Part Two:

Southern Ocean
II: Samanya-Bhagavad-Bhakti-Rasa — Overview of Transcendental Mellows
1: Vibhava — Ecstatic Excitants
Chapters 20 - 26
2: Anubhava — Ecstatic Expressions
Chapter 27
3: Sattvika-Bhava — Involuntary Ecstatic Expressions
Chapter 28
4: Vyabhicari-Bhava — Transient Ecstatic Disturbances
Chapters 29 - 31
5: Sthayi-Bhava — Permanent Ecstatic Mood
Chapters 32 - 34
Southern Ocean
First Wave
Vibhava
Chapters 20 - 26
Chapter 20
Transcendental Mellow
 BRS 2.1.1 - 18

Mangalacarana
To inaugurate the Southern Ocean of Bhakti-rasamrta-sindhu, Srila Rupa Gosvami offers his
respectful obeisances unto "Sanatana." This can indicate either Sri Krsna Himself (sanatana =
Eternal Lord) or Sanatana Gosvami, who is Rupa Gosvami's elder brother and spiritual master.
Srila Prabhupada explains, “This Sanatana can be interpreted as either Sri Krsna Himself
or as Sanatana Gosvami, the elder brother and spiritual master of Rupa Gosvami (page 151).”
Srila Rupa Gosvami says that "Sanatana" is agha-damano. This glorifies Krsna as the
'killer of Aghasura' — and it simultaneously glorifies Sanatana Gosvami as the 'destroyer of sins'
(agha).
Srila Prabhupada explains, “In the case where ‘Sanatana’ is accepted to mean Sri Krsna,
the obeisances are offered to Krsna because He is naturally so beautiful and because He is the
killer of the demon Agha. If it is interpreted to mean Sanatana Gosvami, then it is because he is
so greatly favored by Rupa Gosvami, being always served by him, and because he is the
annihilator of all kinds of sinful activities (page 151).”

OVERVIEW of the SOUTHERN OCEAN

The Southern Division of Bhakti-rasamrta-sindhu describes how a devotee relishes rasa,
transcendental mellow. Rasa is not simply one's eternal relationship with Krsna. Instead, rasa
occurs when one's affectionate relationship is intensified and stimulated to a relishable
crescendo.
There are five components of rasa: the eternal affection, and four types of emotional
experiences which intensify that affection. Each of the five waves in the Southern Division will
discuss one component in detail. Srila Rupa Gosvami first gives a brief summary of each:

The First Wave — Vibhava

Chapters 20-26
The first wave describes the first component of rasa — vibhava.
Vibhava is that which stimulates one's eternal affection for Krsna, heightening it to the
point of relishable intensity.
We can grasp the basic concept of vibhava with help from a simple example: A mother
has constant affection for her child, but sometimes it is in the background of her thoughts. To
relish that affection requires some stimulus. Seeing her child's beautiful face, for example, can
heighten her motherly affection to a relishable crescendo.
Her child's face corresponds to vibhava — it simulates her basic motherly affection to the
point of relishable intensity.
 In The Nectar of Devotion, Srila Prabhupada defines vibhava as, "causes of ecstasy (page
151).”

The Second Wave — Anubhava

Chapter 27
The second wave describes the second component of rasa — anubhava.
Anubhava is an action that results from heightened affection for Krsna, which serves to
further enhance that affection.
We can return to the same example: When a mother's affection is stimulated, loving
emotions swell up in the heart and must be expressed. Perhaps she will embrace her child. This
corresponds to anubhava. It results from heightened affection and serves to further enhance that
affection.
Anu means "to follow," in a chronological and/or ontological sense. Anubhava is an
outward result that follows from one's heightened affection. Therefore, Srila Prabhupada
translates anubhava as "subsequent ecstasy." 1

The Third Wave — Sattvika-Bhava

Chapter 28
The third wave describes the third component of rasa — sattvika-bhava.
Sattvika-bhava is an involuntary reaction that results from heightened affection for Krsna,
which serves to further enhance that affection.
Both anubhava and sattvika-bhava are expressions that result from heightened affection
for Krsna, but they are distinct in an important way: Anubhava involves a conscious decision
how to suitably express one's ecstasy. Sattvika-bhava, however, is an unpremeditated,
involuntary expression arising directly from the spiritually surcharged consciousness.
There are eight sattvika-bhavas, such as hair standing on end, becoming stunned, crying,
etc.
These symptoms are called sattvika because the arise directly from the suddha-sattva
enriched soul — which is the constitutional nature of the living entity. Consequently. Srila
Prabhupada defines sattvika-bhava as "constitutional or existential ecstasy."
2

1 Webster's defines subsequent: (1) occurring or coming later or after. (2) following in order
or succession; succeeding.
2 Webster's defines constitution: (1) the way in which a thing is composed or made up;
makeup; composition. A living entity is composed of brahman, spirit. Thus, the living
entity's constitution is spirit-soul. Ecstasy that arises directly from the çuddha-sattva
enriched soul is sättvika-bhäva: "constitutional ecstasy."
 The Fourth Wave — Vyabhicari-Bhava

