In the Caitanya-caritamrta (Antya4.226) there is a verse that describes the writings of Srila Rupa Gosvami: Srila Rupa Gosvami compiled 100,000 verses, beginning with the book Dana-keli-kaumudi. In all these scriptures, he elaborately explained the transcendental mellows of the activities of Vrndavana.

This one act drama describes the very celebrated pastime of Krsna’s efforts to extract a toll from Radha and Her companions as they carried butter for the performance of a sacrifice being performed into the forest of Vrndavana. Of Course, it cannot be exphasized enough that such pastimes are only to be relished by devotees who have thoroughly understood Lord Krsna’s position as the Supreme Personality of Godhhead by carefully studying the first nine Cantos of the Srimad-Bhagavatam.

Srila Prabhupada has listed the following books of Sri Rupa Gosvami: In the Gaura-ganoddesa-dipika (180) Sri Rupa Gosvami is described to be the gopi named Sri Rupa-manjari. In the Bhaeti-ratnahara there is a list of the books Sri Rupa Gosvami compiled. Of all his books, the following sixteen are very popular among Vaisnavas: (1) Hamsaduta, (2) Uddhava- sandesa, (3) Krsna-janma-tithi-vidhi, (4 and 5) Radha-krsna- ganoddesa-dipika, Brhat (major) and Laghu (minor), (6) Stavamala, (7) Vidagdha-madhava, (8) Lalita-madhava, (9) Dana-keli-kaumudi, (10) Bhakti-rasamrta-sindhu (this is the most celebrated book by Sri Rupa Gosvami), (11) Ujjvala- nilamani, (12) Akhyata-candrika, (13) Mathura-mahima, (14) Padyavali, (15) Nataka-candrika and (16) Laghu- bhagavatamrta.

In the Caitanya-caritamrta (Antya 4.226) there is a verse that describes the writings of Srila Rupa Gosvami Srila Rupa Gosvami compiled 100,000 verses, beginning with the book Dana-keli-kaumudi. In all these scriptures, he elaborately explained the transcendental mellows of the activities of Vrndavana.

This one act drama describes the very celebrated pastime of Krsna's efforts to extract a toll from Radha and Her companions as they carried butter for the performance of a sacrifice being performed in the forest of Vrndavana. Of course, it cannot be emphasized enough that such pastimes are only to be relished by devotees who have thoroughly understood Lord Krsna's position as the Supreme Personality of Godhead by carefully studying the first nine Cantos of the Srimad-Bhagavatam:

In one of his purports of the Srimad-Bhagavatam, Srila Prabhupada has written: "So purification means getting free gradually from sex desire, and this is attained by meditation on the person of the Lord as described herein, beginning from the feet. One should not try to go upwards artificially without seeing for himself how much he has been released from the sex desire. The smiling face of the Lord is the Tenth Canto of Srimad-Bhagavatam, and there are many upstarts who at once try to begin with the Tenth Canto and especially with the five chapters which delineate the rasa-lila of the Lord. This is certainly improper. By such improper study or hearing of Bhdgavatam, the material opportunists have played havoc by indulgence in sex life in the name of Bhagavatam.

For those who have fulfilled this requirement, there will certainly be an experience of great transcendental enjoyment while listening to the joking words of Radha, Krsna, and Their Companions.

May the sight of Srimati Radharani's kila-kincita ecstasy, which is like a bouquet, bring good fortune to all. When Sri Krsna blocked Radharani's way to the dana-ghati, there was laughter within Her heart. Her eyes grew bright and fresh tears flowed from Her eyes, reddening them. Due to Her sweet relationship with Krsna, Her eyes were enthusiastic and when Her crying subsided, She appeared even more beautiful.

All glories to Radha's love for Krsna, the enemy of the demon, Mura. Although it is all-pervading, it tends to increase at every moment. Although it is important, it is devoid of pride. And, although it is pure, it is always beset with duplicity.

Sutradhara: Enough with all these words! (looking about) Aha! How is it that a great circle of saintly people, glistening in the moonlight of my nandi-slohas, now trembles with ecstatic love at the foot of andisvara Hill? (again looking about) Dancing, and his hair erect, a devotee finds his body blossoming with joy. Withered, and his face pale, another devotee finds his heart broken. Roaring, another devotee runs about. Falling, another devotee lies motionless. What has happened to these peaceful devotees so that now they are overcome with love for Lord Krsna? (thinking for a moment) Ah! I know the reason. They have become wild by drinking the kadamba nectar of spiritual love. When love develops in the heart of a devotee, he cannot check the transformation of his sentiments. His heart is just like the ocean at the rising of the moon, when the ebb tide cannot be checked. Immediately, there must be movement of high waves. Although in its natural state, the ocean is always grave and unfathomable, when the moon rises, nothing can check the ocean's agitation. Similarly, those who are pure devotees cannot on any account check the movement of their feelings within.

(looking again) Still, Lord Krsna's pastimes are more beautiful than anything in the world. (shaking his head, he calmly says.) Lord Krsna's affectionate joking quarrel with Sri Radha enters the ears of the swan-like devotees and stops them from tasting anything else, even things others think to be the purest nectar. (An actor cheerfully enters.)

Actor: It is seven features strong, its text beautiful in two ways, and its plot avoiding many twists, this artistic play shines like the glory of a great empire.

Sutradhara: O actor who has crossed to the farther shore of the ocean of expert skill in acting and dancing, you know very well how, asked by my friends, I will now present a one- act play that bears the name Dana-keli-kaumudi . Meditating on the Deity I worship, I will now pray for' His blessings. (He folds his hands)

All glories to the eternal Supreme Personality of Godhead, whose holy name attracts those who know what is sweet, whose good character delights King Nanda, and whose handsome form is a festival of bliss.

(If the word sanatana (eternal) here is interpreted to mean Srila Sanatana Gosvami, who is Srila Rupa Gosvami's spiritual master and elder brother, this verse may be translated: "All glories to Srila Sanatana Gosvami, whose tongue is always drawn to chant Lord Krsna's holy name, whose good character delights the saintly devotees, and who is a festival of bliss for Rupa Gosvami.")

Actor: Master! Look! Look! 0 master of all poets, your beautiful poetry has made like stunned deer the circle of devotees who know how to taste nectar. Motionless, they do not even know who they are.

Sutradhara: Filled with graceful poetry, why should the nandi-slokas at the beginning of this play not delight the devotees who know how to taste nectar?

(When he speaks the word Nandimukhi, the sutradhara refers to the nandi-slokas at the beginning (mukhi) of the play. However, the actor behind the scenes assumes this word refers to the girl, Nandimukhi. The actor's interpretation of the sutradhara's words may be translated in this way: "Learned in graceful poetry, why should nandimukhi not delight the devotees who know how to taste nectar?")

A Voice From Behind the Scenes: Aha! Good! 0 teacher of the actors, you speak the truth. Reciting beautiful poetry, nandimukhi will today delight the prince of Vraja, a prince who is the crown of all who know how to taste nectar.

Sutradhara. How, accompanied by Subala, did the forest goddess, Vrnda, come here? We must get the other actors for the play.

(The Sutradhara and actor exit.)