Gītā-mālā
(A Garland of Songs)

Chapter Four
Śrī Śrī Rūpānuga-bhajana-darpaṇa
(A Mirror Reflecting the Worship Which Follows Śrīla Rūpa Goswāmī)

Song 22

(1)
sthāyī bhābābiṣṭa citta   pāiyā bibhāba-bitta
udbhaṭa bhābete āpanāra
prāṇa-bṛtte nyasa kore   prāṇa sei nyāsa-bhore
deha prati bikṛti cālāya

 1) When one’s consciousness is overwhelmed with one’s permanent ecstasy (sthāyī-bhāva), and attains the wealth of all special stimulants (vibhāva), then another effect is produced of its own accord. That is, the life-air is regulated and forcibly directed within the body, thus causing various unusual transfigurations of the body.

(2)
baibarṇya romañca sweda    stambha kampa swara-bheda
pralayāśru e aṣṭa bikāra
sañcārī je bhābacoya   harṣāmārṣa āra bhoya
biṣāda bismoyādi tāra

 2) The eight sāttvika-vikāras are: changing of bodily colors, standing up of hairs, perspiration, shivering, choked voice, physical devastation, mental stupor, and torrents of tears. There are also 33 other transitory ecstasies known as sañcarī, including such emotions as jubilation, sorrow, fear, anguish, wonder, etc.

(3)
prabṛtti kāraṇa hoya   līlā-kāle rase loya
āpane koraya anukhaṇa
dhūmayitā ujjwalitā    dīptā āra su-uddīptā
ei cāri abasthālakhaṇa

 3) According to the particular mellow at play during any given līlā of Rādhā-Kṛṣṇa’s eternal pastimes, then the sāttvika-bhāva can take on four different degrees of intensity, namely 1) dhūmyita (smoldering), 2) ujjvalitā (ignited), 3) dīptā (burning), and 4) uddīptā (blazing).

(4)
jāra jei adhikāra   sāttwika bikāra tāra
se lakhaṇe hoya to’ udoya
mahā-bhāba daśā jathā   su-uddīptā bhāba tathā
anāyāse su-lakhitā hoya

4) Whoever has the adhikāra or the capacity of qualification for these ecstasies experiences the awakening of the symptoms of the eight sāttvika-vikāras. However, only in the mahā-bhāva stage (as in Śrīmatī Rādhārāṇī) is it possible to observe the ornament of the uddīptā blazing ecstasy.