dance with Him in His rāsa dance. That will be our pleasure.

Lecture on SB 3.28.18 -- Nairobi, October 27, 1975:

Just like Kṛṣṇa is in the rasa dance. These gopīs are also expansion of His energy. And you will find, therefore, with each and every gopī, Kṛṣṇa is there. That is another expansion. So we should not take Kṛṣṇa's dancing like our ball dance. No, that is mistake. If we understand Kṛṣṇa's dancing, then we become liberated. It is said in the Śrīmad-Bhāgavatam that instead of reading some books of this ball dance, if you read about Kṛṣṇa's dancing, then what will be the result? The result will be hṛd-roga-kāmam apahinoty āśv acireṇa dhīraḥ.

Lecture on SB 3.28.18 -- Nairobi, October 27, 1975:

Everyone, we have got these lusty desires, but if actually one is advanced and he hears from a realized person what is the meaning of Kṛṣṇa's rasa dance, then the result will be hṛd-roga-kāmam. We have got a heart disease. Heart disease means lusty desire. Hṛd-roga-kāmam apahinoti: "It becomes vanquished." If one actually hears Kṛṣṇa's rasa-līlā, then no more material lusty desires, this is the result.

Lecture on SB 6.1.15 -- London, August 3, 1971:

We are trying to change the consciousness of the people so that this preparation will help him to get exactly a body like Kṛṣṇa in next life, and he may dance with Kṛṣṇa in rasa dance. That is our propaganda. Body you'll get. That's a fact. Just as you are getting one body after another in this life, similarly, tathā dehāntara-prāptir, similarly another change of body. Dhīras tatra na muhyati (BG 2.13). Those who are in the knowledge, they're not surprised. They know what kind of body. "My father left this body; now he has accepted another body." He can understand what kind of body he has. How? Just like when you see a friend going away to other place by plane, you know, "This plane is meant for..." Just like I came from New York yesterday to London.

Lecture on SB 6.1.17 -- Honolulu, May 17, 1976:

Kṛṣṇa is pavitraṁ paramaṁ bhavān. Pavitra means the supreme pure. If you want to take pleasure in the company of Kṛṣṇa and dance rasa dance, then you have to become pure, purified. That is sarvopādhi vinirmuktam (CC Madhya 19.170), to free from all designation. Nārāyaṇa parāyaṇa. Nārāyaṇa society or Kṛṣṇa society, the same thing.

Lecture on SB 6.1.25 -- Chicago, July 9, 1975:

Some devotees, they have become servants. They are attached to Kṛṣṇa. And some devotees, they have become cowherds boy, friendly. They are attached to Kṛṣṇa. And some devotees have become Kṛṣṇa's father, mother, uncle, elderly. They are attached to Kṛṣṇa. And some devotees, they have become gopīs, young girls, and love Kṛṣṇa, dance with Him rasa dance. So in this way Vṛndāvana means this attachment to Kṛṣṇa. Central point is Kṛṣṇa, but the varieties of attachment, they are the same. The only difference is that this attachment centering round Kṛṣṇa is never broken.

Lecture on SB 6.1.46 -- Detroit, June 12, 1976:

Just like in this body there must be the head. Otherwise, what is the use of these hands and legs? There is no use. Who will give direction? They are now trying to make classless society. Therefore they are bringing the whole human society into ruination. It cannot be done. There must be classes. Just like in my body there are four divisions: brain, arms, belly, leg. So they are required. Leg is also required, hand is also required, belly is also required. Similarly, brāhmaṇa, kṣatriya, vaiśya, śūdra, brahmacārī—varieties. And when the varieties center around Kṛṣṇa, it becomes beautiful. Kṛṣṇa center, and the circle, rasa dance, it becomes very beautiful.

