The Ecstatic Manifestations of Lord Śrī Caitanya Mahāprabhu

In this second chapter, the activities of Lord Caitanya that took place after the Lord accepted sannyāsa are generally described. Śrī Caitanya Mahāprabhu is specifically mentioned here as being gaura, or of fair complexion. Kṛṣṇa is generally known to be blackish, but when He is absorbed in the thought of the gopīs, who are all of fair complexion, Kṛṣṇa Himself also becomes fair. Śrī Caitanya Mahāprabhu in particular felt separation from Kṛṣṇa very deeply, exactly like a lover who is dejected in separation from the beloved. Such feelings, which were expressed by Śrī Caitanya Mahāprabhu for nearly twelve years at the end of His pastimes, are described in brief in this second chapter of Madhya-līlā.

Because of the winds of the sea, sometimes the sand would form dunes. Such sand dunes are called caṭaka parvata. Instead of seeing these sand dunes simply as hills of sand, the Lord would take them to be Govardhana Hill. Sometimes He would run toward these dunes at high speed, crying very loudly, expressing the state of mind exhibited by Rādhārāṇī. Thus Caitanya Mahāprabhu was absorbed in thoughts of Kṛṣṇa and His pastimes. His state of mind brought Him the atmosphere of Vṛndāvana and Govardhana Hill, and thus He enjoyed the transcendental bliss of separation and meeting.

The ecstatic transformations of the body described in such exalted literatures as the Bhakti-rasāmṛta-sindhu are practically not seen in this material world. However, these symptoms were perfectly present in the body of Śrī Caitanya Mahāprabhu. These symptoms are indicative of mahābhāva, or the highest ecstasy. Sometimes sahajiyās artificially imitate these symptoms, but experienced devotees reject such imitations immediately. The author admits herein that these symptoms are not to be found anywhere but in the body of Śrī Caitanya Mahāprabhu.

This verse is from the Jagannātha-vallabha-nāṭaka (3.9) of Rāmānanda Rāya.

The moonlike face of Kṛṣṇa is the reservoir of nectarean songs and the abode of His flute. It is also the root of all bodily beauty. The gopīs think that if their eyes are not engaged in seeing the beautiful face of Kṛṣṇa, it would be better for them to be struck by a thunderbolt. For the gopīs, to see anything but Kṛṣṇa is uninteresting and, indeed, detestable. The gopīs are never pleased to see anything but Kṛṣṇa. The only solace for their eyes is the beautiful moonlike face of Kṛṣṇa, the worshipful object of all senses. When they cannot see the beautiful face of Kṛṣṇa, they actually see everything as vacant, and they desire to be struck by a thunderbolt. They do not find any reason to maintain their eyes when they are bereft of the beauty of Kṛṣṇa.

In this connection, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura quotes the following verses from Śrīmad-Bhāgavatam (2.3.17-24):

“Both by rising and setting, the sun decreases the duration of life of everyone except one who utilizes the time by discussing topics of the all-good Personality of Godhead. Do the trees not live? Do the bellows of the blacksmith not breathe? All around us, do the beasts not eat and discharge semen? Men who are like dogs, hogs, camels and asses praise those men who never listen to the transcendental pastimes of Lord Śrī Kṛṣṇa, the deliverer from evils. One who has not listened to the messages about the prowess and marvelous acts of the Personality of Godhead and has not sung or chanted loudly the worthy songs about the Lord should be considered to possess ears like the holes of snakes and a tongue like that of a frog. The upper portion of the body, though crowned with a silk turban, is only a heavy burden if not bowed down before the Personality of Godhead, who can award mukti [freedom]. And the hands, though decorated with glittering bangles, are like those of a dead man if not engaged in the service of the Personality of Godhead Hari. The eyes which do not look at the symbolic representations of the Personality of Godhead Viṣṇu [His forms, names, qualities, etc.] are like those printed on the plumes of a peacock, and the legs which do not move to the holy places [where the Lord is remembered] are considered to be like tree trunks. The person who has not at any time received upon his head the dust from the feet of a pure devotee of the Lord is certainly a dead body. And the person who has never experienced the flavor of the tulasī leaves from the lotus feet of the Lord is also a dead body, although breathing. Certainly that heart is steel-framed which, in spite of one’s chanting the holy name of the Lord with concentration, does not change and feel ecstasy, at which time tears fill the eyes and the hairs stand on end.”