Chapters 29 - 31
The fourth wave describes the fourth component of rasa — vyabhicari-bhava.
Vyabhicari-bhava is an emotional experience that results from intensified affection for
Krsna, which serves to embellish and further stimulate that affection.
We can grasp the basic concept of vyabhicari-bhava by returning to our original example:
Seeing her baby precariously crawling on the edge of a cliff, a mother's affection intensifies
drastically, embellished by the flavor of extreme anxiety. This intense emotional experience
corresponds to vyabhicari-bhava — transitory emotions that result from intensified affection,
which embellish and further stimulate that affection.
A transcendental example: When Mother Yasoda saw Krsna enwrapped in the deadly
coils of Kaliya her love for Him intensified drastically, causing acute motherly distress. This
distress is a vyabhicari-bhava that further stimulated her worriful motherly affection for Krsna.
Vyabhicari-bhavas arise like waves from the ocean of one's heightened affection for
Krsna, embellish and flavor it, and then return into that ocean to heighten it even further.
Srila Prabhupada defines vyabhicari-bhava as "aggressive ecstasy." 3

The Fifth Wave — Sthayi-Bhava

Chapters 32 - 34
The fifth wave describes the fifth and final component of rasa — sthayi-bhava.
Sthayi-bhava is one's eternal mood of affection for Krsna (as a passive admirer, servant,
friend, parent, etc.). Srila Prabhupada defines sthayi-bhava as "continuous ecstasy."
Another term for sthayi-bhava is rati.

Rasa
Rasa commonly indicates one's eternal relationship with Krsna. Strictly speaking, this is
inaccurate. Rati, not rasa, is the correct term.
Rasa occurs when the above-mentioned bhavas stimulate rati and heighten it to an
unprecedented intensity. When these five bhavas properly combine, one can taste rasa.
Srila Prabhupada explains, “The different types of rasa, when combined together, help
one to taste the mellow of devotional service in the highest degree of transcendental ecstasy
(page 151). . . Without some mixture of these five ecstatic principles, one cannot relish
transcendental bliss (page 153).”4

3 Another term for vyabhicäré-bhäva is saïcari-bhäva. The two are entirely synonymous.
4 In this quotation, Çréla Prabhupäda uses the term rasa to indicate the five different types
of bhävas.
Srila Rupa Gosvami says the taste of rasa is so astonishing that it always remains apurvata:
unprecedented, eternally fresh and new, as if being experienced for the very first time. Thus Srila
Prabhupada says, “Such a position, although entirely transcendental to our experience, will be
explained in this section as far as possible, following in the footsteps of Srila Rupa Gosvami
(page 151).”
Srila Prabhupada, wanting to help us appreciate the transcendental position, explains it in
a way we can relate to. He compares the extraordinary taste relished in our eternal relationship
with Krsna to the taste we can find in our devotional practices (sadhana). “Generally this mellow
is experienced by chanting, hearing, worshipping in the temple, and being engaged in the service
of the lord (page 152).”
This also gives a clue to how one may achieve the transcendental experience of rasa.

Achieving Rasa
Previously, Srila Rupa Gosvami made a point about sadhana, “No one can take to devotional
service unless he has had a previous connection with it (page 19).” Yet Srila Prabhupada notes in
his commentary: “. . .even if there is no continuity, if only by chance one takes interest in a pure
devotee's instruction, he can be accepted and can advance in devotional service (page 19).”
In this chapter, Srila Rupa Gosvami reiterates his point, in the context of rasa: “This
relishing of transcendental mellow in discharging devotional service cannot be experienced by
all classes of men, because this sweet loving mood is developed only from one's previous life's'
activities. . . (page 152)”
5

Again, Srila Prabhupada notes that tasting rasa is also possible by the mercy of a pure
devotee. “In other words, this transcendental bliss is not to be enjoyed by any common man
unless he is so extraordinarily fortunate as to be in association with devotees or to be continuing
his previous birth's devotional activities (page 152).”

Rasa Attained by Sadhana

Srila Rupa Gosvami states that one can achieve the platform of rasa by discharge of sadhana-
bhakti, particularly by hearing the Srimad-Bhagavatam and associating with rasika Vaisnavas. 6

Srila Prabhupada summarizes, “This joyous life is attained by one's reaction to reading
Bhagavada-Gita or Srimad-Bhagavatam, or else from associating with persons who are very
interested in the spiritual life of Krsna consciousness — specifically those who have made the
determination to achieve the favor of Govinda by being engaged in transcendental loving service
at His lotus feet (page 152).”
By hearing and chanting, one achieves the blissful experience of rasa. To confirm this
Srila Prabhupada quotes the First Canto: “The beginning is to hear about Lord Krsna in the
association of devotees who have themselves cleansed their hearts by association. Hearing about
the transcendental activities of the Lord will result in one's feeling transcendental bliss always
(page 152).” 7

5 By perfect execution of sädhana one may achieve the stage of bhäva. In the next life, that
bhäva is given proper facility to mature into rasa.
6 Rasika Vaiñnava — one who is accomplished in relishing rasa.
 Srila Prabhupada further confirms this with a quotation from Bhagavada-gita. 8

Relation of Rasa and Sadhana

Although sadhana cannot directly bestow rasa, there is a definite link between them. By faithful
adherence to sadhana one may please the Lord and thereby attract suddha-sattva into his purified
heart, which will cause the awakening of devotional ecstasy — bhava. This bhava matures into
rasa only when "encouraged" or stimulated by various "principles of compelling force" (varieties
of vibhava).
Srila Prabhupada explains, “Being encouraged by such a feeling, one who is constantly
engaged in discharging the regulative principles of devotional service in such a way as to please
the Supreme Personality of Godhead develops two principles of compelling force, which come
under the heading of vibhava. Thus one enjoys transcendental bliss (page 152).”

