The Introduction: Gopi-Geet
Shree Veda Vyasji wrote Shreemad Bhagvatam. Shreemad Bhagvatam comprises of twelve cantos known as skhandha, twelve skhandha. Shree Krishna has personified form that is full of ras, the ras that assimilates happiness, delightful and sublime into ever increasing in bliss that becomes uninterrupted playful game known as Lila. The well-documented commentary of Shree Vallabhacharya in Shree Subodhiniji explains Shreemad Bhagvatam in terms of its letters, words and sentences. Out of twelve cantos, the tenth canto is the base of the Bhakti Master Shree Vallabha in Subodhiniji. He described the twelve cantos as twelve body parts of Shree Krishna, the anand swaroop (the blissful happy form). The tenth skhandha is Shree Krishna’s heart.
The tenth canto depicts Shree Krishna’s ras (celestial thrills) and anand (celestial joy) Lilas. The tenth canto is divided into six adhiyaya (main chapters) and these adhiyaya is further divided into contains ninety chapters (prakran). The sectionalised of these ninety chapters are as following:
(1) First adhiyaya (chapter), the Janma-Prakran has four sub-chapters, all known as Janma-Prakran.
(2) Tamas-Prakran is the second adhiyaya, which contains four chapters. They are Praman, Pramay, Sadhan and Fala. All these four adhiyaya has seven sub-chapters each. Therefore, Tamas-Prakran contains 28 chapters. Shree Krishna’s six celestial virtues known, as Guna and they are Aishvariya, Virya, Yush, Shree, Jnan, Vairagya and an element known as Dharmi (These six Guna with Dharmi element governs the sub-division of the seven chapters).
(3) The third adhiyaya is Rajas-Prakran that also has 28 sub-chapters.
(4) The fourth adhiyaya is Satvik-Prakran, which has three sub-chapters, Pramay, Sadhan and Fala. Every sub-chapter has seven chapters, so the Satvik-Prakran has total 21 chapters.
(5) Last one is Guna Prakran comprises of six chapters.
(6) An unknown writer added the next three chapters. These added chapters are Prakshipt Adhiyaya.
These ninety chapters depict Shree Krishna’s celestial Form (swaroop), Guna (virtue) and Lilas (celestial plays). The Bhakti Master, Shree Vallabhacharya’s Manglacharan, the auspicious opening slokas for commencing any auspicious task, is an exposition of these ninety chapters. He has skilfully summarised it in the Manglacharan:
ચતુર્ભિશ્ર્ય ચતુર્ભિશ્ર્ય ચતુર્ભિશ્ર્ય ત્રીભિસ્તથા |
ષ્ડભિર્વિરાજતે યોડસૌ પંચધા હ્રદયે મમ ||
Chaturbhischya chaturbhischya chaturbhischya tribhistatha |
shadbhirvirajte yosho panchdha rhadya mama ||
Four adhiyaya of Janma Prakran, four adhiyaya of Tamas Prakran, four adhiyaya of Rajas Prakran, three adhiyaya of Satvik Prakran, six adhiyaya of Guna Prakran; all five types of Prakran of Krishna’s Lilas, may reside in my heart.
The tenth canto is very impressive, full of Lila Skhandha, but in Tamas Prakran within Lila Skhandha resides the Fala adhiyaya, comprises of 26 to 32 adhiyaya, and depicts the Raas-lila, well described by Shree Vyasji. It is in adhiyaya 28 of Tamas Prakran of celestial Lilas we learn about Gopi-Geet, and the aftermath of Raas-panchadhyaya.