Southern Ocean

Third Wave
Sättvika-Bhäva
Chapter 28
Chapter 28
Existential Ecstatic Love
 BRS 2.3.1 - 96

"Existential ecstatic love" is Çréla Prabhupäda's translation of

sättvika-bhäva. In this context, the word sattva does not refer to
the mode of goodness but to çuddha-sattva, the Lord's internal
potency. As described in Chapter Seventeen, the Lord's çuddha-
sattva descends into the heart at the stage of bhäva and
energizes one's dormant love of Godhead. Sättvika-bhävas are
ecstatic symptoms that arise directly from the çuddha-sattva
enriched soul.

Distinguishing Sättvika-Bhäva From Anubhäva

Sättvika-bhäva can also be considered anubhäva because both
are expressions which result from heightened affection for Kåñëa.
However, the two are distinct in an important way: Anubhäva
involves a conscious decision how to suitably express one's
ecstasy. Sättvika-bhäva, however, is an unpremeditated,
involuntary expression arising directly from the spiritually
surcharged consciousness.
In anubhäva one experiences devotional ecstasy and thinks
"let me dance," or "let me sing" — the expression is wilful and
voluntary. In sättvika-bhäva, however, the expression is
involuntary. It occurs when one's heightened affection overrides
the intelligence and directly causes involuntary physical
symptoms such as paralysis, standing of the hairs, perspiration,
tears, etc.

Definition of Sättvika-Bhäva
Sättvika-bhäva is an involuntary physical symptom, occurring
when emotions in the primary or secondary mellows intensely
overpower the heart (citta). Çréla Prabhupäda explains, "When a
devotee is always intensely affected by love for Kåñëa in a direct
relationship with Him — or even a little apart from Him — his
status is called existential ecstatic love (page 223)."
This quote establishes two things: (1) sättvika-bhäva is a
uniquely "intense" anubhäva, and (2) sättvika-bhäva may arise
from emotions in one of the five direct relationships ("in a direct
relationship with Him"), or it may arise from emotions in one of
the seven indirect relationships ("or even a little apart from Him").

Three Types of Sättvika-Bhäva

"The symptoms originating from such existential ecstatic love are
divided into three headings — namely moist, burnt, and dried-up
(page 223)."

Causes of Sättvika-Bhäva
Sättvika-Bhäva

Snigdha Digdha Rukña

Mukhya Gauna
Primary Secondary

1) Snigdha — "moist." Ecstatic symptoms in persons who love

Kåñëa, instigated by emotions arising from either the direct or
indirect mellows.
2) Digdha — "burnt." Ecstatic symptoms in persons who love
Kåñëa, not instigated by the direct or indirect mellows.
3) Rukña — "dried-up." Ecstatic symptoms that seem to appear in
those with no Kåñëa rati). 1

Snigdha-Sättvika-Bhäva — Moist Existential Ecstasy

There are two subdivisions of snigdha sättvika-bhäva ("moist
existential ecstasy"): (1) mukhya-snigdha — direct-moist, and (2)
gauëa-snigdha — indirect-moist. Mukhya-snigdha, occurs when a
direct mellow (neutrality, servitude, etc.) causes the emotions that
overpower the mind. Gauëa-snigdha occurs when an indirect
mellow (laughter, astonishment, etc.) causes the emotions that
overpower the mind.

1 Literal translations: snigdha — oily, tender, affectionate ("moist"); digdha — smeared

("burnt"); rukña — dried-up.
 Mukhya-Snigdha — Direct Moist
“Rädhäräëé was weaving a garland of kunda flowers, and upon
hearing the vibration of Kåñëa's flute, She immediately stopped
Her work (page 223).”
"Stopped Her work" indicates the sättvika-bhäva called
stambha (becoming stunned). This ecstatic symptom was caused
by the flute, which is an uddépana of the direct mellow called
mädhurya-rati. Rädhäräëé's ecstasy exemplifies the mukhya-
snigdha type of sättvika-bhäva because it manifested due to
emotions arising from one of the direct mellows.