Srila Rupa Gosvami summarily described the process of achieving rasa. He now reveals the
finer details, beginning with its first component:

VIBHAVA

Definition of Vibhava
Srila Rupa Gosvami defines vibhava as that which stimulates one's eternal affection for Krsna,
heightening it to the point of relishable intensity. Srila Prabhupada summarizes this definition:
“The cause or basis for relishing transcendental mellow is exactly what we mean by vibhava
(page 153).”

Overview of It's Subdivisions

Vibhava has two subdivisions: (1) alambana — basic, and (2) uddipana — impelling. To
validate this, Srila Rupa Gosvami quotes Agni Purana: “The basis from which ecstatic love is
born is called vibhava, which is divided into two — basic and impelling (page 153).”

"Basic" Excitants
"Basic" excitants (vibhava-alambana) are subjects in which rati (affection) is tasted. There are
two subjects who relish the taste of affection: Krsna, and Krsna's devotees. Chapters 21 through
25 will elaborately discuss this.

7 This is a translation of Çrémad-Bhägavatam 1.2.18 & 19: nañöa-präyeñv abhadreñu,

nityaà bhägavata-sevayä, bhagavaty uttama-çloke, bhaktir bhavati naiñöhiké; and tadä
rajas-tamo-bhäväù, käma-lobhädayaç ca ye, ceta etair anäviddhaà, sthitam sattve
prasédati.
8 This is a translation of Bhagavada-gétä 18.54: brahma-bhütaù prasannätmä.  . .
 "Impelling" Excitants
"Impelling excitants" (vibhava-uddipana) are objects by which rati is tasted. There are many
objects that impel Krsna and His devotee to relish the taste of affection: Krsna's flute, His
footprints, His prasadam, etc. Srila Prabhupada says, “Impelling ecstatic love, then, is that love
which develops when one sees an object which reminds him of Krsna (page 153).” Chapter 26
will elaborately discuss this.

Vibhäva
Devotional Excitents

Alambana Uddépan
"Basic" "Impelling"
ex: flute
Viñaya äçraya
Kåñëa Devotee

Srila Prabhupada's Summary of Vibhava's Subdivisions

“There are several origins or causes for this compulsive love of Krsna, such as Krsna Himself
[visaya], the devotees of Krsna [asraya], and Krsna's playing on the flute [uddipana] (page
153).”

All the Bhavas Stimulate Ecstatic Love

Although vibhava is the primary stimulant that transforms rati into rasa, it is not the only
stimulant involved in this transformation. The heightening of rati into rasa is a cooperative
effort, accomplished by interaction of all five emotional components — vibhava, anubhava,
sattvika, vyabhicari, and sthayi-bhavas.
Srila Prabhupada states, “There are eight transcendental symptoms found in the body
during ecstasy, and all of them are possible only by a mixture of the above mentioned five
ecstatic divisions. Without some mixture of these five ecstatic principles, one cannot relish
transcendental bliss (page 153).”

Vibhava-Alambana — Basic Excitants

 Vibhäva
Devotional Excitents

Alambana Uddépan
"Basic" "Impelling"
ex: flute
Viñaya äçraya
Kåñëa Devotee

Vibhava-alambana (subjects in which rati is tasted) has two subdivisions: (1) visaya, and (2)
asraya.
The word visaya literally means "object." Krsna is the object of affection.
The word asraya literally means "shelter." Krsna's devotee is the shelter wherein love of
Godhead resides. In context, asraya often translates into "reservoir." As a reservoir is the source
of one's water, a devotee is the source of love of Godhead.
In Waves of Devotion, we use the phrase "object of affection" to indicate visaya, and
"reservoir of affection" to indicate asraya.
Succinctly put, asraya is the lover and visaya is the beloved.

Visaya — Krsna as a Stimulus for Ecstatic Love

Krsna has different ages and forms that stimulate different devotees in different ways. Srila Rupa
Gosvami first mentions anya-rupa: Krsna taking an entirely different form to stimulate the
devotee's love for Him. An example is Brahma-vimohana-lila, when Krsna took the forms of so
many cows and cowherd boys, and thus stimulated Balarama's ecstatic love for Him (see last
paragraph of page 153).
Chapters 21 & 22
Qualities of Sri Krsna
 BRS 2.1.19 - 128
The end of Chapter 20 described anya-rupa, wherein Krsna takes an entirely different form to
stimulate His devotee's affection. Anya-rupa is the first of many ways in which Krsna stimulates
ecstatic love. Chapter 21 begins by describing the second way He does so:

Vibhäva
Devotional Excitents

Uddépan Alambana
"Basic" "Impelling"

Viñaya Äçraya
Kåñëa Devotee

Sva-Rüpa Anya-Rüpa
His own form A different form

Prakaöa-Rüpa Ävåta-Rupa
Kåñëa as Himself
Kåñëa in disguise

Sva-Rupa
In sva-rupa, Krsna's own form stimulates the devotee's love. Sva-rupa has two subdivisions: (1)
avrta-rupa (covered, disguised), and (2) prakata-rupa (fully manifested). Srila Prabhupada
explains, “Personal features can be divided into two: one feature is covered, and the other is
manifested (page 155).”

