vibhāvita rati jabe kriyāpara ho’ye tabe
anubhāba hoya to’ udita
citta-bhāba udghāṭiyā kore bāhya su-bikriyā
jakhana je hoya to’ ucita
1) When one experiences ecstatic love stimulated by the above-mentioned uddipanas, then a natural resultant reaction occurs in one’s body. This is called anubhāva. It is like opening the doors of the heart, thus releasing the emotions. When the ecstasy thus comes to the external plane, some fine physical reactions become visible, which are quite befitting of the emotions which are revealed from within the heart.
nṛtya gīta biluṇṭhana krośana tanu-moṭana
huṅkāra jṛmbhana ghana-śwāsa
lokanāpekhita mati lāla-sraba ghūrṇa ati
hikkadoyā aṭṭa aṭṭa hāsa
2) The thirteen anubhāvas are dancing, singing, rolling on the ground, crying, stretching the body, loud shouting, yawning, deep sighing, complete disregard of public opinion, drooling, dizziness, uncontrollable hiccups, and extremely loud roaring laughter just like a madman.
gātra citta jata saba alaṅkāra su-bibhāba
nigadita biṁśati prakāra
udbhāswara nāma tāra dhammilyā saṁsraṇa āra
phulla ghrāṇa nībyādi bikāra
3) It is said that there are twenty alaṅkāras, or sensual enhancements of the body and mind. One type called udbhāsvara includes letting down the hair, sniffing flowers, and adjusting the belt of one’s sārī, etc.
bilāpālāpa samlāpa pralāpa o anulāpa
apadeśa upadeśa nirdeśa o byapadeśa
4) There are also twelve vācika or verbal anubhāvas, namely 1) vilāpa (words of lamentation), 2) alāpa (witty flattery), 3) samlāpa (conversations), 4) pralāpa (frivolous babbling), 5) anulāpa (repeating the same thing over and over again), 6) apalāpa (giving another meaning to a previous statement) 7) sandeśa (sending a message to a lover afar), 8) atideśa (to say “his words are my words”), 9) apadeśa (saying one thing to indicate something else), 10) upadeśa (words of instruction), 11) nirdeśa (to clarify “I am that same person”), 12) vyapadeśa (to reveal the heart under another pretension).