KAMPĀŚRU PULAKA STAMBHA SVEDA GADGADA RAKTATĀ
UNMĀDO JĀḌYAM ITY ETAI RATNAIR NAVABHIR UTTAMAIḤ
KḶṚPTĀLANKṚTI SAṀŚLIṢṬĀṀ GUṆĀLĪ PUṢPA MĀLINĪM
DHĪRĀDHĪRĀTVA SAD VĀSA PAṬAVĀSAIḤ PARISKṚTĀM

kampa – shivering; aśru – shedding tears; pulaka – goosepimples; stambha – stupor; sveda -perspiration; gadgada – faltering voice; raktatā – redness; unmādo – madness; jāḍyam – inertia; iti – thus; etaiḥ – with them; ratnaiḥ – with jewels; navabhiḥ – with nine; uttamaiḥ – with the greatest; klṛpta – made; alaṅkṛti – adorned; saṁśliṣṭāṁ – embraced; guṇa – attributes; ālī – multitude; puṣpa – flower; mālinīm – garlands; dhīrādhīratva – being calm and not-calm; sad vāsa – with good dress; paṭa-vāsaiḥ – with fragrant powders; pariskṛtām – anointed.

She is decorated with the nine best jewels (of loving ecstasy):
Shivering, shedding tears, goose pimples, stupor, perspiration, faltering voice, redness, madness and inertia.
She is also decorated with a flower garland consisting of all Her different attributes, and Her body is anointed with the fragrant powders of the calm-and not-calm mood.

Stavāmṛta Kaṇā Vyākhyā:

Nobody but a great object of Premamayī’s mercy is able to define Śrī Rādhārāṇī’s constitution in the way that Śrīla Raghunātha dāsa Gosvāmī does in this ‘Premāmbhoja maranda’-praise.

No one can express how wonderful and priceless is the contribution of this stava of Śrīla Dāsa Gosvāmīpāda to the spiritual kingdom, above all for those who practise rādhā-snehādhikā mañjarī bhāva.

In the fourth and fifth verse, he first mentions seven sāttvika bhāvas plus two sañcārī bhāvas (inertia and madness) to define the nine jewels that decorate Śrīmatī.

After beautiful girls have bathed, dressed and anointed themselves, they decorate themselves with tilaka, jewels and pearls. Śrī Rādhikā’s mahā bhāva-body is beautified by nine jewels.

Generally we know the nine jewels to be – Muktā (pearl), Māṇikya (jewels), Vaidūrya (cats’ eyes), Gomeda (topaz), Vajra (diamond), Vidruma (coral), Padmarāga (ruby), Marakata (emerald) and Nīlamaṇi (sapphire).

On Śrī Rādhā’s ecstatic body there are also nine jewels of loving ecstasy:
Shivering, shedding tears, goose pimples, stupor, perspiration, changing voice and changing complexion plus two vyābhicārī bhāvas, namely inertia and madness. Śrīmatī’s mahābhāva body is decorated with all these ornaments of ecstatic love.

There are five stages in which the sāttvika bhāvas are manifest, namely dhūmāyita (smoldering), jvalita (ignited), dīpta (burning), uddīpta (blazing) and sudīpta (brightly blazing).

advitīyā amī bhāvā athavā sadvitīyakāḥ;
īṣad vyaktā apahnotuṁ śakyā dhūmāyitā matāḥ
te dvau trayo vā yugapad vāntaḥ suprakaṭāṁ daśāṁ;
śakyāḥ kṛcchreṇa nihnotuṁ jvalitā iti kīrtitāḥ
prauḍhāṁ tri caturā vyaktiṁ pañca vā yugapad gatāḥ;
samvarītum aśakyās te dīptā dhīrair udāhṛtāḥ
ekadā vyaktim āpannāḥ pañcadhāḥ sarva eva vā;
ārūḍhā paramotkarṣam uddīptā iti kīrtitāḥ
uddīptā eva sūddīptā mahābhāve bhavanty amī;
sarva eva parāṁ koṭiṁ sāttvikā yatra vibhrati
(Bhakti Rasāmṛta Sindhu)

“When one or two sāttvika bhāvas are slightly visible and they can be concealed,
it is called dhūmāyita (smoldering). When two or three sāttvika bhāvas arise simultaneously and are hidden only with effort, it is called jvalita. When three, four or five sāttvika bhāvas arise simultaneously and they cannot be hidden, it is called dīpta sāttvika bhāva. When five or six bhāvas arise simultaneously and reach a climax it is called uddīpta, and when all these ecstasies culminate in mahā bhāva, they are called suddīpta.”