Sri Caitanya-caritamrta Lectures

Lecture on CC Adi-lila 7.8 -- Vrndavana, March 15, 1974:

Pradyumna: Translation: "Lord Śrī Kṛṣṇa, the Supreme Personality of Godhead, is the supreme enjoyer in the rāsa dance. He is the leader of the damsels of Vraja, and all others are simply His associates." (CC Adi 7.8)

Prabhupāda: Before this verse, the author of Caitanya-caritāmṛta has described:

svayaṁ bhagavān kṛṣṇa ekale īśvara

advitīya, nandātmaja, rasika-śekhara

(CC Adi 7.7)

Kṛṣṇa has got many, unlimited forms. Advaita-acyuta-anādi-ananta-rūpam. Svāṁśa-vibhinnāṁśa. Some of the forms are called svāṁśa. Svāṁśa means God, or the Supreme Personality of Godhead, Viṣṇu-tattva. Viṣṇu-tattva, They have expanded in so many ways. So all the Viṣṇu-tattvas, They are called svāṁśa, personal expansions. And others, they are called vibhinnāṁśa. The demigods, the inhabitants of the higher planetary systems within this material world, or the devotees in the spiritual world, we also, we are, although conditioned souls, we are vibhinnāṁśa. We are also expansion of Kṛṣṇa, but we are not equal to the Viṣṇu-tattva.

Lecture on CC Adi-lila 7.8 -- Vrndavana, March 15, 1974:

Śrīmati Rādhārāṇī is the direct pleasure potency, and the all the gopīs, they are expansion of Śrīmati Rādhārāṇī. Therefore He is called vrajalalanā-nāgara. So don't think... You have come to Vṛndāvana. Don't think that Kṛṣṇa had rāsa dance with ordinary girls or Kṛṣṇa was ordinary man. As Kṛṣṇa was not man, He's God, similarly, the gopīs and Śrīmati Rādhārāṇī, they're internal potency of God, or Kṛṣṇa. This is... This should be understood. Avajānanti māṁ mūḍhā mānuṣīṁ tanum āśritam (BG 9.11). Kṛṣṇa says, "Mūḍhas, rascals, they think that I am a human being, ordinary human being." And therefore they imitate. Sometimes the rascals imitate rāsa dance.

Lecture on CC Adi-lila 7.8 -- Vrndavana, March 15, 1974:

"Kṛṣṇa had rāsa dance; then we can have also rāsa..." But they do not understand that Kṛṣṇa's rāsa dance is not ordinary ball dance like that. No. It is an imitation, perverted imitation. Because the tendency's there in Kṛṣṇa, therefore we have also got the tendency. But we do not know how to enjoy that dancing spirit. That is our illusion. We think this ordinary dance and Kṛṣṇa's dance is the same thing. No. That dancing, to take part in that dancing, it requires many, many millions of years tapasya. It is not ordinary thing. Itthaṁ brahma-bhūta... There is a verse that kṛta-puṇya-puñjāḥ, sākaṁ vijahruḥ kṛta-puṇya-puñjāḥ (SB 10.12.11). To join with the rāsa dance of Kṛṣṇa, or to play with Kṛṣṇa as cowherd boy, it requires kṛta-puṇya-puñjāḥ, many, many millions of births' pious activities.

Lecture on CC Madhya-lila 20.164-173 -- New York, December 13, 1966:

In the rāsa dance, Kṛṣṇa performed the rāsa dance, not exactly the ball dance... But it is an imitation of that rāsa dance. Because you cannot have any idea of anything without its being originally in Kṛṣṇa. Janmādy asya yataḥ (SB 1.1.1). That is the version of Vedānta-sūtra. Any idea, whatever you... But they are simply perverted reflection. That's all. You cannot get anything, any idea, without its being situated in Kṛṣṇa. The rāsa dance, that is described in the Thirty-second Chapter of the Tenth Canto in Śrīmad-Bhāgavatam. Five chapters, from Twenty-ninth Chapter to Thirty-fourth Chapter, Kṛṣṇa's rāsa dance is described there. The rāsa dance... The short history of rāsa dance is that Kṛṣṇa was sixteen years old, and the girls of the village, Vṛndāvana, and the boys, they were all friends. Naturally in India the girls were early married, some at the age of twelve years, some at the age of thirteen years, some at the age of ten years.