Avrta-Rupa — Krsna in Disguise

In avrta-svarupa, Krsna covers Himself in a disguise. Srila Prabhupada says, “When Krsna is
covered by different kinds of dress, His personal feature is called covered (page 155).”
Srimad-Bhagavatam illustrates this: “Uddhava said, ‘How wonderful it is that this
woman is attracting my ecstatic love exactly as Lord Krsna does. I think she must be Krsna
covered by the dress of a woman!’ (page 155)”
There is a difference between anya-rupa (another form) and avrta-svarupa (a disguised
form). Anya-rupa is a completely different expansion of Krsna. Avrta-svarupa is Krsna's own
form, superficially disguised to look like someone else.

Prakata-Rupa — Krsna, as He is
In prakata-svarupa, Krsna's own form, undisguised, stimulates the devotee's affection.
For example, “One devotee praised the bodily features of Krsna when he saw the Lord in
His personal manifest feature [prakata-svarupa]. He exclaimed, ‘How wonderful is the personal
feature of Lord Krsna! How His neck is just like a conch shell! His eyes are so beautiful, as
though they themselves were encountering the beauty of a lotus flower. . .’ (page 155)”
 Krsna's 64 Qualities
Srila Rupa Gosvami includes Krsna's 64 qualities in the Second Wave (vibhava) because they
stimulate the devotee's affection for Him.

Kåñëa
1 - 64

Näräyaëa
1 - 60

Brahmä
& Çiva
1 - 55
Jévas
1 - 50
Out of Krsna's 64 qualities, ordinary living entities can possess the first 50 "in minute
quantities," Siva and Brahma can "partially manifest" the first 55 qualities, and Narayana can
"manifest" the first 60 qualities, but only Krsna can posses any one of these qualities to an
infinite extent, "wonderfully manifest," and "in fullness as deep as the ocean."
Moreover, Krsna exclusively possesses four unique qualities, not found in anyone else:
(1) lila-madhurya — uniquely sweet pastimes, (2) prema-madhurya — uniquely sweet devotees,
(3) venu-madhurya — uniquely sweet all-attractive flute, and (4) rupa-madhurya — uniquely
sweet beauty.

Lila-Madhurya — Uniquely Sweet Pastimes

What makes a person sweet is his submission to those who love Him. No other form of Godhead
has pastimes as sweet as Krsna's, because in no other pastimes is the Lord so completely
submissive to the love of His devotees. Thus, among all the Lord's pastimes, Vrndavana-lila is
the sweetest. And among all the Vrndavana pastimes, rasa-lila is the sweetest; because in rasa-
lila Krsna submits to His devotee's love to the fullest extent.
One devotee said, “I know about Narayana, the husband of the goddess of fortune, and I
also know about many other incarnations of the Lord. Certainly all the pastimes of such
incarnations are exciting to my mind, but still the pastimes of the rasa-lila performed by Lord
Krsna Himself are wonderfully increasing my transcendental pleasure (page 191).”

Prema-Madhurya — Uniquely Sweet Devotees

As a jewel becomes more beautiful when set in a golden ring, a person becomes more enchanting
when surrounded by those who adore him. The Vrajavasi's love for Krsna is unparalleled.
Surrounded by them, Krsna shines most brightly as the zenith of enchanting sweetness.
Among all devotees of the Supreme Personality of Godhead, the Vrajavasi's love is the
deepest. Among all the Vrajavasis, the gopi's love is best. Thus Sri Krsna is the most attractive
form of the Lord, with Srimati Radharani at His left.
 Srila Rupa Gosvami helps us appreciate the gopis' intense love by quoting two slokas
from Srimad-Bhagavatam. One of them reads: “. . .the gopis lament, ‘My dear Krsna, during the
daytime when You go out into the forest of Vrndavana with Your cows, we consider one moment
to be twelve years. . . And again when You come back at the end of the day, by seeing Your
beautiful face we are so much attracted that we are unable to stop looking upon You constantly.
At these times, when there is occasional blinking of our eyelids, we condemn the creator,
Brahma, as a dunce, because he does not know how to make perfect eyes!’ (page 191)”

Venu-Madhurya — Uniquely Sweet All-Attractive Flute

No being in this world can compare to Krsna's musical expertise. Even the great demigods
cannot understand it. Indra, the king of heaven, is a connoisseur of the finest things in the
universe. Siva and Brahma are the originators of all musical skills. Yet neither Indra, Brahma,
nor Siva can even comprehend the fascinating musicianship that Krsna joyfully displays when
playing His flute.
In Srimad-Bhagavatam, the gopis tell mother Yasoda, “When your son plays on His flute,
Lord Siva, Lord Brahma and Indra — although they are supposed to be the greatest learned
scholars and personalities — all become bewildered. Although they are all very great
personalities, by hearing the sound of Krsna's flute they humbly bow down and become grave
from studying the sound vibrated (page 192).”
Krsna's musical excellence, expressed through the melodies of His flute, stimulates
everyone to engage in His devotional service.

