[When God Kṛṣṇa was doing Rāsa dances, the other Gopikas were dancing with illusory Kṛṣṇas created by God Kṛṣṇa and Goddess Rādhā. These illusory Kṛṣṇas were just like other illusory souls created by God Kṛṣṇa and Goddess Rādhā while doing the creation.]

[The Gopikās are also the products of Māyā Power of God Kṛṣṇa. The illusory Kṛṣṇas are also products of the Māyā Power of God Kṛṣṇa. Both Gopikās and illusory Kṛṣṇas are exactly equal to each other since both are products of the creative Māyā Power of God Kṛṣṇa only. Not only this, even the bodies of God Kṛṣṇa and Goddess Rādhā, illusory Kṛṣṇas and Gopikās are also made of the same Māyā Power only. This is the essence as per the scholars of truth.]

[Between the i) World (containing Gopikās and illusory Kṛṣṇas) and the existence of ii) Name and form of God Kṛṣṇa and Goddess Rādhā, both are one and the same based on their existence and nothing is specific in any way. Regarding Gopikās, illusory Kṛṣṇas and external name and form of God Kṛṣṇa and Goddess Rādhā, nothing has any speciality since all the four are one and the same based on existence.]

[The scholars of logic and spiritual knowledge must know that nothing among these following four is special in any way regarding the existence, which is the reality gifted by God. These four are i) Inherently illusory Gopikās and ii) Illusory Kṛṣṇas existing due to God-gifted reality. iii) Inherently illusory name and form of God Kṛṣṇa and iv) Goddess Rādhā existing due to God-gifted reality.]

[In the centre of the Rāsa Krīḍā dance, God Kṛṣṇa and Goddess Rādhā are standing while Kṛṣṇa is singing on the flute. This divine couple is very special compared to the surrounding circle of Gopikās and illusory Kṛṣṇas because in both these central Kṛṣṇa and Rādhā only, the merged Parabrahman or Mahā Māyā exists as extra item. This speciality is common in both Kṛṣṇa and Rādhā alone.]

[Only one item is called as Parabrahman or Mahā Māyā. Both these are alternative names of the same item. There is no gender difference in the causal substance till two items with male and female gender difference evolved.]

[This Rāsa-dance represents the entire philosophy. At the center, Brahman is standing along with Its Śakti. Around both this Divine Couple, the other female and male souls (created by this couple) are moving in a circular path by this couple like a giant wheel circulating in the circus (Īśvaras sarva bhūtānāṃ…- Gītā).]

[In the beginning, the male Puruṣa and female Prakṛti are not distinguished at all from each other. Later on, both projected from the same item and played in different ways in which the Prakṛti sometimes acted as queen ruling the king, sometimes acted as an equal wife and sometimes acted as a servant. All these desires were as per their wishes in the play.]

Iti Śrī Datta Svāmi viracita Śrī Rājīva Gītāyāṃ Śakti Vicāra yogo Nāma Ekādaśādhyāyaḥ |

[Like this, in Shri Rājīva Gita, composed by His Holiness Shri Datta Swami, the Eleventh Chapter called ‘The Association of Enquiry of the Power of God’ is completed.]