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“His slight smiling and fragrant illumination are compared to camphor, which enters the sweetness of the lips. That sweetness is transformed and enters into space as vibrations from the holes of His flute.
“The sound of Kṛṣṇa’s flute spreads in four directions. Even though Kṛṣṇa vibrates His flute within this universe, its sound pierces the universal covering and goes to the spiritual sky. Thus the vibration enters the ears of all inhabitants. It especially enters Goloka Vṛndāvana-dhāma and attracts the minds of the young damsels of Vrajabhūmi, bringing them forcibly to where Kṛṣṇa is present.
“The vibration of Kṛṣṇa’s flute is very aggressive, and it breaks the vows of all chaste women. Indeed, its vibration takes them forcibly from the laps of their husbands. The vibration of His flute attracts even the goddesses of fortune in the Vaikuṇṭha planets, to say nothing of the poor damsels of Vṛndāvana.
“The vibration of His flute slackens the knots of their underwear even in front of their husbands. Thus the gopīs are forced to abandon their household duties and come before Lord Kṛṣṇa. In this way all social etiquette, shame and fear are vanquished. The vibration of His flute causes all women to dance.
“The vibration of His flute is just like a bird that creates a nest within the ears of the gopīs and always remains prominent there, not allowing any other sound to enter their ears. Indeed, the gopīs cannot hear anything else, nor are they able to concentrate on anything else, not even to give a suitable reply. Such are the effects of the vibration of Lord Kṛṣṇa’s flute.”
Sri Caitanya-caritamrta 1975 Edition
By His Divine Grace A. C. Bhaktivedanta Swami Prabhupada
Madhya-lila, Chapter 21, Text 140-148
The Opulence and Sweetness of Lord Śrī Kṛṣṇa
TEXT 140
smita-kiraṇa-sukarpūre, paiśe adhara-madhure,
sei madhu mātāya tribhuvane
vaṁśī-chidra ākāśe, tāra guṇa śabde paiśe,
dhvani-rūpe pāñā pariṇāme
smita-kiraṇa—the shining of Kṛṣṇa’s smile; su-karpūre—compared to camphor; paiśe—enters; adhara-madhure—within the sweetness of the lips; sei madhu—that ambrosia; mātāya—maddens; tri-bhuvane—the three worlds; vaṁśī-chidra—of the holes in the flute; ākāśe—in the space; tāra guṇa—the quality of that sweetness; śabde—in sound vibration; paiśe—enters; dhvani-rūpe—the form of sound vibration; pāñā—obtaining; pariṇāme—by transformation.
TRANSLATION
“His slight smiling and fragrant illumination are compared to camphor, which enters the sweetness of the lips. That sweetness is transformed and enters into space as vibrations from the holes of His flute.
TEXT 141
se dhvani caudike dhāya, aṇḍa bhedi’ vaikuṇṭhe yāya,
bale paiśe jagatera kāṇe
sabā mātoyāla kari’, balātkāre āne dhari’,
viśeṣataḥ yuvatīra gaṇe
se dhvani—that vibration; cau-dike—in the four directions; dhāya—runs; aṇḍa bhedi’-piercing the coverings of the universe; vaikuṇṭhe yāya—goes to the spiritual sky; bale—by force; paiśe—enters; jagatera—of the three worlds; kāṇe—in the ears; sabā—everyone; mātoyāla kari’-making drunk; balātkāre—by force; āne—brings; dhari’-catching; viśeṣataḥ—specifically; yuvatīra gaṇe—all the young damsels of Vrajabhūmi.
TRANSLATION
“The sound of Kṛṣṇa’s flute spreads in four directions. Even though Kṛṣṇa vibrates His flute within this universe, its sound pierces the universal covering and goes to the spiritual sky. Thus the vibration enters the ears of all inhabitants. It especially enters Goloka Vṛndāvana-dhāma and attracts the minds of the young damsels of Vrajabhūmi, bringing them forcibly to where Kṛṣṇa is present.