Lecture on CC Madhya-lila 20.164-173 -- New York, December 13, 1966:

Some of them were unmarried. So Kṛṣṇa, to fulfill their desire, He blew on His flute on a nice moonlight night, and all the gopīs, all those girls, they came. And Kṛṣṇa advised them, "Oh, you are now married. You have come at dead of night to Me. It is not good." In this way He advised so many things. They were very moral instruction. But the gopīs denied to go back, and they arranged that dancing. That is called rāsa dance.

Lecture on CC Madhya-lila 20.164-173 -- New York, December 13, 1966:

In the rāsa dance there were hundreds of gopīs, but Kṛṣṇa expanded Himself to dance with each one of them. That is called vaibhava-vilāsa. He expanded.

'prābhava-vaibhava'-rūpe dvividha prakāśe

eka-vapu bahu rūpa yaiche haila rāse

The same Kṛṣṇa, I mean to say, expanded Himself in many Kṛṣṇas. That is expansion, vaibhava expansion.

Lecture on CC Madhya-lila 20.391-405 -- New York, January 2, 1967:

So he cleared out one question which is generally discussed about the character of Kṛṣṇa because He enjoyed these rāsa-līlā pastimes at dead of night, He played on His flute and all the gopīs of Vṛndāvana, they came into the forest and they had the rāsa dance. So Mahārāja Parīkṣit, or King Parīkṣit, inquired to his teacher, Śukadeva Goswami, that Kṛṣṇa is on this earth, He appeared on this earth for paritrāṇāya sādhūnāṁ vināśāya ca duṣkṛtām, dharma saṁsthāpanārthāya... Dharma saṁsthāpanārthāya (BG 4.8), just to establish the process of religiosity.

Sri Brahma-samhita Lectures

Lecture on Brahma-samhita, Verse 35 -- New York, July 31, 1971:

Just like you cannot enter into fire without being fire. Similarly, next life for the devotees is sac-cid-ānanda-vigrahaḥ, eternal body, blissful life, dancing with Kṛṣṇa in rasa dance. You have seen the picture. Like the gopīs, like the cowherd boys. Kṛta-puṇya-puñjāḥ (SB 10.12.11). Śukadeva Gosvāmī says that these boys who are playing with Kṛṣṇa in Vṛndāvana, kṛta-puṇya-puñjāḥ, for many millions of years they simply accumulated pious results of their activities.

Festival Lectures

His Divine Grace Srila Sac-cid-ananda Bhaktivinoda Thakura's Appearance Day, Lecture -- London, September 3, 1971:

Anyway, so this Utkāla, there was a pseudo yogi. He declared himself that... Just like you'll find nowadays also, there are so many rascals declaring that "I am incarnation of God." And they know some mystic power, play some jugglery, and foolish people take them: "Oh, he's God." So there appeared one like such pseudo God, Viṣṇu, in a village of Orissa. And he was dancing rāsa dance, and foolish people were sending their daughters and wife to dance with him. You see? There were so many. Not only that. People are so foolish, they do not know... They want to be cheated, and these cheaters come.

Arrival Addresses and Talks

Arrival Lecture -- Los Angeles, April 13, 1973:

Those who have got little brain, they are satisfied with temporary, and those who are advanced, yogis, they are not satisfied with temporary happiness. They must be seeking for unlimited happiness. That can be achieved when you (go) back to home, back to Kṛṣṇa. Kṛṣṇa is eternal, His pastimes are eternal. Just join with Kṛṣṇa, His rasa dance, His play with cowherd boys, His dealing with His father and mother in Vṛndāvana.

Initiation Lectures

Initiations -- Los Angeles, April 16, 1973:

Rasapara... Rasa-parāyaṇī. Rasa-parāyaṇī. Correct it. One of the gopīs. Rasa-parāyaṇī dāsī, "one who wants to dance with Kṛṣṇa in rasa dance." No ball dance. Finished? All right.

1967 Conversations and Morning Walks

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Prabhupāda: These things should be ascertained(?). Then, it is mentioned there, exhibit illicit sex, slaughterhouse, intoxication, gambling. Then the third scene is very nice. Rāsa dance.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Hayagrīva: Yes. The earth, the whole world is affected, so it's not just one section.

