सुखं स्वपुर्यां निवसन् द्वारकायां श्रिय: पति: ।
सर्वसम्पत्समृद्धायां जुष्टायां वृष्णिपुङ्गवै: ॥ १ ॥
कन्दुकादिभिर्हर्म्येषु क्रीडन्तीभिस्तडिद्द्युभि: ॥ २ ॥
नित्यं सङ्कुलमार्गायां मदच्युद्भिर्मतङ्गजै: ।
स्वलङ्कृतैर्भटैरश्वै रथैश्च कनकोज्ज्वलै: ॥ ३ ॥
उद्यानोपवनाढ्यायां पुष्पितद्रुमराजिषु ।
निर्विशद् भृङ्गविहगैर्नादितायां समन्तत: ॥ ४ ॥
रेमे षोडशसाहस्रपत्नीनामेकवल्लभ: ।
तावद्विचित्ररूपोऽसौ तद्गेहेषु महर्द्धिषु ॥ ५ ॥
वासितामलतोयेषु कूजद्द्विजकुलेषु च ॥ ६ ॥
विजहार विगाह्याम्भो ह्रदिनीषु महोदय: ।
कुचकुङ्कुमलिप्ताङ्ग: परिरब्धश्च योषिताम् ॥ ७ ॥
sukhaṁ sva-puryāṁ nivasan
dvārakāyāṁ śriyaḥ patiḥ
sv-alaṅkṛtair bhaṭair aśvai
rathaiś ca kanakojjvalaiḥ
tāvad vicitra-rūpo ’sau
parirabdhaś ca yoṣitām
śrī-śukaḥ uvāca — Śukadeva Gosvāmī said; sukham — happily; sva — in His own; puryām — city; nivasan — residing; dvārakāyām — in Dvārakā; śriyaḥ — of the goddess of fortune; patiḥ — the master; sarva — all; sampat — in opulent features; samṛddhāyām — which was rich; juṣṭāyām — populated; vṛṣṇi-puṅgavaiḥ — by the most prominent of the Vṛṣṇis; strībhiḥ — by women; ca — and; uttama — excellent; veṣābhiḥ — whose dress; nava — new; yauvana — of youth; kāntibhiḥ — whose beauty; kanduka-ādibhiḥ — with balls and other toys; harmyeṣu — on the rooftops; krīḍantībhiḥ — playing; taḍit — of lightning; dyubhiḥ — whose effulgence; nityam — always; saṅkula — crowded; mārgāyām — whose roads; mada-cyudbhiḥ — exuding mada; matam — intoxicated; gajaiḥ — with elephants; su — well; alaṅkṛtaiḥ — ornamented; bhaṭaiḥ — with foot-soldiers; aśvaiḥ — horses; rathaiḥ — chariots; ca — and; kanaka — with gold; ujjvalaiḥ — brilliant; udyāna — with gardens; upavana — and parks; āḍhyāyām — endowed; puṣpita — flowering; druma — of trees; rājiṣu — which had rows; nirviśat — entering (therein); bhṛṅga — by bees; vihagaiḥ — and birds; nāditāyām — filled with sound; samantataḥ — on all sides; reme — He enjoyed; ṣoḍaśa — sixteen; sāhasra — thousand; patnīnām — of wives; eka — the only; vallabhaḥ — beloved; tāvat — that many; vicitra — variegated; rūpaḥ — having personal forms; asau — He; tat — their; geheṣu — in the residences; mahā-ṛddhiṣu — richly furnished; protphulla — blooming; utpala — of water lilies; kahlāra — white lotuses; kumuda — night-blooming lotuses; ambhoja — and day-blooming lotuses; reṇubhiḥ — by the pollen; vāsita — made aromatic; amala — pure; toyeṣu — in bodies of water; kūjat — cooing; dvija — of birds; kuleṣu — where there were flocks; ca — and; vijahāra — He sported; vigāhya — diving; ambhaḥ — into the water; hradinīṣu — in rivers; mahā-udayaḥ — the all-powerful Lord; kuca — from their breasts; kuṅkuma — by the red cosmetic powder; lipta — smeared; aṅgaḥ — His body; parirabdhaḥ — embraced; ca — and; yoṣitām — by the women.
Śukadeva Gosvamī said: The master of the goddess of fortune resided happily in His capital city, Dvārakā, which was endowed with all opulences and populated by the most eminent Vṛṣṇis and their gorgeously dressed wives. When these beautiful women in the bloom of youth would play on the city’s rooftops with balls and other toys, they shone like flashing lightning. The main streets of the city were always crowded with intoxicated elephants exuding mada, and also with cavalry, richly adorned infantrymen, and soldiers riding chariots brilliantly decorated with gold. Gracing the city were many gardens and parks with rows of flowering trees, where bees and birds would gather, filling all directions with their songs.
Lord Kṛṣṇa was the sole beloved of His sixteen thousand wives. Expanding Himself into that many forms, He enjoyed with each of His queens in her own richly furnished residence. On the grounds of these palaces were clear ponds fragrant with the pollen of blooming utpala, kahlāra, kumuda and ambhoja lotuses and filled with flocks of cooing birds. The almighty Lord would enter those ponds, and also various rivers, and enjoy sporting in the water while His wives embraced Him, leaving the red kuṅkuma from their breasts smeared on His body..
One rule of poetic composition practiced by Vaiṣṇava authors is madhureṇa samāpayet: “A literary work should conclude in a mood of special sweetness.” Śrīla Śukadeva Gosvāmī, the most tasteful narrator of transcendental topics, has accordingly included in this last chapter of the Tenth Canto of Śrīmad-Bhāgavatam a description of Lord Kṛṣṇa’s water sports in the attractive setting of Dvārakā, followed by the rapturous prayers of the Lord’s queens.