Gauëa-Snigdha — Indirect Moist

Çréla Rüpa Gosvämé describes how Mother Yaçodä vehemently
rebuked Nanda Mahäräja when he took Kåñëa to Mathurä. Out of
extreme anger, she chastised her husband so severely that her
voice began to falter.
Faltering voice is a sättvika-bhäva known as svarabheda. This
ecstatic symptom manifested from emotions in one of the seven
indirect mellows (krodha — anger). Therefore Mother Yaçodä's
ecstasy exemplifies the gauëa-snigdha type of sättvika-bhäva.

Burnt Existential Ecstasy — Digdha-Sättvika-Bhäva

Burnt existential ecstasy (digdha) are ecstatic symptoms in
persons who love Kåñëa, that are instigated by neither the direct
nor indirect mellows.
For example: once, at the end of the night, Çré Yaçodä
dreamt that Pütanä was lying on the ground in a most dreadfully
fearful form. Upon seeing her, Yaçodä awoke, trembling. Her mind
being very agitated, she began to search out her son, Çré Kåñëa.
(See page 223)
Fear in relation to Kåñëa is an indirect mellow. Yaçodä's fear,
however, was in relation to Pütanä, not Kåñëa. Consequently it is
not an indirect mellow. Yet because her maternal affection for
Kåñëa is so deep, she naturally dovetails her every emotion to her
relationship with Kåñëa. The fear initially instigated by Pütanä was
immediately dovetailed to her affection for Kåñëa, and caused her
to tremble out of ecstatic motherly concern for His safety.
Her trembling (kampa) is therefore an example of digdha-
sättvika-bhäva.

"Dried-Up Existential Ecstasy" — Rukña-Sättvika-Bhäva

The first two types of sättvika-bhäva (snigdha and digdha) are
exhibited by devotees with genuine affection for Kåñëa (i.e. Kåñëa
rati). Rukña-sättvika-bhäva, however, occurs when ecstatic
symptoms appear in persons devoid of genuine affection for
Kåñëa. These symptoms are very similar to raty-äbhäsa. 2

For example, an impersonalist may hear that those who

practice devotional service easily achieve liberation, and may
therefore join a kértana party. Jubilantly dancing with hairs
standing on end, he thinks, "Now I will achieve liberation! Now I
will achieve liberation!!" Affection for Kåñëa is not the cause of
these symptoms. Therefore they are rukña-sättvika-bhäva ("dried-
up").
Another example is the trembling and standing-hairs of the
sannyäsés who witnessed Çré Caitanya Mahäprabhu delivering
Prakaçänanda Sarasvaté. Because they had no rati, their bodily
symptoms were rukña-sättvika-bhäva.

Añöa-Sättvika-Bhäva —
Eight Bodily Symptoms of Overwhelming Emotion
Çréla Rüpa Gosvämé described three different causes of ecstatic
symptoms (snigdha, digdha, and rukña). He will now describe the
symptoms themselves. There are eight:

1) Stambha — stunned 5) Kampa — trembling

2) Sveda — perspiration 6) Vaivarëya — changing color
3) Romanca — standing 7) Açru — tears
hairs 8) Praläya — devastation
4) Svarabheda —
faltering voice
2 See page Error: Reference source not found in this book.
Çréla Prabhupäda lists them, "There are eight symptoms of
existential ecstatic love: becoming stunned, perspiring, standing
of the hairs on the body, faltering of the voice, trembling of the
body, changing of bodily colors, shedding of tears, and
devastation (page 223)."

How Spiritual Emotions Produce Physical Effects

Sattva
Surcharged
Consciousness

Citta
Mind

Präëa
Life-air

Bhüta
Elements of the Body

Sättvika-Bhäva
Ecstatic Symptom

Çréla Rüpa Gosvämé explains how sättvika-bhäva is produced.