Prabhupāda: Yes. Not only earth, this earth. It is whole universe.

Hayagrīva: Yes.

Prabhupāda: So next scene is rāsa dance. Rāsa dance means Kṛṣṇa and Rādhārāṇī in the center, and the gopīs, they are surrounding. You have seen that surrounding scene they were dancing the other day in the park, hand to hand.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Prabhupāda: So next scene is rāsa dance. Rāsa dance means Kṛṣṇa and Rādhārāṇī in the center, and the gopīs, they are surrounding. You have seen that surrounding scene they were dancing the other day in the park, hand to hand.

Hayagrīva: Yes, yes. Prabhupāda: So one Kṛṣṇa and one gopī, they are dancing. That should be, scene should be... Then the rāsa dance should be stopped and Kṛṣṇa will talk with the gopīs. Kṛṣṇa will say to the gopīs that "My dear friends, you have come to Me in this dead of night. It is not very good because it is the duty of every woman to please her husband.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Prabhupāda: Now we have finished." So in this way the gopīs will reply that, "You cannot request us to go back because with great difficulty and with great, I mean to say, ecstatic desire we have come to You, and it is not Your duty to ask us to go back." In this way you arrange some talking that Kṛṣṇa is asking them to go back, but they are insisting, "No, let us continue our rāsa dance." Then when the rāsa dance is finished, the gopīs will go, then Kṛṣṇa in His halilak(?), He says that "They are My heart and soul, these gopīs. They are so sincere devotees that they do not care for family encumbrances and all, any bad name. They come to Me. So how shall I repay them?" He was thinking.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Hayagrīva: Now I noticed in the list of characters we have up here, Rādhārāṇī. She doesn't appear at this point.

Prabhupāda: No. Rādhārāṇī will be in the rāsa dance?

Hayagrīva: Oh. In the rāsa dance.

Prabhupāda: Yes.

Hayagrīva: That's the...

Prabhupāda: Rādhārāṇī and Kṛṣṇa in the center. And Kṛṣṇa has expanded Himself for other gopīs, hand to hand.

Hayagrīva: That's the third scene, the rāsa dance. So Rādhārāṇī appears in that?

Prabhupāda: That's the third scene, yes. There is the appearance, appearance of Rādhārāṇī.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Hayagrīva: The damsels of Vṛndāvana appear also in the...

Prabhupāda: No, the dance was in Vṛndāvana. Yes. Rāsa dance was in Vṛndāvana.

Hayagrīva: The damsels of Vṛndāvana also appear in the third scene.

Prabhupāda: Yes. Third scene. Yes. Rāsa dance of Lord Kṛṣṇa and His associates, Lord Kṛṣṇa's determination.

Hayagrīva: All right. Now we have the fourth scene. Does Advaita speak to anyone in the fourth scene or is that...?

Prabhupāda: Yes.

Discourse on Lord Caitanya Play Between Srila Prabhupada and Hayagriva -- April 5-6, 1967, San Francisco:

Prabhupāda: Now your ghost is over." So he took away Caitanya Mahāprabhu and when Caitanya Mahāprabhu saw, He told Swarup Damodar, "Why you have brought Me in the seaside? Oh, I was seeing rāsa dance of Kṛṣṇa. I was enjoying." In this way He was always in ecstasy. And in the last stage, the same ecstasy, He entered Jagannātha temple and He never came back. That is the end of (voice trails off) Caitanya Mahāprabhu's... So you have to arrange scenes and sounds. That's all.

1969 Conversations and Morning Walks

Discussion with BTG Staff -- December 24, 1969, Boston:

Satsvarūpa: What about writing down "kissing the lips of Kṛṣṇa"?

Prabhupāda: No. That we should avoid. That we should avoid. But that is not abominable. According to time and circumstances... That thing I have described. The fact is fact. Just like when I am describing Kṛṣṇa's līlā—I writing Kṛṣṇa's life—so I cannot give up that portion of His life, when Kṛṣṇa is actually kissing the gopīs in rasa dance.