Śrī Rādhā has the pinnacle of mahā bhāva, named mādana mahābhāva, therefore all sāttvika bhāvas reach their climax in Her alone.

About the cause of the arising and the symptoms of the eight sāttvika moods, Śrīla Rūpa Gosvāmī has written in Bhakti Rasāmṛta Sindhu:

stambha harṣa bhayāścarya viṣādāmarṣa sambhavaḥ
tatra vāg ādi rāhityaṁ naiścalyaṁ śūnyatādayaḥ

“Jubilation, fear, astonishment, sorrow and remorse cause the sāttvika ecstasy of stambha (becoming stunned) to arise. Thus one becomes speechless, motionless and empty.”

svedo harṣa bhaya krodhādijaḥ kleda kara-stanoḥ

“Bodily heat is caused by sweat, joy, fear and anger”.

romāñco’yaṁ kilāścarya harñotsāha bhayādijaḥ
romnṛṇām abhyudgamatas tatra gātra saṁsparśanādayaḥ

“The sight of something astonishing, jubilation, enthusiasm and fear cause goose pimples. Then the pores of the skin open and the body is touched.”

viṣāda vismayāmarṣa harṣa bhītyādi saṁbhavam
vaisvaryaṁ svara-bhedaḥ syād eṣa gadgadikādi kṛt

“Changing of the voice is caused by sorrow, amazement, anger, jubilation and fear. This causes one stuttering.”

vitrāsāmarṣa harṣādyair vepathur gātra laulya kṛt

“Fear, remorse and jubilation cause trembling, which means a restlessness of the body.”

viṣāda roṣa bhītyāder vaivarṇyam varṇa vikriyā
bhāva-jñair atra mālinya kārśyādyāḥ parikīrtitāḥ

“According to the knowers of emotions, sorrow, anger and fear cause one to become pale and skinny.”

harṣa roṣa viṣādādyair aśru netre jalodgamaḥ
harṣaje’śruni śītatvam auṣṇyaṁ roṣādi sambhave
sarvatra nayana kṣobha rāga sammārjanādayah

“Tears is water shed from the eyes out of joy, anger or sorrow. Tears of joy are cool and tears of anger are warm, but all kinds of tears agitate the eyes, make them red and cause them to be rubbed.”

pralayaḥ sukha duḥkhābhyāṁ ceṣṭājñāna nirākṛtiḥm
atrānubhāvāḥ kathitā mahī nipatanādayaḥ

“Pralaya, or devastation, is experienced when all activities and consciousness cease. Devastation is a sāttvika bhāva this is caused by joy or by sorrow, and results in falling on the ground in a swoon.”

These are the eight sāttvika ecstasies.

Except for the last one, pralaya, Śrī Raghunātha dāsa has described them all as ornaments of ecstasy in this verse. The loving maidservant did not include the swoon, although all eight sāttvika ecstasies are present in Śrī Rādhā’s most highly inflamed state (suddīpta).

The nine jewels have been compared here to seven sāttvika ecstasies plus inertia and madness, two sañcārī bhāvas.

unmādo hṛd bhramaḥ prauḍhānandāpad virahādijah
atrāṭṭa-hāso naṭanaṁ saṅgītaṁ vyartha ceṣṭitam
pralāpa dhāvana krośa viparīta kriyādayaḥ
(Bhakti Rasāmṛta Sindhu)

“The delusion of the heart called unmāda, or madness, is caused by great ecstasy, great calamity or separation. Such a mad person loudly laughs, dances, sings, acts and speaks nonsensically, runs around, screams and does everything wrong.”

jāḍyam apratipattiḥ syād iṣṭāniṣṭa śrutīkṣaṇai.
virahādaiś ca tan mohāt pūrvāvasthāparāpi ca
atrānimiṣatā tuṣṇīṁ bhāva vismaraṇādayaḥ

“Inertia comes to pass after seeing or hearing something pleasant or unpleasant, or when losing one’s sense because of being separated from somebody. This condition is like the one preceding or following moha, or illusion. One stares without blinking, and becomes silent and forgetful.”

