barhiṇa-stabaka-dhātu-palāśair
baddha-malla-paribarha-viḍambaḥ
karhicit sa-bala āli sa gopair
gāḥ samāhvayati yatra mukundaḥ
tarhi bhagna-gatayaḥ sarito vai
tat-padāmbuja-rajo 'nila-nītam
spṛhayatīr vayam ivābahu-puṇyāḥ
prema-vepita-bhujāḥ stimitāpaḥ
barhina -- of peacocks; stabaka -- with the tail feathers; dhatu -- with colored minerals; palasaih -- and with leaves; baddha -- arranged; malla -- of a wrestler; paribarha -- the apparel; vidambah -- imitating; karhicit -- sometimes; sa-balah -- with Balarama; ali -- my dear gopi; sah -- He; gopaih -- with the cowherd boys; gah -- the cows; samahvayati -- calls; yatra -- when; mukundah -- Lord Mukunda; tarhi -- then; bhagna -- broken; gatayah -- their movement; saritah -- the rivers; vai -- indeed; tat -- His; pada-ambuja -- of the lotus feet; rajah -- the dust; anila -- by the wind; nitam -- brought; sprihayatih -- hankering for; vayam -- ourselves; iva -- just like; abahu -- slight; punyah -- the piety to whose credit; prema -- due to love of God; vepita -- trembling; bhujah -- whose arms (waves); stimita -- stopped; apah -- whose water.
The gopis state here that the sound of Krishna's flute causes even inanimate objects like rivers to become conscious and then stunned in ecstasy. Just as the gopis could not always be in Krishna's physical association, the rivers could not come to the Lord's lotus feet. Although they desired the Lord, their movement was checked by ecstasy, and their "arms," their waves, trembled with love of Godhead.