Hare Kṛṣṇa,
Śrī Caitanya Mahāprabhu said in Sri Caitanya-Caritamrta (Antya 17.44), “Kṛṣṇa’s speech is far sweeter than nectar. Each of His jubilant words is full of meaning, and when His speech mixes with His smile, which is like camphor, the resultant sound and the deep meaning of Kṛṣṇa’s words create various transcendental mellows.”
In Laghu Vaisnava Tosani, Srila Jiva Goswami’s commentary on these set of verses explains that Krsna’s playful words (vācaḥ peśaiḥ) are of two types: skillful presentation of words (śābdhika) and changing the meaning of the sentence (ārthika). “Use of words” refers to moving his eyebrows, eyes and face while smiling and speaking joyful words easy to understand, with the graceful placement of syllables. “Play on meaning” refers to verses which are used as ornaments to intensify the emotions of rasa. Statements suggesting “indifference” is one aspect of “play on meaning.”
Śābdhika words particularly express real emotions. Among the ārthika expressions, those which show feigned indifference are meant to increase the gopīs’ longing for him, and are not real indifference, for it has already been said that in the autumn Kṛṣṇa desired to enjoy and that he played on his flute to attract the gopīs (verses 1 and 3). It is only playing with words and not the actual meaning. The mind thinks one thing and the words express another thing. This creates despair in their strong desire for him.
Indifference is commonly observed in worldly love, yet in Kṛṣṇa’s pastimes it functions as an uddīpana, a stimulus that intensifies the ecstatic mellow (rasa).
Thus, we see that Kṛṣṇa’s instructions to the gopīs contain both śābdhika (literal) words and ārthika (implied or hidden) meanings. In effect, two conversations unfold simultaneously — one expressed outwardly through Kṛṣṇa’s words, and another, subtler one revealing His innermost desires.
But how are we to reconcile this? Srila Prabhupada reconciles this beautifully by explaining, “Krsna is the supreme speaker; He is the speaker of the Bhagavad-gita. He can speak on the highest elevated subjects of philosophy, politics, economics–everything. And He also spoke before the gopis who were so dear to Him. He wanted to enchant them by word jugglery.”
Next, a statement of Srila Visvanatha Cakravarti Thakura that caught my attention is, “Contrariness, difficulty of attainment and rejection by women, I consider Kāmadeva’s greatest weapons.” (Priti-sandarbha Anuccheda 279)
So I think both indifference and contrariness go together (or mean the same thing). Someone please correct me if I am wrong!!!
For example, the verses in this lesson (17-27) shows Krsna’s external indifference or contrariness.
Kṛṣṇa speaks in progressive contrariness (vāmya-bhāva): (1) He greets them politely (“O most fortunate ladies, welcome.”), (2) He pretends concern (“This night is quite frightening, and frightening creatures are lurking about. Return to Vraja..”), (3) He uses social pressure (“Your families are certainly searching for you.”), (4), He moralizes (“O chaste ladies, serve your husbands and give milk to your crying babies and calves.”), (4) Finally, He warns them (“Adultery brings ruin, difficulty and fear.”)
These (contrariness or indifference) kindle longing, imagination, and emotional tension — the fuel (uddipana) of romantic rasa. When love meets resistance, it becomes more intense. Every obstacle Krsna places only deepens the gopis’ prema and surrender. The gopīs’ love is so pure that even Kṛṣṇa’s apparent rejection becomes an ornament that enhances their prema.
In simple terms, Krsna is beautifully setting up the stage for the rasa dance with His words of indifference and contrariness.
I think this is the best I would understand this lesson with my limited material faculty.
All glories to Srila Prabhupada!
Krsna Katha 