In the Bhakti-rasāmṛta-sindhu, the word dainya (humility) is explained as follows: “When unhappiness, fearfulness and the sense of having offended combine, one feels condemned. This sense of condemnation is described as dīnatā, humility. When one is subjected to such humility, he feels physically inactive, he apologizes, and his consciousness is disturbed. His mind is also restless, and many other symptoms are visible.” The word nirveda is also explained in the Bhakti-rasāmṛta-sindhu: “One may feel unhappiness and separation, as well as jealousy and lamentation, due to not discharging one’s duties. The despondency that results is called nirveda. When one is captured by this despondency, thoughts, tears, loss of bodily luster, humility and heavy breathing result.” Viṣāda is also explained in the Bhakti-rasāmṛta-sindhu: “When one fails to achieve his desired goal of life and repents for all his offenses, there is a state of regret called viṣāda.” The symptoms of avasāda are also explained: “One hankers to revive his original condition and inquires how to do so. There are also deep thought, heavy breathing, crying and lamentation, as well as a changing of the bodily color and drying up of the tongue.”

In the Bhakti-rasāmṛta-sindhu thirty-three such destructive symptoms are mentioned. They are expressed in words, in the eyebrows and in the eyes. These symptoms are called vyabhicārī bhāva, destructive ecstasy. If they continue, they are sometimes called sañcārī, or continued ecstasy.

This verse is spoken by Śrīmatī Rādhārāṇī in the Jagannātha-vallabha-nāṭaka (3.11) of Rāmānanda Rāya.

When Śrī Caitanya Mahāprabhu thus spoke in ecstasy, He saw two persons before Him. One was His secretary, Svarūpa Dāmodara, and the other was Rāya Rāmānanda. Coming to His external consciousness, He saw them both present, and although He was still talking in the ecstasy of Śrīmatī Rādhārāṇī, He immediately began to question whether He was the same Śrī Caitanya Mahāprabhu.

This is a verse in a common language called prākṛta, and the exact Sanskrit transformation is kaitava-rahitaṁ premā na hi bhavati mānuṣe loke/ yadi bhavati kasya viraho virahe saty api ko jīvati.

In this connection, Śrīla Bhaktisiddhānta Sarasvatī Ṭhākura says that the lovable Supreme Lord is the supreme shelter. The Lord is the supreme subject, and the devotees are the object. The coming together of a subject and object is called ālambana. The object hears, and the subject plays the flute. That the object cannot see the moonlike face of Kṛṣṇa and has no eagerness to see Him is the sign of being without ālambana. Externally imagining such a thing simply satisfies one’s lusty desires, and thus one lives without purpose.

Unalloyed love of Kṛṣṇa is just like a big sheet of white cloth. Absence of attachment is compared to a black spot on that white cloth. Just as the black spot is prominent, so the absence of love of Godhead is prominent on the platform of pure love of Godhead.

This verse is spoken by Paurṇamāsī to Nāndīmukhī in the Vidagdha-mādhava (2.18) of Śrīla Rūpa Gosvāmī.

In front of the temple of Jagannātha is a column on which the statue of Garuḍa is situated. It is called the Garuḍa-stambha. At the base of that column is a ditch, and that ditch was filled with the tears of the Lord.

This is a verse from the Kṛṣṇa-karṇāmṛta (41), by Bilvamaṅgala Ṭhākura.

This is another quote from the Kṛṣṇa-karṇāmṛta (32) of Bilvamaṅgala Ṭhākura.

