Now let us relish Sri Krishna-Vallabhâ purport. Sri Gopâl Bhatta Goswâmi has stated that Sripâd Lilâshuk is saying, “As soon I think of the childish pranks of Mukunda, I lose my mind in His remembrance and His picture refuses to leave my heart.” Actually, when we remember Mukunda we forget even the bliss of moksha.

 The poet describes his mind as, ‘lampat-sampradâya ( a sect comprising of lewd or lecherous people)-lekhâvalehini’, meaning, ‘my mind is such that it is lusting  to relish the various literature written by sajâtiya devotees who belong to such a sampradây where it is their custom to lust for the relish of Sri Krishna’s sweet loving ras.’How is the Kishor Mukunda? He is ‘rasagya-manogya-vesham’, meaning, ‘His attire attracts the connoisseurs of ras (rasagya)’. ‘Rasagya’ are those people who are expert in the knowledge of ras. They consider ras to be the ultimate goal of their lives. They find His attire comprising of the flute, garland of wild flowers, kaustubh and chudâ (that is adorned with peacock feathers) as highly captivating. Sri Lilâshuk is a worshipper in the mood of a Gopi. It is this attire of Sri Krishna that attracts the Gopis. Sri Krishna cannot steal their hearts if He is groomed in any other style.

“Most definitely Sri Krishna cannot entice the Gopikâs in any form other than that of Vrajendra-nandan. He has beautiful blue complexion, adorns peacock-feathers and dons a garland of gunjâ fruits. He dresses as a cowherd boy and poses attractively in the tribhanga style holding the flute to His lips. If Krishna forsakes this attire and takes on any other look, the Gopis’ sentiments will not go anywhere near Him.”                       – [C.C.Antya.17.271-273.]

We find in Sri Chaitanya-Charitâmrita [Âdi, 17^th chapter] that during the Vasanta^[1]-Râs at Govardhan, Sri Krishna had appeared before the Gopis with four hands. The Gopis took Him to be Nârâyan, paid obeisance and continued their search for Him. Ultimately when He saw Sri Râdhâ, He could not hold on to this form and two of the hands disappeared on their own. Thus, He was forced to reveal His two-handed form playing the flute. Sri Krishna had tried to keep His fourhanded form to tease Sri Râdhâ, but was unsuccessful. In the drama Sri Lalita-Mâdhav, we find that when Nava-Vrindâ and Bakulâ told virahini Sri Râdhâ in Nava-Vrindâvan to worship Dwârakanâth (Sri Krishna in the form of the Lord of Dwârakâ), She said –

“yasya-uttamsah sphurati chikure keki-pichchha-pranito,

harah kanthe viluthati kritah sthula gunjâ-valibhih,

venuh-vaktre rachayita ruchin hanta chetah-tato me,

rupam vishwa-uttaram-api hareh-nânyad-angi karoti.”

Meaning – “If His head is not beautiful due to the crown of peacock-feathers, if His neck is devoid of the swaying thick gunjâ-garland and if His face is not looking gorgeous due to the enchanting flute – even though Sri Hari may be attired in some other excellent manner (without the peacock-feathers, gunjâ-mâlâ, and flute), my heart does not accept Him.”

Once again, how is that Kishor? He is ‘rajan-mridu-smita-mridu-ullasita-adhara-angshu-rakendu-lalita-mukhendu’, meaning, ‘He is a budding youth with soft, captivating smile that makes His lips appear more beautiful than ever and arouses maximum love. Hence, His lips seem to be softly celebrating in exultation. His face is so handsome that when the full moon (râkendu) beholds it, He too performs ârati (adores) of His moon like face. The poet says that ‘my heart is ever absorbed in the budding youth of Mukunda Whom the Gopis love immensely and Whose lips are beautiful with the soft exultation caused by the soft smiles of the soft Gopis’.

Sri Chaitanyadâs has added – Sri Krishna is That ‘mahâ-lampat’ (extremely lascivious) Who always wants to relish the ‘lampat^[2]’ or lusty sampradây (devotees who lust to relish Sri Krishna-mâdhuri).50.

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