These are the nine divine jewels that ornament Śrī Rādhikā.

sūddīpta sāttvika bhāva harṣādi sañcārī
ei saba bhāva bhūṣaṇa saba aṅge bhari
(C.C.)

“Her whole body is filled with inflamed sāttvika ecstasies and sañcārī bhāvas like joy. Her whole body is thus adorned with ornaments of ecstasy.”

Then it is said – guṇālī puṣpa mālinīm:

“Śrīmatī is beautified by a garland of flowers, that are all Her different attributes.”

Just as a flower garland increases the beauty of the body, so Rādhikā’s divine form becomes more beautiful because of Her qualities.
Śrī Rādhā is a boundless ocean of qualities. Just like Kṛṣṇa, She has innumerable attributes, with which She delights Kṛṣṇa in the madhura rasa and gives joy and enchantment to Her girlfriends and relatives.
Śrīla Rūpa Gosvāmī has mentioned 25 of them in his ‘Ujjvala Nīlamaṇi’.
These attributes, like sweetness, youthfulness, restlessness of the eyes, having a bright smile, being endowed with auspicious and enchanting lines of good fortune, being expert in singing, speaking charming words, expertise in joking, humility, compassion, cleverness, dexterity, shyness, adherence to the etiquette, gravity, patience and playfulness, having the greatest thirst for mahābhāva, residing in the love of Gokula, being the most famous girl in the world, being affectionate to Her superiors, being controlled by the love of Her girlfriends, being Kṛṣṇa’s chief sweetheart and being the One who always subdues Keśava with Her words, are beautifying Her body like a long garland of flowers – guṇa śreṇī puṣpamālā sarvāṅge pūrita (C.C.)

Then it is said:

dhīrādhīratva sad vāsa paṭavāsaiḥ pariṣkṛtām

“Her divine body is anointed with the fragrant powder of a calm, yet not-calm mood.”

This means that a heroine, when She is angry with Her gallant, can assume three different kinds of moods:
dhīra (calm), adhīra (not calm) or dhīrādhīra (calm, yet not-calm).

The dhīra nāyikā speaks sarcastic, joking words to her guilty lover, the adhīra nāyikā angrily speaks cruel words to the guilty lover, and the dhīrādhīra nāyikā sheds tears and speaks crooked words to the hero.

The following example of this (dhīrādhīrā tu vakroktyā savāṣpaḥ vadati priyam) is given in Ujjvala Nīlamaṇi:

gopendranandana na rodaya yāhi yāhi sā te vidhāsyati ruṣaṁ hṛdayādhi devī
tvan mauli mālya hṛta yāvaka paṅkam asyāḥ pāda dvayaṁ punar anena vibhūṣayādya

Śrī Rādhā said: “O Gopendranandana! Don’t cry anymore! Go! Go! The goddess of your heart (this other girl) will become angry if You stay here any longer! The garland that decorates Your head has taken the red lac from her footsoles. Go and decorate these foot soles  with that again today!”

This astonishing savour of dhīrādhīrā is caused when the dhīrā and the adhīrā moods are mixed, and it is smeared on Śrīmatī’s divine mahā-bhāva-body like fragrant powder called paṭavāsa.
dhīrādhīrātmaka guṇa aṅge paṭavāsa (C.C.)

kampāśru pulaka stambha sveda gadgada;
raktatā unmāda jāḍya parama sampad
sarvottama nava ratna aṅge alaṅkāra;
paridhāna kore rāi kibā camatkāra (4)

saundarya mādhurya ādi rādhā rūpa guṇa
sei saba puṣpamālā ati suśobhana
dhīrā o adhīra bhāva divya gandhamaya
ei paṭavāsa rādhāra aṅgete śobhaya (5)

“How amazing! Rāi wears the nine greatest jewel ornaments on Her body, that are the greatest treasure – shivering, shedding of tears, horripilation, stupor, perspiration, stuttering, redness, madness and inertia!
Śrī Rādhā is greatly beautified by a garland of flower-like forms and attributes such as beauty and sweetness, and Her body is further beautified by the divine fragrant powder of a calm, yet not-calm mood.”

from “Sri Sri Stavavali 3″”
(English commentary by Rādhākuṇḍa Mahānta
Paṇḍita Śrīmat Ananta Dāsa Bābājī Mahārāja)

Translated by Sri Advaita das