Rupa-Madhurya — Uniquely Sweet Beauty

In this world, beautiful people use jewellery, clothing and other ornaments to enhance their
charm. Krsna, however, is bhusana-bhusanangam: He beautifies His ornaments, not visa-versa. 9

Thus, Krsna is far more beautiful than anyone. Even amongst all expansions and incarnations of
Godhead, Krsna's beauty is supreme.
Krsna's sweet beauty attracts everyone, even Krsna Himself, to taste the bliss of His
devotional service. “One day Krsna happened to see the shadow of His beautiful form reflected
on the jewelled foreground. Upon seeing this bodily reflection, He expressed His feelings: ‘How
wonderful it is that I have never seen such a beautiful form! Although it is My own form, still,
like Radharani, I am trying to embrace this form and enjoy celestial bliss’ (page 193).”

Conclusion
Krsna's wonderful pastimes, devotees, flute-playing, and beauty make Him the supremely
attractive entity. Thus even among all expansions of Godhead, He is the supreme stimulus
(vibhava-visaya) for ecstatic love.

9 Çrémad-Bhägavatam 3.2.12.
Chapter 23
Krsna's Personality
 BRS 2.1.220 - 250
Continuing the description of vibhava-visaya (Krsna as the object of loving stimulation), Srila
Rupa Gosvami explains that Krsna manifests His sweetly stimulating qualities in three
gradations of fullness, “. . .when He is in Goloka Vrndavana His transcendental qualities are
exhibited as most perfect, when He is in Dvaraka He exhibits His qualities as very perfect, and
when He is in Mathura He exhibits His qualities as perfect (page 195).”

Krsna's Four Personality Traits

Besides His 64 qualities, another stimulus of ecstatic love is Krsna's personality. Srila Rupa
Gosvami defines and illustrates the four classical types of heroic personalities, all perfectly found
in Krsna: (1) dhirodatta — noble, (2) dhira-lalita — romantic, (3) dhira-prasanta — peaceful,
and (4) dhiroddhata — haughty. 10

These may appear to be contradictory traits. How can one be humble and haughty, noble
and proud? Srila Rupa Gosvami explains that Krsna is the reservoir of all qualities, and by His
inconceivable potency He can reconcile all contradictory qualities and personality traits.
One should never consider Krsna's haughtiness, etc. to be impure. All His characteristics
are wonderfully attractive and pure; for He is completely free from mundane inebrieties like
illusion, fatigue, errors, roughness, etc. (See page 198.)

10 In all four, the word dhéra ("firmly") is common.

Chapter 24
Further Traits of Sri Krsna
 BRS 2.1.251 - 270
Chapter 24 concludes Srila Rupa Gosvami's description of Krsna as the stimulus of ecstatic love
(vibhava, visaya-alambana) by defining and illustrating eight prominent excellences in Krsna's
character:
1. Decorated — Sobha 5. Steady — Stairya
2. Enjoying — Vilasa 6. Predominating — Teja
3. Pleasing — Madhurya 7. Meticulous Dresser — Lalita
4. Dependable — Mangalya 8. Magnanimous — Audaryam
Chapter 25
Devotees of Krsna
 BRS 2.1.271 - 300
Chapters 20 through 24 concern visaya (Krsna as a stimulus for ecstatic love). Chapter 25
concerns asraya (The devotee as a stimulus for ecstatic love).

Asraya — The Devotee as a Stimulus for Ecstatic Love

There are two subdivisions of devotees who stimulate ecstatic love for Krsna: (1) sadhaka — the
practicing devotee; (2) siddha — the perfect devotee.
Srila Prabhupada says, “The devotees of Krsna can be classified into two groups: those
who are cultivating devotional service in order to enter into the transcendental kingdom, and
those who are already in the perfectional stage of devotional service (page 203).”

Sadhaka - The Practicing Devotee

A sadhaka is an advanced devotee, not just any practitioner. Only one who is full of ecstaticy
love can stimulate that love to arise in others. Therefore, in this context, sadhaka refers to
devotees on the platform of rati, attraction for Krsna; in other words, bhava-bhakti.11

Srila Prabhupada says, “A person who has attained attraction for Krsna and who is not
freed from the material impasse, but who has qualified himself to enter into the kingdom of God,
is called a sadhaka. Sadhaka means one who is cultivating devotion in Krsna consciousness
(page 203).”
Since a sadhaka is at the stage of bhava, he is qualified to periodically recieve direct
darsana of Krsna. However, since he has not yet attained prema, he is not quite out of the
"material impasse." An example of this is Bilvamangala Thakura (who began to manifest
sattvika-bhava in the process of attaining perfection).
If even a sadhaka can stimulate ecstatic love, what to speak of the perfected souls
(siddha).

Siddha - The Perfected Devotee

A devotee at the stage of bhava is a sadhaka-asraya-alambana. A devotee at the stage of prema
is a siddha-asraya-alambana.
Srila Rupa Gosvami defines the siddha as one who never experiences any material
distress, who always takes shelter of Krsna, who completely offers all his activities for the Lord's
pleasure, and who always tastes the happiness of uninterupted prema.