First, a particularly strong Kåñëa conscious emotion agitates the
heart (citta) very markedly. Then, the strongly agitated mind
disturbs the life air. Next, the dislodged life air contacts and
disturbs various physical elements in the body (earth, water, etc.).
These disturbed elements cause a physical symptom of spiritual
ecstasy.
Depending on which element the life air contacts, a specific
symptom will be produced. For example, one sheds tears when
the life-air contacts the body's water element. One perspires when
the life-air contacts the body's fire element. Çréla Prabhupäda
describes this in detail. (See pages 223 - 224)
 Agitated
Life air Resultant Physical
Contacts Symptom
Earth Stunned (stambha)
Water Shedding tears (açru)
Fire Perspiration (sveda)
Fire Change of bodily color
(vaivarëya)
Air Standing of hairs (pulaka)
Air Faltering voice
(svarabheda)
Air Trembling (kampa)
Ether, Devastation (pralaya) 3

"Sky"
All these sättvika bhävas manifest very powerfully both externally
and internally. Çréla Prabhupäda says, “These symptoms are
4

manifested internally and sometimes externally. The pure devotee

always feels such symptomatic expressions within himself, but
being afraid of outsiders he does not generally manifest them
externally (page 224).”

Specific Causes and Effects of Specific Ecstatic Symptoms

Each ecstatic symptom has specific emotions that cause it. For
example, “The symptom of being stunned is caused by ecstatic
tribulation, fearfulness, astonishment, lamentation, and anger
(page 224).”
Each ecstatic symptom has specific characteristic effects. For
example, “This symptom [stunned] is exhibited by a stoppage of

3 The distinction between stambha (Stunned) and pralaya (devastation): Stambha involves
paralysis of the body and speech; pralaya involves paralysis of the body, speech, and the
mind.
4 For this reason learned scholars refer to the sättvika bhävas both as anubhävas and as
vyabhicäré-bhävas. When experienced internally, the sättvika bhävas are counted as
vyabhicäré bhävas; when experienced externally they are counted as anubhävas. (See
BRS 2.3.20)
talking, a stoppage of movement, a feeling of voidness, and an
extreme feeling of separation (page 224).”
Çréla Rüpa Gosvämé separately describes each ecstatic
symptom, listing its causal emotions and characteristic effects,
with references from çästra.

Stambha — Becoming Stunned

Causes: tribulation, fearfulness, astonishment, lamentation, and
anger. Effects: stoppage of talking, stoppage of movement, feeling
of voidness, and an extreme feeling of separation.

Stambha Caused by Astonishment

“There is an example of the astonishment of Lord Brahmä. It is
explained in the Tenth Canto, Thirteenth Chapter, verse 56 of
Çrémad-Bhägavatam that when Brahmä understood that this
cowherd boy was the Supreme Personality of Godhead Himself, he
became stunned. All of his sensory activities stopped when he saw
all the cowherd boys again, along with Kåñëa. Lord Brahmä was so
stunned that he appeared to be a golden statue with four heads
(page 224).”
“Also, when the residents of Vraja found that Kåñëa had lifted
Govardhana Hill with His left hand, they became stunned (page
224).” Although not explicitly stated in this translation, it is
obvious that astonishment is what caused the Vrajaväsés to
become stunned.

Stambha Caused by Lamentation

“Astonishment caused by lamentation was exemplified when
Kåñëa was entering into the belly of the Bakäsura demon and all
the demigods from the higher planets became stunned with
lamentation (page 225).”

The Remaining Sättvika-Bhävas

Çréla Rüpa Gosvämé similarly illustrates each cause of stambha.
Çréla Prabhupäda has included many of these verses in his
summary study (See pages 225 - 229).
 We have discussed only one symptom (stambha). By
applying this paradigm to each of the seven remaining ecstatic
symptoms, the reader can appreciate them all.

Restating the Distinction Between

Anubhäva and Sättvika-Bhäva
Çréla Rüpa Gosvämé again stresses the distinction between
anubhäva and sättvika-bhäva: Anubhäva is an ecstatic symptom
that results from heightened affection for Kåñëa. Sättvika-bhäva is
an involuntarily ecstatic symptom expressed without any
involvement of will or intellect, which occurs when çuddha-sattva
agitates the heart to a particularly significant degree. 5

Çréla Prabhupäda explains this very simply, “Out of the

many ecstatic symptoms, the symptom of being stunned is
especially significant (page 229).” Stambha ("being stunned"),
and the other sättvika-bhävas are uniquely "significant" or intense
ecstatic symptoms, and this is what distinguishes them from
anubhäva.