TEXT 142
dhvani–baḍa uddhata, pativratāra bhāṅge vrata,
pati-kola haite ṭāni’ āne
vaikuṇṭhera lakṣmī-gaṇe, yei kare ākarṣaṇe,
tāra āge kebā gopī-gaṇe
dhvani—vibration; baḍa—very much; uddhata—aggressive; pati-vratāra—of chaste wives; bhāṅge—breaks; vrata—the vow; pati—of the husband; kola—the lap; haite—from; ṭāni’-taking; āne—brings; vaikuṇṭhera—of the Vaikuṇṭha planets; lakṣmī-gaṇe—all the goddesses of fortune; yei—that which; kare ākarṣaṇe—attracts; tāra—of that; āge—in front; kebā—what to speak of; gopī-gaṇe—the gopīs of Vṛndāvana.
TRANSLATION
“The vibration of Kṛṣṇa’s flute is very aggressive, and it breaks the vows of all chaste women. Indeed, its vibration takes them forcibly from the laps of their husbands. The vibration of His flute attracts even the goddesses of fortune in the Vaikuṇṭha planets, to say nothing of the poor damsels of Vṛndāvana.
TEXT 143
nīvi khasāya pati-āge, gṛha-dharma karāya tyāge,
bale dhari’ āne kṛṣṇa-sthāne
loka-dharma, lajjā, bhaya, saba jñāna lupta haya,
aiche nācāya saba nārī-gaṇe
nīvi—the knots of the underwear; khasāya—loosens; pati-āge—even in front of the husbands; gṛha-dharma—household duties; karāya tyāge—causes to give up; bale—by force; dhari’-catching; āne—brings; kṛṣṇa-sthāne—before Lord Kṛṣṇa; loka-dharma—social etiquette; lajjā—shame; bhaya—fear; saba—all; jñāna—such knowledge; lupta haya—becomes hidden; aiche—in that way; nācāya—causes to dance; saba—all; nārī-gaṇe—the women.
TRANSLATION
“The vibration of His flute slackens the knots of their underwear even in front of their husbands. Thus the gopīs are forced to abandon their household duties and come before Lord Kṛṣṇa. In this way all social etiquette, shame and fear are vanquished. The vibration of His flute causes all women to dance.
TEXT 144
kāṇera bhitara vāsā kare, āpane tāṅhā sadā sphure,
anya śabda nā deya praveśite
āna kathā nā śune kāṇa, āna balite bolaya āna,
ei kṛṣṇera vaṁśīra carite
kāṇera—the hole of the ear; bhitara—within; vāsā kare—makes a residence; āpane—personally; tāṅhā—there; sadā—always; sphure—is prominent; anya—other; śabda—sounds; nā—not; deya—allows; praveśite—to enter; āna kathā—other talks; nā—not; śune—hears; kāṇa—the ear; āna—something else; balite—to speak; bolaya—speaks; āna—another thing; ei kṛṣṇera—of Lord Kṛṣṇa; vaṁśīra—of the flute; carite—characteristics.
TRANSLATION
“The vibration of His flute is just like a bird that creates a nest within the ears of the gopīs and always remains prominent there, not allowing any other sound to enter their ears. Indeed, the gopīs cannot hear anything else, nor are they able to concentrate on anything else, not even to give a suitable reply. Such are the effects of the vibration of Lord Kṛṣṇa’s flute.”
PURPORT
The vibration of Kṛṣṇa’s flute is always prominent in the ears of the gopīs. Naturally they cannot hear anything else. Constant remembrance of the holy sound of Kṛṣṇa’s flute keeps them enlightened and enlivened, and they do not allow any other sound to enter their ears. Since their attention is fixed on Kṛṣṇa’s flute, they cannot divert their minds to any other subject. In other words, a devotee who has heard the sound of Kṛṣṇa’s flute forgets to talk or hear of any other subject. This vibration of Kṛṣṇa’s flute is represented by the Hare Kṛṣṇa mahā-mantra. A serious devotee of the Lord who chants and hears this transcendental vibration becomes so accustomed to it that he cannot divert his attention to any subject matter not related to Kṛṣṇa’s blissful characteristics and paraphernalia.
The Hare Krishna Movement 