In the Bhakti-rasāmṛta-sindhu it is stated that when similar ecstasies from separate causes meet, they are called svarūpa-sandhi. When opposing elements meet, whether they arise from a common cause or different causes, their conjunction is called bhinna-rūpasandhi, the meeting of contradictory ecstasies. The simultaneous joining of different ecstasies — fear and happiness, regret and happiness — is called meeting (sandhi). The word śābalya refers to different types of ecstatic symptoms combined together, like pride, despondency, humility, remembrance, doubt, impatience caused by insult, fear, disappointment, patience and eagerness. The friction that occurs when these combine is called śābalya. Similarly, when the desire to see the object is very prominent, or when one is unable to tolerate any delay in seeing the desired object, the incapability is called autsukya, or eagerness. If such eagerness is present, one’s mouth dries up and one becomes restless. One also becomes full of anxiety, and hard breathing and impatience are observed. Similarly, the lightness of heart caused by strong attachment and strong agitation of the mind is called impotence (cāpalya). Failure of judgment, misuse of words, and obstinate activities devoid of anxiety are observed. Similarly, when one becomes too angry at the other party, offensive and abominable speech occurs, and this anger is called roṣa. When one becomes impatient due to being scolded or insulted, the resultant state of mind is called amarṣa. In this state of mind, one perspires, acquires a headache, fades in bodily color and experiences anxiety and an urge to search out the remedy. The bearing of a grudge, aversion and chastisement are all visible symptoms.

This is text 40 of the Kṛṣṇa-karṇāmṛta.

The word unmāda is explained in the Bhakti-rasāmṛta-sindhu as extreme joy, misfortune and bewilderment in the heart due to separation. Symptoms of unmāda are laughing like a madman, dancing, singing, performing ineffectual activities, talking nonsense, running, shouting and sometimes working in contradictory ways. The word praṇaya is explained thus: When there is a possibility of receiving direct honor but it is avoided, that love is called praṇaya. Śrīla Rūpa Gosvāmī, in his Ujjvala-nīlamaṇi, explains the word māna thus: When the lover feels novel sweetness by exchanging hearty loving words but wishes to hide his feelings by crooked means, māna is experienced.

The word vaidagdhya means that one is very expert, learned, humorous, cunning, beautiful and skilled in manifesting caricatures.

In the Bhakti-rasāmṛta-sindhu, eight kinds of transcendental changes taking place in the body are described. Stambha, being stunned, refers to the mind’s becoming transcendentally absorbed. In that state, the peaceful mind is placed on the life air, and different bodily transformations are manifest. These symptoms are visible in the body of an advanced devotee. When life becomes almost inactive, it is called “stunned.” The emotions resulting from this condition are joy, fear, astonishment, moroseness and anger. In this condition, the power of speech is lost and there is no movement in the hands and legs. Otherwise, being stunned is a mental condition. Many other symptoms are visible on the entire body in the beginning. These are very subtle, but gradually they become very apparent. When one cannot speak, naturally one’s active senses are arrested, and the knowledge-acquiring senses are rendered inoperative. Kampa, trembling of the body, is mentioned in the Bhakti-rasāmṛta-sindhu as a result of a special kind of fear, anger and joy. This is called vepathu, or kampa. When the body begins to perspire because of joy, fear and anger combined, this is called sveda. Vaivarṇya is described as a change in the bodily color. It is caused by a combination of moroseness, anger and fear. When these emotions are experienced, the complexion turns pale and the body becomes lean and thin. Aśru is explained in the Bhakti-rasāmṛta-sindhu as a combination of joy, anger and moroseness that causes water to flow from the eyes without effort. When there is joy and there are tears in the eyes, the temperature of the tears is cold, but when there is anger, the tears are hot. In both cases, the eyes are restless, the eyeballs are red and there is itching. These are all symptoms of aśru. When there is a combination of moroseness, astonishment, anger, joy and fear, there is a choking in the voice. This choking is called gadgada. Śrī Caitanya Mahāprabhu refers to gadgada-ruddhayā girā, or “a faltering voice.” In the Bhakti-rasāmṛta-sindhu, pulaka is described as joy, encouragement and fear. When these combine, the hairs on the body stand on end, and this bodily state is called pulaka.

This is another verse from the Kṛṣṇa-karṇāmṛta (68).