1973 Conversations and Morning Walks

Room Conversation with Indian Ambassador -- September 5, 1973, Stockholm:

Ambassador: Oh, this is the beginning.

Prabhupāda: Anayārādhitaḥ. When Kṛṣṇa disappeared from rāsa-līlā, rāsa dance, then gopīs went out to search Him out, and, at that time, they saw that one gopī is most beloved by Kṛṣṇa. Anayārādhitaḥ. Therefore "Rādhā."

Morning Walk -- December 15, 1973, Los Angeles:

Prajāpati: We are more fortunate than gopīs, Śrīla Prabhupāda. Walking with you on the beach is better than dancing rāsa dance in Vṛndāvana.

Prabhupāda: (laughing) It is not like that, but we can say, wherever Kṛṣṇa topics are there, it is as good as Vaikuṇṭha or Vṛndāvana. (break) ...prasaṅgān mama vīrya-saṁvido bhavanti hṛt-karṇa-rasāyanāḥ kathāḥ. By association, bodhayantaḥ parasparam. These things are there in the Bhagavad-gītā. (break) ...enjoy and be satisfied in the association of devotees. (break) ...article on the subject of "Kṛṣṇa, the supreme scientist," and let us publish it. That article is very nice. If he writes such articles, the conclusion, if Kṛṣṇa, the supreme scientist, Kṛṣṇa, the supreme economist, Kṛṣṇa, the supreme philosopher, Kṛṣṇa, the supreme chemist, Kṛṣṇa—everything, the conclusion is Supreme, Kṛṣṇa—then his activity is fulfilled. He becomes successful.

1974 Conversations and Morning Walks

Morning Walk -- January 5, 1974, Los Angeles:

Prabhupāda: ...duḥkha-nivṛtti. Ultimately, stop of all sufferings. This is Kṛṣṇa consciousness. Ānandamayo 'bhyāsāt (Vedānta-sūtra 1.1.12). Simply ānanda. Dancing with Kṛṣṇa, rāsa dance. Supposing if there is such life—dancing and eating and chanting, no suffering. So would anybody deny that? Is there any such fool?

Bali Mardana: Yeah, they're all denying.

Prabhupāda: Ah?

Bali Mardana: They deny. Just like the Puritans...

Prabhupāda: No, no. Deny... You deny or accept, that is the... Suppose there is such life where you can simply dance, eat and live eternally, happy life.

Morning Walk -- February 23, 1974, Bombay:

Prabhupāda: "Let me now have rāsa dance. Send your children. Send your wife, send your daughter. We'll dance." These are all rascals, Māyāvādīs. Māyāvādī-bhāṣya śunile haya sarva-nāśa (CC Madhya 6.169). This is the statement of Caitanya Mahāprabhu. As soon as one hears the statement of Māyāvādī, he's doomed, finished. He's finished.

Morning Walk -- April 4, 1974, Bombay:

Dr. Patel: When He had this rāsa dance, he was only seven years.

Prabhupāda: No, apart from that, actually, He had sixteen thousand wives when He was in Dvaraka, but these rascals say, "Rural boy." "Rural boy" means when He was in Vṛndāvana. So he does not know even the history, and he is trying to write about Kṛṣṇa. This is going on. And that is the proof. Kṛṣṇa had sixteen thousand wives. That is the proof that He is God, because you cannot maintain even one wife at the present moment. So He maintained sixteen thousand wives. That is the proof that He is God. That is the proof. But they will not take that side. They will take in other way, "Oh, this is all stories and fictitious." That's all.

Morning Walk -- April 6, 1974, Bombay:

Acyutānanda: Lord Caitanya did not manifest so much opulence as Kṛṣṇa.

Prabhupāda: No, Lord Caitanya appeared as a devotee. How He can show the opulence of Kṛṣṇa? Sometimes He showed. But He was playing the part, bhaktākhyaṁ bhaktāvatāraṁ namāmi bhakta-śaktikam.

Bhāgavata: Some of the different incarnations, though, they manifest one of the different opulences or two, like that, isn't it?

Prabhupāda: Yes. All the opulences, not in full.

