Vaishampayana said:—As time went on those two boys, named Krishna and
Sangkarshana, began to crawl on their legs. Those two beautiful boys,
resembling the rising sun, the same person in two bodies, as if turned
out by one mould, began to assume the same form, to lie down on the same
bed, to live on the same food, and to put on the same dress. They thus
sported there like boys (1–3). Those two great energies, identical with
the witness of the worlds, although of one body, assumed two human forms
for the destruction of the demons and for accomplishing the only great
work of the resuscitation of sacrifices. Although they were the
protectors of the entire universe they were born, for this, as cow-herds
(4-5). While they sported there they appeared like the sun and moon in
the sky possessed by each other’s rays (6). Going every where, they,
having arms like serpents, appeared like two proud young elephants
covered with dust (7). And sometimes with their persons pasted with
ashes and powdered cow-dung they shone like two princes of fire (8).
Sometimes they used to walk on knees and enter cow-sheds and used to
sport there with their persons and hairs covered with cow-dung (9).
Sometimes committing mischiefs to the inhabitants of Vraja those two
boys used to create the delight of their sire with their laughing (10).
Those two beautiful boys, of moon-like countenances, used to appear more
charming when filled with curiosity and their locks disturbing their
eyes (11). They grew exceedingly playful and naughty and used to walk
all over Vraja. And Nanda could not (by any means) check them (12). One
day Yasoda, worked up with anger, brought the lotus-eyed Krishna near
the carriage. And fastening a rope round his waist and tying it to a
mortar she repeatedly remonstrating with him, said "Go, if you are
capable of doing it." Saying this she engaged in her work (13–14). When
Yashodā was engaged in her household works, Krishna, with a view to
surprise the inhabitants of Vraja and play, issued out of the courtyard
(15).
Public-domain text, read in full here on John Shaqi.
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