tatrāpi gokule tasya mādhurī sarvato’dhikā ||
caturdhā mādhurī tasya vraja eva virājate |
aiśvarya-krīḍayor veṇos tathā śrī-vigrahasya ca ||
tatra aiśvaryasya—
kutrāpy aśruta-pūrveṇa madhuraiśvarya-rāśinā |
sevyamāno haris tatra vihāraṁ kurute vraje ||
krīḍāyāḥ yathā pādme—
caritaṁ kṛṣṇa-devasya sarvam evādbhutaṁ bhavet |
gopāla-līlās tatrāpi sarvato’timanoharā ||
śrī-bṛhad-vāmane—
santi yadyapi me prājyā līlās tās tā manoharāḥ |
na hi jāne smṛte rāse mano me kīdṛśaṁ bhavet ||
veṇoḥ, yathā—
yāvatī nikhile loke nādānām asti mādhurī |
tāvatī vaṁśikā-nāda-paramāṇau nimajjati ||
cara-sthāvarayoḥ sāndra-paramānanda-magnayoḥ ||
bhaved dharma-viparyāso yasmin dhvanati mohane ||
mohanaḥ ko’pi mantro vā padārtho vādbhutaḥ paraḥ |
śruti-peyo’yam ity uktvā yatrāmuhyaś chivādayaḥ ||
cara-sthāvarayoḥ sāndra-paramānanda-magnayoḥ ||
bhaved dharma-viparyāso yasmin dhvanati mohane ||
śrī-vigrahasya, yathā—
asamānordhva-mādhurya-taraṅgāmṛta-vāridhiḥ |
jaṅgama-sthāvarollāsi-rūpo gopendra-nandanaḥ ||
yathā tantre—
kandarpa-koṭy-arbuda-rūpa-śobhā-
nīrājya-pādābja-nakhāñcalasya |
kutrāpy adṛṣṭa-śruta-ramya-kānter
dhyānaṁ paraṁ nanda-sutasya vakṣye ||
(Laghu-Bhāgavatāmṛta: 1.520, 526–526, 530–533, 538–539)
“Even therein [i.e., even in regard to the three abodes—Gokula, Mathurā, and Dvārakā], his [i.e., Śrī Kṛṣṇa’s] sweetness in Gokula is superior to all [i.e., to his sweetness in Mathurā and Dvārakā]. … Only in Vraja [i.e., Gokula] shines the fourfold sweetness of his power, play, flute, and beautiful figure. Regarding [his] power therein: ‘Being served by multitude of sweet powers unheard of before anywhere else, Hari sports there in Vraja.’ Regarding [his] play, as in Padma Purāṇa: ‘All of Kṛṣṇadeva’s activities can certainly be astonishing. Even among them, [however,] his līlās with the gopas and gopīs are the most charming of all [i.e., are more charming than his līlās as a king in Mathurā and Dvārakā].’ In Śrī Bṛhad Vāmana Purāna: ‘[Bhagavān:] Although I have many well-known charming līlās [e.g., the līlā of being tied around the belly by Yaśodā], when I remember the rāsa-līlā, I do not know what becomes of my mind.’ Regarding [his] flute, as follows: ‘All the sweetness of the sounds that exist throughout the entire world become engulfed in an atom of the sound of the flute. A reversal of the nature (dharma) of [all] mobile and stationary beings, who become absorbed in intense, paramount bliss, can occur when the enchanting flute resounds [i.e., mobile beings can become stationary, and stationary beings can become mobile].’ … Regarding [his] beautiful figure, as follows: ‘An ocean of nectar filled with waves of incomparable sweetness, the figure of the Son of the gopa’s king delights [all] mobile and stationary beings.’ As in the Tantra, ‘I will describe the supreme meditation on the Son of Nanda, the tips of the toenails of whose lotus feet are worthy of lustration by the beauty of the figures of crores and crores of Kandarpas [i.e., Kāmadevas], and whose pleasing luster is unseen and unheard of anywhere [else, i.e., including even in Mathurā and Dvārakā].’”
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