Acyutānanda: So what opulence does Kṛṣṇa have that Nārāyaṇa doesn't have? Those four but, what of the six.

Prabhupāda: The attraction by playing flute, and the rāsa dance. In this way there are four principles. That is mentioned in the Caitanya caritamrta.

Morning Walk -- April 12, 1974, Bombay:

Indian man (1): It's a part of the body. It is only a...

Prabhupāda: That's all right. But that is the system. That is the system. You should begin. That... That is described in the Bhāgavatam. The First and Second Canto of Śrīmad-Bhāgavatam are the two legs of Kṛṣṇa. That is the beginning. Janmādy asya yataḥ (SB 1.1.1). These professional reciters, they read Bhāgavata. They jump over immediately to the face. The Tenth Canto is described as the face of Kṛṣṇa. So you cannot go immediately to the head. You must begin from the feet. First Canto, Second Canto. Therefore there are nine cantos, and then Tenth Canto. And the Kṛṣṇa's rasa dance, that is the smiling of Kṛṣṇa. So you cannot ask the superior to take the facility of his smiling. Smiling will be when he is pleased.

Morning Walk -- April 22, 1974, Hyderabad:

Prabhupāda: Kṛṣṇa danced with young girls, other's wives always. That does not mean I shall imitate that. What Kṛṣṇa has said, we have to follow that. That's all. Kṛṣṇa never said that "You also dance like me in rāsa dance." Has He said anywhere? Then how can you do that? Whatever He does, He has got purpose. His work is all right. But I cannot imitate His work. The example is given that the sunshine is soaking urine. Can you imitate that, you drink urine? So tejīyasāṁ na doṣāya (SB 10.33.29). If Christ has done something, he is Lord Jesus Christ, he might have done it for some purpose, but we cannot follow that. We have to follow what he has ordered. That's all.

1976 Conversations and Morning Walks

Room Conversation -- May 7, 1976, Honolulu:

Tamāla Kṛṣṇa: There is also all of the eastern European countries.

Prabhupāda: Yes, they have got black market. There must be intermediate man who deals in black market.

Tamāla Kṛṣṇa: There is.

Prabhupāda: Oh yes. Get them. Let them make good profit. We want to put up, that's all. And let them take money, we don't mind. Śaṭhe śaṭhuṁ samācaret. When there is trickery, you become trickery. Śaṭhe śaṭhuṁ samācaret. Kṛṣṇa's play, those who are plain, Kṛṣṇa is very kind and plain. Those who are tricky, "All right, I am also tricky." We shall adopt all the means of the materialistic persons, simply for Kṛṣṇa. (break) Just like Kṛṣṇa's rāsa dance, any materialistic person at the dead of night will be glad to dance with young girls, what is the difference? (break) But because it was Kṛṣṇa's dancing, so this association of the woman and Kṛṣṇa is taken by Śrī Caitanya Mahāprabhu as the first class worship.

1977 Conversations and Morning Walks

Discussion on Deprogrammers -- January 9, 1977, Bombay:

Prabhupāda: That is Vṛndāvana life, either in rasa dance or the cowherd's play or killing the demons or in dining and dancing. The friends are eating, they are being stolen by Brahmā—but the center is Kṛṣṇa. That is Vṛndāvana. All activities are going on, just like in other place. But here in Vṛndāvana, all activities centered around Kṛṣṇa. When Brahmā is stealing His friends, the center is Kṛṣṇa. The demon is coming to destroy—the center is Kṛṣṇa. When there is forest fire, the center is Kṛṣṇa. This is Vṛndāvana beauty. In happiness, in danger, in perplexities, in friendship—everything Kṛṣṇa. Kāliya-damana.

Room Conversation with Film Producer about Krsna Lila -- January 22, 1977, Bhuvanesvara:

Hari-śauri: Says, "There is a distinction between Lord Kṛṣṇa's dancing with the gopīs and the ordinary dancing of living entities within the material world. In order to clear up further misconceptions about the rasa dance and the affairs of Kṛṣṇa and the gopīs, Mahārāja Parīkṣit, the hearer of Śrīmad-Bhāgavatam, told Śukadeva Gosvāmī: 'Kṛṣṇa appeared on the earth to establish the regulative principles of religion and to curb the predominance of irreligion. But the behavior of Kṛṣṇa and the gopīs might encourage irreligious principles in the material world. I am simply surprised that He would act in such a way and join the company of others' wives in the dead of night.' "

Prabhupāda: Just see.

