sphurad aruṇa dukūla dyotitodyan nitamba
sthalam abhivara kāñcī lāsyam ullāsayantī
kuca kalasa vilāsa sphīta muktāsara śrīḥ
snapayati nija dāsye rādhikā māṁ kadā nu

When will Śrī Rādhikā, whose buttocks are adorned with a brightly shining crimson garment and an excellent sash of blissfully dancing bells, and whose pitcher-like breasts are beautified by a string of big, splendid pearls, bathe me in Her service

Stavāmṛta Kaṇā Vyākhyā:

Śrīpāda Raghunātha is deeply absorbed in his siddha svarūpa, forgetting all about his current body and considering himself Śrī Rādhā’s maidservant. That is why he does not covet anything else but Śrīmatī’s personal service. He is totally absorbed in this desire for Śrīmatī’s service, and without attaining this his life-airs reach his throat. Suddenly he attains a transcendental vision in which the picture of a pastime appears before his eyes.

It is a moonlit night and the Rāsa-dance is taking place, the eternal Rāsa, in which Śrī Rādhikā dances with Śyāmasundara amidst thousands of Her girlfriends.
Rāsa means: the aggregate of all transcendental flavours.

In other words, the relish that is separately invested in the different pastimes of the Lord are all present in the Rāsa-līlā to the fullest extent. Because there are many rasika and intimate pastimes united in one receptacle here, it has been named parama rasa-kadamabamaya, or the aggregate of all the greatest transcendental flavours.

No one but Vraja Vihārī Śyāmasundara, the transcendental king of dancers, who is endowed with three extraordinary qualities, namely being svayaṁ bhagavān (the Original Personality of Godhead) rasika śekhara (the king of relishers) and parama karuṇa (the most merciful One), along with Śrī Rādhā, who is endowed with mādanākhya mahābhāva and the Gopa-sundarīs (gopīs), who are endowed with mahā bhāva, can perform such greatly relishable pastimes. Only the Original Personality of Godhead Vrajendranandana, Śrī Rādhā, who is non-different from Him and who is the embodiment of mahā-bhāva Herself, and the gopīs, who are Her phalanx, who forget their endless prowess and majesty and their inconceivable status and who are only eager to taste the relish of pure love and to preserve the etiquette of love, are able to taste such highly relishable pastimes.

Śrī Raghunātha, in his kiṅkarī svarūpa, sees how his Īśvarī Śrīmatī Rādhārāṇī shows unlimited sweetness with Her artful dancing, Her red silken sārī representing Her passionate mahā-bhāva love for Śyāma (red is the color of passion).

How beautiful She looks, dressed from tip to toe in this red garment!
How beautiful are Her lovely hips and buttocks while She artfully dances!
The natural beauty and charm of Her buttocks alone can enchant Śyāmasundara; indeed, the ācāryas say that Kṛṣṇa’s desires always dance the Rāsa-dance on Rādhikā’s buttocks!

rādhā śroṇir iyaṁ samā na pulinaiḥ satya kaver gīr iyaṁ
yad veṇī yamunā tad eva pulinaṁ kāñcī marāli tatiḥ
no cet tatra harer mano naṭavaraḥ śrī rāsa lāsyaṁ kathaṁ
svābhir vṛtti sakhī naṭībhir aniśaṁ kurvann na viśrāmyati
(Govinda Līlāmṛta 11,60)

“Aren´t the words of a poet who says that Rādhā’s buttocks are like the bank of the Yamunā, true? Her braid, that reaches down to Her knees, is like the Yamunā and Her sash of bells sings like the swans in the Yamunā. If not, then why would Kṛṣṇa’s mind, the best dancer, or His mind’s girlfriends, the dancing girls of His desires, always dance the Rāsa there, without ever resting?”

How wonderfully sweet are the waist-bells that jingle on Śrīmatī’s beautiful buttocks with the rhythm of the dancing! Śyāma stops His own dancing to relish the sweetness of Śrīmatī’s dancing. While Śrīmatī dances, Śyāma plays His flute. The sweet jingling of Śrīmatī’s waistbells stifle even the endlessly sweet tune of the flute. This jingling enchants even Śyāma! Again, while Śrīmatī dances the pearl necklace that hangs from Her neck dangles along with the rhythm on Her jug-like breasts.
The pearls are very big and Śrīmatī can see the reflection of Śyāma’s sweet form dancing the Rāsa. This is why these big pearls are very dear to Her. As soon as these ornaments find a place on the body of the empress of mahā bhāva, they also become made of mahā bhāva. They have no separate existence from bhāva.

During the Rāsa, Śyāmasundara dances with Śrī Rādhārāṇī and Her sakhīs and the maidservants serve the Divine Couple betel-nuts and fresh water and massage Their feet when They become tired.
During the Rāsa-dancing, the maidservants render these services like serving betel leaves and fanning while dancing along, because the singing, dancing and adherence to the rhythms are so dominant that one automatically dances along.

Śrīpāda Raghunātha, in his kiṅkarī svarūpa, dances along while fanning the dancing Śrīmatī. As he takes the fan in his hand he suddenly does not see anything anymore. Then he understands it was just a sphuraṇa. Anxiously he then submits a prayer to Śrīmatī’s lotus feet to be showered by the rasa of Her service.