Among the priceless books contributed by Srila Sanatana Gosvami to the literary heritage of the Gaudiya Vaishnavas, his Sri Krsna-lila-stava is the shortest and simplest. An offering of praise in 432 verses, it gives a personal meditation of Krishna's Vrindavana pastimes as told by Sukadeva in Srimad-Bhagavatam. This is an authentic spiritual work that has inspired Gaudiya Vaishnavas for centuries. Able to touch both heart and mind, it steps forward from a living tradition to bear witness to the working of the spirit. This edition of the Sri Krsna-lila-stava is especially praiseworthy because it gives a scholarly but easily understandable translation of the Sanskrit text interspersed with helpful and sensitive commentaries. In Sri Krsna-lila-stava, Sanatana evokes remembrances of Krishna's childhood pastimes by summarizing Sukadeva's narration in simple verses. These verses give us a taste of Krishna's Vrindavana pastimes, one after another, thus immersing us in the nectar of the Bhagavatam.

Hymns to Krishna, Hindu deity.

The profound and pious poem “Sri Suka Sari Stava” extols the virtues of Lord Krishna as related by Sage Sukadeva Goswami in the ancient text “Srimad Bhagavatam.” This hymn serves as a poetic and inspirational statement of adoration and devotion to Lord Krishna, the Supreme Personality of Godhead.

On Krishna, Hindu deity.

Treatise on the rituals and doctrines of Vaishnavism.

The divine player attempts to analyze the relationship between play and religion in the context of Hinduism. It focuses primarily on the youthful god Krsna. The first part part of the book surveys the role of play among the gods and concludes that play seems to be an intrinsic part of the divine in Hinduism. The second part of the book investigates the role of play in religious cult, again focusing on the various Krsna cults. This section concludes that, although playful themes pervade man's religious activity in devotion to Krsna, cultiic activity may not be reduced to play, as some scholars have suggested. The final section of the book points to examples of divine and cultic play in non-Hindu traditions.

This (Dana Keli Kaumudi) is a divine play/drama, written by Srila Rupa Goswami, with commentaries of Srila Visvanath Cakravarti Thakur. In the Caitanya-caritamrta (Antya 4.226) there is a verse that describes the writings of Sril Rupa Gosvami: Srila Rupa Gosvami compiled 100,000 verses, beginning with the book Dana-Keli-Kaumudi. In all these scriptures, he elaborately explained the transcendental mellows of the activities of Vrndavna. This one-act drama describes the very celebrated pastime of Krsna’s efforts to extract a toll from Radha and her companions as they carried butter for the performance of a sacrifice being performed in the forest of Vrndavana. Of course, it cannot be emphasized enough that such pastimes are only to be relished by devotees who have thoroughly understood Lord Krsna’s position as the Supreme Personality of Godhead by carefully studying the first nine cantos of the Srimad-Bhagavatam.”

Sanātana Gosvāmī wrote Bṛhad-vaiṣṇava-toṣaṇī, an elaborate commentary on the Tenth Canto to explain in detail what Śrīdhara Svāmī covered briefly, and to give devotional meaning where Śrīdhara Svāmī gave brahmanvada explanations. Jīva Gosvāmī wrote Laghu-vaiṣṇava-toṣaṇī as a summary version of Bṛhad-vaiṣṇava-toṣaṇī. The commentaries on first eight chapters of the Tenth Canto are virtually the same but after that point there are increasing differences. Ultimately this commentary is approximately same size as the Bṛhad-vaiṣṇava-toṣaṇī. He completed this work in Śakābda 1504.