Hari-śauri: "This statement of Parīkṣit Mahārāja's was very much appreciated by Śukadeva Gosvāmī. The answer anticipates the abominable activities of the Māyāvādī impersonalists, who place themselves in the position of Kṛṣṇa and enjoy the company of young girls and women. The basic Vedic injunctions never allow a person to enjoy sex with any woman except one's own wife. Kṛṣṇa's appreciation of the gopīs appeared to be distinctly in violation of these rules. Mahārāja Parīkṣit understood the total situation from Śukadeva Gosvāmī, yet to further clear the transcendental nature of Kṛṣṇa and the gopīs in the rasa dance, he expressed his surprise. This is very important in order to check the unrestricted association with women by the prākṛta-sahajiyā. In his statement, Mahārāja Parīkṣit has used several important..."

Prabhupāda: In Vṛndāvana this prākṛta-sahajiyā, they are making bhajana that a man, he thinks that "I am Kṛṣṇa"; another woman...

Room Conversation with Film Producer about Krsna Lila -- January 22, 1977, Bhuvanesvara:

Hari-śauri: "Having taken birth in that family, how could Kṛṣṇa have been induced even by the gopīs? It is concluded therefore that it was not possible for Kṛṣṇa to do anything abominable. But Mahārāja Parīkṣit was in doubt as to why Kṛṣṇa acted in that way. What was the real purpose? Another word Mahārāja Parīkṣit used when he addressed Śukadeva Gosvāmī is suvrata, which means to take a vow to enact pious activities. Śukadeva Gosvāmī was an educated brahmacārī, and under the circumstance it was not possible for him to indulge in sex. This is strictly prohibited for brahmacārīs, and what to speak of a brahmacārī like Śukadeva Gosvāmī. But because the circumstances of the rasa dance were very suspect, Mahārāja Parīkṣit inquired for clarification from Śukadeva Gosvāmī. Śukadeva Gosvāmī immediately replied that transgressions of religious principles by the supreme controller testify to His great power. For example, fire can consume any abominable thing. That is the manifestation of the supremacy of fire. Similarly, the sun can absorb water from urine or from stool, and the sun is not polluted. Rather, due to the influence of sunshine the polluted, contaminated place becomes disinfected and sterilized. One may also argue that since Kṛṣṇa is the supreme authority, His activities should be followed. In answer to this question, Śukadeva Gosvāmī has very clearly said, īśvarāṇām, or the supreme controller, may sometimes violate His instructions, but this is only possible for the controller Himself and not for the followers. Unusual and uncommon activities by the controller can never be imitated. Śukadeva Gosvāmī warns that the conditioned followers who are not actually in control should never even imagine imitating the uncommon activities of the controller. A Māyāvādī philosopher may falsely claim to be God or Kṛṣṇa, but he cannot actually act like Kṛṣṇa. He can persuade his followers to falsely imitate the rasa dance, but he is unable to lift Govardhana Hill. We have many experiences in the past of Māyāvādī rascals deluding their followers by posing themselves as Kṛṣṇa in order to enjoy rasa līlā. In many instances they were checked by the government, arrested and punished. In Orissa, Ṭhākura Bhaktivinoda also punished the so-called incarnation of Viṣṇu who was imitating rasa-līlā with young girls. There were many complaints against him. At that time Bhaktivinoda Ṭhākura was a magistrate, and the government deputed him to deal with that rascal, and he punished him very severely. The rasa-līlā dance cannot be imitated by anyone. Śukadeva Gosvāmī warns that one should not even think of imitating it. He specifically mentions that if out of foolishness one tries to imitate Kṛṣṇa's rasa dance he will be killed, just like a person who wants to imitate Lord Śiva's drinking of an ocean of poison. Lord Śiva drank an ocean of poison and kept it within his throat. The poison made his throat turn blue, and therefore Lord Śiva is called nīla-kaṇṭha. But if any ordinary person tries to imitate Lord Śiva by drinking poison or by smoking gañja, he is sure be vanquished and will die within a very short time. Lord Śrī Kṛṣṇa's dealing with the gopīs was under special circumstances."

