Srimad-Bhagavatam: Canto 2 - Chapter 1 - Verse 24


नमस्तस्मै भगवते वासुदेवाय वेधसे ।पपुर्ज्ञानमयं सौम्या यन्मुखाम्बुरुहासवम् ॥ २४ ॥


namas tasmai bhagavatevāsudevāya vedhasepapur jñānam ayaṁ saumyāyan-mukhāmburuhāsavam


I offer my respectful obeisances unto Śrīla Vyāsadeva, the incarnation of Vāsudeva who compiled the Vedic scriptures. The pure devotees drink up the nectarean transcendental knowledge dropping from the lotuslike mouth of the Lord.


In pursuance of the specific utterance vedhase, or “the compiler of the system of transcendental knowledge,” Śrīla Śrīdhara Svāmī has commented that the respectful obeisances are offered to Śrīla Vyāsadeva, who is the incarnation of Vāsudeva. Śrīla Jīva Gosvāmī has agreed to this, but Śrīla Viśvanātha Cakravartī Ṭhākura has made a further advance, namely that the nectar from the mouth of Lord Kṛṣṇa is transferred to His different consorts, and thus they learn the finer arts of music, dance, dressing, decorations and all such things which are relished by the Lord. Such music, dance and decorations enjoyed by the Lord are certainly not anything mundane, because the Lord is addressed in the very beginning as para, or transcendental. This transcendental knowledge is unknown to the forgotten conditioned souls. Śrīla Vyāsadeva, who is the incarnation of the Lord, thus compiled the Vedic literatures to revive the lost memory of the conditioned souls about their eternal relation with the Lord. One should therefore try to understand the Vedic scriptures, or the nectar transferred by the Lord to His consorts in the conjugal humor, from the lotuslike mouth of Vyāsadeva or Śukadeva. By gradual development of transcendental knowledge, one can rise to the stage of the transcendental arts of music and dance displayed by the Lord in His rāsa-līlā. But without having the Vedic knowledge one can hardly understand the transcendental nature of the Lord’s rāsa dance and music. The pure devotees of the Lord, however, can equally relish the nectar in the form of the profound philosophical discourses and in the form of kissing by the Lord in the rāsa dance, as there is no mundane distinction between the two.