VERSE 7:

prakaṭita nija vāsaṁ snigdha veṇu praṇādair
drutagati harim ārāt prāpya kuñje smitākṣī
śravaṇa kuhara kaṇḍūṁ tanvatī namra vaktrā
snapayati nija dāsye rādhikā māṁ kadā nu

When will Śrī Rādhikā, who quickly runs to the place where Śrī Hari indicates His whereabouts by playing His enchanting flute, Whose eyes smile when She finds Him in a grove, but Who then shyly bows Her head down and scratches Her earhole, bathe me in Her service?

Stavāmṛta Kaṇā Vyākhyā:

That, which the greatly realised anurāgī souls, who have climbed the top of the mountain of bhāva, have given to the world, is the merciful gift of the rasa svarūpa.

The self-manifest object of rasa that has appeared within their hearts causes them to choose the words they use.
The experiences of the loving devotees cannot be generated by studying some book – the words emanate straight from their hearts. They are free from all worldly rules, for they have ascended to the highest state of realization. They have gained independence from time and space, since they are immersed in self-manifest rasa – decorated with the light of the planet of ecstatic love and with sweetness.
Their contribution is certainly an object of pride for all the people of the world.

There is no comparison to this transcendental rasika poetry of Śrīpāda Raghunātha, named Stavāvalī, as far as sweet flavours are concerned.

In the previous verse Śrī Raghunātha, in his transcendental vision, had attained the incomparable fortune of serving Śrīmatī Rādhikā, and then, when the vision vanished, he restlessly wept, desiring Her direct service.

By Īśvarī’s grace, then another vision is coming to him.

In his kiṅkarī svarūpa, Śrīpāda Raghunātha is staying with Śrī Rādhā in Yāvaṭa as Syāma suddenly plays His enchanting flute in a distant forest.
When She hears this flute sound, Śrīmatī Rādhikā  is stunned.

This flute sound is called snigdha or ārdra (pleasant) and is full of love and flavour.
This flute sound naturally makes everyone’s heart melt.
It is not just called nāda, or sound, but praṇāda, the best sound. This makes everything sweet.
This nectarean sound maddens all mobile and immobile beings.

Śrīmad Bhāgavata says – aspandanaṁ gatimatāṁ pulakas tarūṇāṁ: Kṛṣṇa’s flute-song makes inert beings move and makes mobile beings stunned.

Streams of nectar emanate from each hole of this flute, along with a tune.
One hole breaks Lord Brahmā’s meditation, one hole causes the Yamunā to flow upstream, one hole causes stones to melt, and one hole revives the dead trees.

The cowherds and gopīs of Vraja all experience this Muralī-song in their own way:

yaśomatī śune bāṁśī nanī de mā nandarāṇī;
pitā nanda śune vāṁśi ei ye bādhā āni. sakhāgaṇa śune bāṁśī colo goṣṭhe yāi;
kamalinī śune bāṁśī bāhira hao rāi –
“When Mother Yaśomati, Nanda’s Queen, hears the flute, she thinks it says: ‘Mā, bring Me butter!’
When father Nanda hears the flute,he thinks it says: ‘Daddy, I’ll bring your shoes!’ When the cowherd boys hear the flute, they think it says: ‘Come, let’s go to the meadows!’
When the female lotus (Rādhā) hears the flute, She think it says: ‘Rāi (Rādhikā), come out!'”

In these ways, the flute-song is praṇāda, or the best sound for everyone, but especially for Rādhikā. When She hears it, She cannot stay in Her house anymore.
When Śrīmatī simply hears the flute, She runs out to the groves, having no idea where She’s going.
The kiṅkarī follows Śrīmatī like Her shadow.

After calling Śrīmatī with the flute sound, Nāgara sits down and waits for Her in a kuñja. Both the flute-song and Śyāma’s bodily fragrance automatically bring Rādhikā to the right place. Now She sees Her Hari, Who steals Her heart and Her mind, sitting before the gate of the kuñja, waiting for Her! When She glances at Śrī Hari, Śrīmatī becomes shy and She lowers Her head.
The word smitākṣī means that Her eyes show a slight smile. With Her left index finger She scratches Her left ear hole.
In this way Śrī Rādhikā, the form of emotions, shows Her feelings.

Here Śrīmatī shows the emotional ornament named vilāsa:

gati sthānāsanādīnāṁ mukha netrādi karmaṇām
tāt kālikaṁ tu vaiśiṣṭyaṁ vilāsaḥ priya saṅgajam (U.N.)

“When the gait, place, seat, face and eyes all become special due to uniting with the lover, it is called vilāsa.”

Śrī Rūpa Gosvāmī gives the following example in ‘Ujjvala Nīlamaṇi’:

runatsi purataḥ sphuratyaghahare kathaṁ nāsikā śikhā grathita mauktikonnamana kaitavena smitam
nirāsthad aciraṁ sudhā kiraṇa kaumudī mādhurīṁ manāg api tavodgatā madhura-danti danta-dyutiḥ

“A dūtī named Vīrā told Śrī Rādhā: O Madhura-danti (sweet-teethed girl)! Why are You trying to hide the slight smile that appears on Your face when You see Aghahara (Kṛṣṇa) before You, by trying to lift Your nose-pearl, and why are You defeating the sweetness of the moonlight with the nectarean rays of Your lustrous teeth? Just don’t try to hide Your real feelings anymore!”

The kiṅkarī thus accomplishes Śrī-Śrī Rādhā-Mādhava’s meeting and with it she attains the great fortune of Their loving devotional service.

When that transcendental vision disappears, Raghunātha dāsa anxiously prays to Īśvarī’s lotus feet to be showered by the nectar of Her devotional service.