Prabhupāda: It is not for public show. That is the idea.

Hari-śauri: There's a little bit more. Should I read it?

Prabhupāda: Read it.

Room Conversation with Film Producer about Krsna Lila -- January 22, 1977, Bhuvanesvara:

Hari-śauri: "Most of the gopīs in their previous lives were very great sages, expert in the study of the Veda, and when Lord Kṛṣṇa appeared as Lord Rāmacandra they wanted to enjoy with Him. Lord Rāmacandra gave them the benediction that their desires would be fulfilled when He would appear as Kṛṣṇa. Therefore the desire of the gopīs to enjoy the appearance of Lord Kṛṣṇa was long cherished. So they approached goddess Katyāyanī to have Kṛṣṇa as their husband. There are so many other circumstances also which testify to the Supreme authority of Kṛṣṇa and show that He is not bound to the rules and regulations of the material world. In special cases He acts as He likes to favor His devotees. This is only possible for Him because He is the supreme controller. People in general should follow the instructions of Lord Kṛṣṇa as given in Bhagavad-gītā and should not even imagine imitating Lord Kṛṣṇa in the rasa dance."

Guest (1): In our original language, in Oriya, there is a book, preface of the book Mahā-vandanā. This is written by...

Prabhupāda: Mahā-vandanā is a fact. That is all right. But it is meant for the liberated soul.

Room Conversation -- October 27, 1977, Vrndavana:

Pañca-draviḍa: This is the chapter "Description of the Rāsa Dance." (break)

Prabhupāda: It will be bhavauṣadhi. So there is no other... I shall ask, whenever I require it, fruit juice. That is my food, and this kīrtana is my medicine. And parikrama. Settle up this.

Śatadhanya: Fruit juice, kīrtana, and parikrama.

Prabhupāda: Believe in Kṛṣṇa. Hm. I am hearing kīrtana how very nice here. It is stated in the śāstra, nivṛtta-tarṣair upagīyamānād bhavauṣadhāc chrotra-mano... (SB 10.1.4). This is the medicine, panacea for material disease. So kindly let me hear kīrtana as far as possible, long as I live.

1970 Correspondence

Letter to Pradyumna -- Los Angeles 21 June, 1970:

According to Bhagavat school the Lord's Rasa Dancing is the smiling face of the Lord. As it is recommended here in this verse that one should gradually rise beginning from the lotus feet up to the smiling face, so we shall not at once jump to understand the Lord's pastime in Rasa Dance. Better we should practice to concentrate our attention by offering flowers and tulasi on the lotus feet of the Lord. In this way as we become purified by arcana process gradually we dress Him, bathe Him, and all these transcendental activities help us in purifying our existence. So when we are on the higher standard of purification, at that time if we see the smiling face of the Lord or relish the Rasa Dance pastimes of the Lord, then we can relish His activities. In the Srimad-Bhagavatam, therefore, Rasa Dance pastime is delineated in the 10th canto.

1973 Correspondence

Letter to Tejiyas -- Bhaktivedanta Manor 15 August, 1973:

Your idea to get our men made as official government guides is nice, also if the government agrees to build one or two room in our temple that will be good. I respectable gentlemen become interested in our Krishna Conscious Movement then our temple in Vrindaban will stand first, because all other temples in Vrindaban gather general mass of people without philosophical understanding. Some 50 years ago some Christian priest went to Vrindaban and inquired from many residents why Krishna enjoyed Rasa dance with other wifes which is against the Vedic principle, but nobody could satisfy him. On this point my Guru Maharaja said that Vrindaban is inhabited by neophyte devotees. So we wish our temple will be able to reply anyone in the matter of Krishna Consciousness, then many modern philosophers and scientists will come to Vrindaban, that will be very much prestigious.