Text 18

It is also said in Kṛṣṇa-karṇāmṛta (18):

तरुणारुण-करुणामय-विपुलायत-नयनं कमलाकुच-कलसीभर-विपुली-कृत-पुलकम्
मुरली-रव-तरली-कृत-मुनि-मानस-नलिनं मम खेलतु मद-चेतसि मधुराधरम् अमृतम्

taruṇāruṇa-karuṇāmaya-vipulāyata-nayanaṃ kamalākuca-kalasībhara-vipulī-kṛta-pulakam
muralī-rava-taralī-kṛta-muni-mānasa-nalinaṃ mama khelatu mada-cetasi madhurādharam amṛtam

His eyes are fresh and reddish like the early dawn, full of compassion and very long and wide; His bodily hair stands on end by the touch of the waterpot-like breasts of Śrī Rādhā; and the sound of His flute makes the munis restless like the gopīs. May the sweet nectar of His lips play in my heart.

तरुण अरुण जिनि, करुणा-स्वरूप मणि,
विपुल नयन शोभे याङ्र
राधा-कुच-द्वय भर, प्रेमे देह गर गर,
विपुल पुलक चमत्कार

taruṇa aruṇa jini, karuṇā-svarūpa maṇi,
vipula nayana śobhe yāṅra
rādhā-kuca-dvaya bhara, preme deha gara gara,
vipula pulaka camatkāra

मधुर-मुरली स्वरे, मुनि-मन पद्मवने,
तरलित करे सर्व-क्षण
कृष्णेर मधुराधर, परामृत शशधर,
चित्ते मोर करुक नर्तन

madhura-muralī svare, muni-mana padmavane,
taralita kare sarva-kṣaṇa
kṛṣṇera madhurādhara, parāmṛta śaśadhara,
citte mora karuka nartana

Commentary: Bhajana-rahasya-vṛtti:

Śrī Rādhā-Kṛṣṇa are in a solitary nikuñja, and no tinkle of ankle bells or any other sound comes from inside. Knowing that the Divine Couple’s amorous pastimes (suratalīlā) have come to an end, the sakhīs peek through the small gaps in the foliage of the kuñja at Their intimate pastimes. Kṛṣṇa has risen from bed and is sitting up. To remove Śrī Rādhā’s fatigue and to stimulate Her amorous desire, He massages Her limbs and cleverly fans Her with His scarf. Śrī Kṛṣṇa, who is the embodiment of nectar, maddens our sakhī, Śrī Rādhā, with the happiness of Her good fortune. Kṛṣṇa’s naturally youthful, reddish eyes have become even more red from His drinking the nectar of Rādhā’s lips, and They are again becoming restless with intoxicating amorous desires. Full of tenderness, He fans Rādhā to remove Her perspiration. Seeing Śrī Rādhā’s fatigue due to amorous play, Kṛṣṇa’s heart overf lows with an ocean of compassion, and He endeavours in various ways to mitigate Her tiredness.

He places Śrī Rādhā on His lap, and the touch of each other’s bodies drowns Them both in an ocean of aṣṭa-sāttvika-bhāvas. His endeavours to remove Her fatigue stimulate Their desire to sport again.

Even the hard hearts of the munis become restless when Śrī Kṛṣṇa plays His flute. When Rādhā is in māna, Kṛṣṇa tries in various ways to pacify Her. His falling at Her feet and crying cannot remove this dense māna, but just one note from His flute instantly dispels it. The sound of Kṛṣṇa’s flute enters Rādhā’s ears and drives Her mad (unmāda). All glories to such a flute!