While reading this book (Sri Vidagdh Madhav), one should always keep in mind that this transcendental pastime is absolutely distinct from the mundane pastimes of so-called love engaged in by the conditioned souls of this world. Our pastimes of so-called love are mere perverted reflections of these original, spiritual pastimes, and are enacted on the material, bodily platform of lust. There is an absolute distinction, as there is a distinction between gold and iron, and so one should never try to drag these loving exchanges down to the platform of lusty affairs between men and women in this material world.

The two works, Vidagdha-mādhava and Lalita-mādhava were written by Śrīla Rūpa Gosvāmī. The Vidagdha-mādhava describes pastimes in Vṛndāvana, and the the pastimes in Lalita-mādhava begins in Vṛndāvana and ends in Dvārakā. Both of them, praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses, wonderfully describe the emotions of the highest rasa.Vidagdha-mādhava, a seven-act play was completed by Śrīla Rūpa Gosvāmī in the 1533 A.D. This work concerning Kṛṣṇa, friend of the gopīs, is permeated with ornaments in the form of conversations. The land within Vṛndāvana has become the arena for the performance of the drama. The spring season in which the moon has become newly red in response has become the suitable time.

Play on Radha and Krishna, Hindu deities.

Sri Lalita Madhav is a timeless and spiritually profound literary masterpiece that delves into the divine love and pastimes of Lord Krishna. Written by the renowned saint and philosopher Srila Rupa Goswami, this classical work is a captivating exploration of the eternal love between Lord Krishna and His beloved consort, Srimati Radharani, set against the backdrop of Vrindavan’s enchanting landscapes.

Lalita Mādhava is praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses depicting the emotions of the highest rasa. It begins in Vṛndāvana with separation from Kṛṣṇa and ends in Dvārakā when the gopīs reunite with Kṛṣṇa as his queens, while maintaining their previous identities. Thus separation resolves into union and marriage in Dvārakā. The story included details different from the pastimes described in Bhāgavatam. Thus Viśvanātha Cakravartī explains that details of the drama were enacted in a different kalpa of Brahmā.

This (Dana Keli Kaumudi) is a divine play/drama, written by Srila Rupa Goswami, with commentaries of Srila Visvanath Cakravarti Thakur. In the Caitanya-caritamrta (Antya 4.226) there is a verse that describes the writings of Sril 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 Vrndavna. 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.”

Tushyanti ca Ramanti ca siddhanta baliya cite na kara alasa iha ha-ite krsne lage sudṛdha manasa (Sri Caitanya-caritamṛta Adi 2.117) A sincere student should not neglect the discussion of such conclusions, considering them controversial, for such discussions strengthen the mind. Thus one’s mind becomes attached to Sri Krsna.