11 Thus a sädhaka must at least be a madhyama-adhikäri. Çréla Rüpa Gosvämé quotes a

prominent verse from the Eleventh Canto that describes a madhyama-adhikäri as one
who has at least begun to develop love for the Lord: éçvare tad-adhineñu, bäliçeñu
dviñatsu ca, prema-maitri-kåpokekña, yaù karoti sa madhyamaù. "An intermediate or
second-class devotee, called madhyama-adhikäri, offers his love to the Supreme
personality of Godhead, is a sincere friend to all devotees of the Lord, shows mercy to
people who are innocent and disregards those who are envious of the Supreme
Personality of Godhead." (SB 11.2.46)
 Srila Prabhupada summarizes, “When a devotee is never tired of executing devotional
service and is always engaged in Krsna Conscious activities, constantly relishing the
transcendental mellows in relationship with Krsna, he is called perfect (page 203).”

Äçraya
Devotees who Stimulate Ecstatic Love

Sädhaka Siddha
Practicing Perfect

Saàpräpta-Siddhiù Nitya-Siddha
Became Perfect Eternally Perfect

Sädhana-Siddha Kåpä-Siddha
Perfect by Practice Perfect by Mercy
There are two categories of siddhas (perfect devotees): (1) nitya-siddha —those who are
always perfect, and (2) those who become perfect.
There are two sub-categories of those who become perfect: (1) sadhana-siddha — those
who become perfect by practice, and (2) krpa-siddha — those who become perfect by causeless
mercy.

Sadhana-Siddha — Perfect by Practice

Srila Rupa Gosvami gives two examples of devotees who have achieved perfection by practice
(sadhana-siddhas): (1) SB. 3.15.25, and (2) the example of Markendeya Rsi: “Learned sages like
Markendeya Rsi attained perfection in devotional service by executing such regulative principles
of service (page 204).”

Krpa-Siddha — Perfect by Mercy

Srila Rupa Gosvami gives two examples of devotees who have achieved perfection by the Lord's
causeless mercy (krpa-siddha): (1) The dvija-patnis (wives of the yajnic brahmanas), and (2)
Sukadeva Gosvami.

Dvija-Patnis
Srila Rupa Gosvami quotes their husbands, who praised them for receiving the favor of the Lord
without executing reformatory practices. (page 204)

Sukadeva Gosvami
Narada praised him thus: “My dear Sukadeva Gosvami, you never took the trouble to reside
under the care of a spiritual master, yet you have attained such a great status of transcendental
knowledge. You never took the trouble to undergo severe austerities, and still, how wonderful it
is that you have been situated in the most perfect stage of love of Godhead (page 205).”
 Nitya-siddha — Eternally Perfect
Devotees who are never separated from Krsna are called nitya-siddha — eternally perfect. Nitya-
siddhas are on the same platform as Sri Krsna, since they, like He, are never touched by maya.
“Persons who have achieved eternal blissful life exactly on the level of Sri Krsna, and who are
able to attract Lord Krsna by their transcendental loving service, are called eternally perfect
(page 205).”
In the Padma Purana the Lord tells Satyabhama, “My dear wife, you should not consider
that My associates are ever separated from Me (page 205).”
This is confirmed in a later reference from the same Purana: “When the Supreme Lord
returns to His eternal abode, His associates return with Him to their respective places. As such,
these ever liberated Vaisnavas are never bound by the material laws of birth and death (page
206).”
Quoting Bhagavada-Gita, Srila Prabhupada points out that the birth, deeds, and activities
of nitya-siddha devotees are as transcendental as the Lord's. 12

Eternal Individuality of Nitya-Siddhas

Just as the post of God is eternally filled by Krsna, the various nitya-siddhas are also eternally
situated in their respective posts. Thus, “. . .as it is an offence to consider oneself Krsna, so it is
offensive to consider oneself to be Yasoda, Nanda or any other associate of the Lord (page 206).”

Nitya-Siddhas Possess 55 of Krsna's Qualities

As previously described, Krsna possesses 64 qualities, and a pure devotee can possess the first
50 (in minute quantity). The nitya-siddhas, however, posses 55 qualities, “all of the ever
liberated souls who accompany the Lord have the first fifty-five of the qualities, without any
doubt (page 206).”

12 The verse Çréla Prabhupäda paraphrases is BG 4.9: Janma karma ca me divyam.  . .
Chapter 26
Stimulation for Ecstatic Love
 BRS 2.1.301 - 384
Chapters 20 - 25 concern alambana (Krsna or Krsna's devotee as a stimulus for ecstatic love).
Chapter 26 concerns uddipana (Objects related to Krsna or His devotee, which stimulate ecstatic
love).

There are four categories of uddipana (objects that stimulate love of Krsna): (1) guna — the
Lord's qualities, (2) cesta — His adventures, (3) prasadhana — His embellishments and attire,
and (4) prakirna — miscellaneous stimulants.

Guna — Qualities
There are three categories of Krsna's qualities: (1) Krsna's bodily qualities, (2) His mental
qualities, and (3) His vocal qualities.
Srila Prabhupada says, “As far as Krsna's transcendental qualities are concerned, they can
be divided into three groups: qualities pertaining to His transcendental body, qualities pertaining
to His transcendental speech and qualities pertaining to His transcendental mind (page 209).”

Alambana or Uddipana?
A question arises: Vibhava-alambana refers to Krsna as the stimulus for ecstatic love. Krsna's
body, mind, and words are non-different from Him, so why does Srila Rupa Gosvami separately
categorize them as uddipana?
The Nectar of Devotion gives the answer: “There is no difference between Krsna and His
body, and therefore the transcendental features pertaining to His body are the same as Krsna
Himself. But because these qualities stimulate the devotee's ecstatic love, they have been
analyzed as separate causes of that love. . . In technical Sanskrit terms, such qualities as Krsna's
name and fame are accepted both as reservoirs of and as stimulations for love of Krsna (pages
209 - 210).”
Krsna's body, mind, and words are both alambana and uddipana; and may be described
as either, depending on the point of view. If considered non-different from His personality, they
are alambana. If considered distinct entities (for the sake of more detailed analysis), they are
uddipana.

Bodily Qualities (Guna)

Srila Rupa Gosvami has already described Krsna's mind and speech in the section on visaya-
alambana (Chapters 21 & 22). Therefore, he now only discusses the qualities of Krsna's body.
Krsna's bodily qualities are of four types: (1) age, (2) beauty, (3) ornaments, and (4)
softness.
 Age
Srila Rupa Gosvami describes three distinct age periods in Krsna's pastimes: (1) kaumara — 1-5
years old; (2) pauganda — 6-10 years old; and (3) kaisora — 11-15 years old.

Uddépana

Guëa Ceñöä Rüpa Prakérëa

Body Mind Words

Age Beauty Ornaments Softness

Kumära Pauguëòa Kaiçora

Different ages stimulate different relationships with Krsna. Srila Prabhupada explains,
“His affectionate pastimes with His parents are exhibited in His kaumara age. His friendship
with the cowherd boys is exhibited during the pauganda period. And His friendship with the
gopis is exhibited during the age of kaisora. Krsna's pastimes at Vrndavana are finished by the
end of His fifteenth year, and then He is transferred to Mathura and Dvaraka, where all other
pastimes are performed (page 210).”

Kaisora — Adolescence
Srila Rupa Gosvami divides kaisora into three parts: (1) adya kaisora — early adolescence;
(2) madhya kaisora — mid-adolescence; and (3) antya kaisora — late adolescence.

Adya-Kaisora — 11 to 12

Kåñëa's Age

kumära pauguëòa kiçora

1-5 6 - 10 11-15

adya madhya antya

11-12 13-14 15

At this age, “The luster of His body becomes so bright that it becomes an impetus for ecstatic
love. Similarly, there are reddish borders around His eyes, and a growth of soft hairs around His
body (page 210).”
A gopi named Kundalata describes Adya-Kisora-Krsna, “My dear friend, I have just seen
an extraordinary beauty appearing in the person of Krsna. His blackish bodily hue appears just
like the indranila jewel. There are reddish signs on His eyes, and small soft hairs are coming out
of His body. The appearance of these symptoms has made Him extraordinarily beautiful (page
210).”
 Madhya-Kaisora — 13 to 14
At this age, Krsna's body manifests in a more developed way. “When Krsna attained thirteen
years of age, His two thighs were challenging the trunks of elephants, His rising chest was trying
to come with peace talks with doors of jewels, and His two arms were minimizing the value of
the bolts found on doors. Who can describe the wonderful beauty of these features of Krsna
(page 211)?”
Srila Rupa Gosvami describes, “The special beauty of Krsna's body was His mild
smiling, His restless eyes and His world-enchanting songs. These are the special features of this
age (page 211).”
Special pastimes characterize madhya kaisora. “At this age Krsna enjoyed the rasa-lila,
exhibiting His power of joking with the cowherd girls and enjoying their company in the bushes
of the gardens by the bank of the Yamuna (page 212).”

Krsna's ages
and their attractions:
Adya-Kaisora
beautiful bodily luster, reddish edges
around the eyes, soft new bodily hairs

Madhya-Kaisora
mild smiling, restless eyes, world-
enchanting flute songs, rasa-lila

Antya-Kaisora
all the above qualities reach full
maturity.

Srila Rupa Gosvami describes the special sights in Vrndavana caused by Krsna's
madhya-kaisora pastimes with the gopis. He then describes the powerful effect of Krsna mid-
adolescent features on the minds of the gopis (See page 212).

Antya-Kaisora
Srila Rupa Gosvami gives a similar analysis and description antya-kaisora, which begins at the
age of fifteen (see the end of page 212 to the first paragraph of page 213).

Nava-Yauvana
After antya kaisora (at the age of 16), the features of Krsna's body are nava-yauvana. He
continuously manifests this age throughout the remainder of His pastimes. Descriptions of nava-
yauvana begin from the first paragraph of page 213.
 Beauty
After age, beauty is the second category of Krsna's bodily qualities that stimulate ecstatic love
(uddipana). Srila Rupa Gosvami says, “Krsna was beautiful because every part of His body was
perfectly arranged without any defect (page 213).”

Ornaments
Krsna's ornaments are the third category of bodily qualities that stimulate ecstatic love. Srila
Rupa Gosvami describes this in an interesting way. “The ornaments on the body of Krsna were
not actually enhancing His beauty, but just the reverse — the ornaments were beautified by
Krsna (page 214).”
Srila Rupa Gosvami only briefly describes Krsna's ornaments; there is an extensive
description in the upcoming sections.

Softness
The softness of Krsna's body (mrduta) is the fourth category of qualities that stimulate ecstatic
love for Him.
Srila Rupa Gosvami describes, “A person is called mild when he cannot bear the touch of
the most soft thing. It is described that every part of Krsna's body was so soft that even at the
touch of newly grown leaves, the color of the touched part of His skin would change (page
214).”

Cesta - Adventures
Srila Rupa Gosvami has finished an extensive description of Krsna's guna (qualities). Now he
briefly mentions Krsna's cesta (adventures, or "endeavors") such as rasa-lila and dusta-vadha
(slaying the wicked). “Krsna's endeavors were always bent towards arranging the rasa dance, as
well as towards killing the demons in the forest of Vrndavana (page 214).” These adventures
stimulate the devotee's love for Krsna.

Prasadana - Attire
The third category of uddipana is prasadana (attire). Krsna has three categories of attire: (1)
vasana — dress, (2) akalpa — natural decorations, and (3) mandana — jewellery and ornaments.
 Uddépana

Guëa Ceñöa Prasadana Misc.

Attire

Vaçana Äkalpa Mandana

Clothes Natural ornaments Jewery

2 piece Hairstyle Crown

4 piece Ointments Earrings
Many Garlands Anklet
Face paintings Necklace
Tiloka Etc.
Toy-lotus

Vasana — Dress
Srila Rupa Gosvami describes Krsna's three types of dress: (1) yuga — two-piece outfit of upper
and lower garments, (2) catuska — four-piece outfit, and (3) bhuyistha — elaborate, festive
outfit of many garments.
Srila Prabhupada summarizes by describing His four-piece outfit. “Generally, there are
four kinds of garments on the body of Krsna: His shirt, turban, belt, and wearing garments. In
Vrndavana, He used to put on reddish garments, with a golden shirt on His body and an orange
colored turban on His head (page 214).”

Akalpa — Natural Decorations

Krsna has six types of natural decorations: (1) kesa-bandha — hair style, (2) alepa — ointments
smeared on His body, (3) mala — flower garlands, (4) citra — face painting, (5) visesaka —
decorative tilaka, and (6) keli-padma — toy lotus.
Srila Prabhupada summarizes this list, “Akalpa refers to the texture of Krsna's hair, His
nicely dressed body anointed with sandalwood pulp and decorated with flower garlands, His
tilaka, and His chewing pan (page 214).”

Kesa-Bandha — Hair Style

Srila Rupa Gosvami describes several subdivisions of hairstyles, which Srila Prabhupada
summarizes: “Krsna's hair was sometimes decorated with flowers placed on the middle of His
head, or else it was reaching down to His back (page 214).”

Alepa — Ointments
“As for the ointment on His body, the pulp of sandalwood generally appeared to be white, and
when it was mixed with saffron dye it appeared to be yellow (page 214).”
 Mala — Garlands
Srila Rupa Gosvami describes various types of garlands, the most prominent being the
Vaijayanti. “This vaijayanti garland is made of flowers of at least five different colors. Such a
garland was always long enough to touch Krsna's knees or feet (page 214).”

Citra — Face Painting

“Artistic paintings with sandalwood pulp and colored sandalwood were also to be found on the
body of Krsna (page 215).”

All these aspects of Krsna's natural decorations evoke ecstatic love. Srila Rupa Gosvami
describes an instance of this, “One gopi addressed her friend and began to praise the bodily
features of Krsna. She praised His blackish complexion, the reddish color of chewing pan
enhancing His beauty hundreds of times, the curling hair on His head, the kumkum red spots on
His body and the tilaka on His forehead (page 215).”

Mandana — Jewellery and Ornaments

Srila Rupa Gosvami lists some of Krsna's jewellery and ornaments: kirita — crown, kundala —
earring, hara — necklace, catusiki — another type of necklace, valaya — bracelet, anguliyaka
— ring, keyura — armlet, and nupura — anklet.
Srila Prabhupada summarizes, “Krsna, the enemy of Agha, always looked beautiful with
His incomparable helmet, His earrings made of diamonds, His necklace of pearls, His bangles,
His embroidered garments, and the beautiful rings on His fingers (page 215).”
All these ornaments can stimulate a devotee's ecstatic love.

Vana-Mali
Vana-mali means one who extensively decorates Himself with flowers from the forest (flower
crowns, flower bracelets, etc.). “Krsna was dressed like this not only in Vrndavana but also on
the Battlefield of Kuruksetra. Seeing such colorful dress and the garlands of different flowers,
some great sages prayed 'Lord Krsna is going to the Battlefield of Kuruksetra not to fight, but to
grace all the devotees with His presence’ (page 215).”

Miscellaneous
Items such as Krsna's flute, buffalo horn, footprints, etc. comprise the fourth category of
uddipana. The remainder of Chapter 26, beginning with the section on Krsna's flute, lists each
item and illustrates it poetically.