Various Intensities of Sättvika-Bhäva

If the emotion for Kåñëa is slight, the mind will be overpowered by
a small degree of sattva (transcendental ecstasy). The mildly
overpowered mind will only gently agitate the life airs, which will
lightly disturb various bodily elements and thus produce a slight
manifestation of sättvika-bhäva.
If the emotion for Kåñëa is intense, the significantly
overpowered mind will strongly agitate the life airs, which will
markedly disturb various bodily elements and produce an intense
manifestation of sättvika-bhäva. Thus each sättvika-bhäva can
manifest different degrees of intensity.
Çréla Prabhupäda explains, “According to the degree of being
stunned, the vital force within the body becomes agitated, and

5 Çuddha-sattva causes both anubhäva and sättvika-bhäva. In sättvika-bhäva, however, it

directly causes the symptom. In anubhäva, it indirectly causes the symptom through the
agency of volition.
due to such a state, the other ecstatic symptoms become altered
(page 229).” 6

Four Categories of Intensity

“These transcendental ecstatic symptoms gradually develop, and
in the course of such development they are sometimes called
smoky, sometimes called blazing, and sometimes called
shining. . . .when various symptoms become manifest very
prominently, the devotee's condition may be called the brightest
(pages 229 - 230).” Thus there are four degrees of intensity:
1) Dhümäyita — smouldering ("smoky")
2) Jvalita — flaming ("blazing")
3) Dépta — burning ("shining")
4) Uddépta — brightly burning ("brightest")

Criteria for Placement Within These Categories

There are three criteria that place an ecstatic symptom in one of
the above four categories: (1) duration — for example, one may
tremble briefly or for a very long time, (2) pervasiveness — for
example, only the hands may tremble or the entire body may
tremble, and (3) intensity — for example, the hands or body may
tremble slightly, or profoundly.
Çréla Prabhupäda summarizes, “The three degrees are
experienced for many, many years and they extend to different
parts of the body (page 229).” The phrase "many, many years"
indicates the first criterion (duration). "Extend to different parts of
the body" indicates the second criterion (pervasiveness).

Exceptions
The ecstatic symptoms of faltering voice and crying are localized
by nature. Only the voice can falter. Only the eyes can cry. Thus
one cannot measure their intensity by how extensively they
pervade the body. One must apply a substitute criterion.

6 In this quote, Prabhupäda's use of the word "stunned" does not refer to the specific
sättvika-bhäva called stambha. Instead "degree of being stunned" refers to the intensity
of sättva (ecstatic emotion) which overpowers the mind.
 With crying, the substitute criterion for pervasiveness is the
extent to which the eyes become swollen and blurry. Çréla
Prabhupäda explains, “The shedding of tears, however,
sometimes makes the eyes become swollen and whitish, and
sometimes the eyes become differently focused (page 229).”
With faltering of the voice, the substitute criterion for
pervasiveness is the extent to which the throat becomes altered.
Çréla Prabhupäda explains, “Faltering of the voice may cause
choking in the throat and extreme anxiety (page 229).”

Definitions of the Four Categories

Dhümäyita — Smouldering: The ecstatic symptom is only
slightly manifest, and thus can be concealed. Çréla Prabhupäda
explains, “In the smoky condition of such ecstatic expression, the
symptoms could otherwise be hidden (page 229).”
Gargamuni exemplifies this (page 229-230).

Jvalita — Flaming: Two or three ecstatic symptoms manifest

simultaneously, and are very difficult to conceal. “When several
such ecstatic symptoms are visible, the condition is called blazing
(page 230).”
The following example illustrates jvalita's increased
multiplicity of symptoms: “One of Kåñëa's friends told Him, ‘My
dear friend, as soon as I heard the sound of Your flute within the
forest, my hands became almost motionless, and my eyes
became full of tears — so much so, in fact, that I could not
recognize your peacock feather. My thighs became almost
completely stunned so that I could not move even an inch.
Therefore, my dear friend, I must acknowledge the wonderful
vibration of your transcendental flute’ (page 230).”
This example shows the difficulty of concealing jvalita
ecstatic symptoms: A gopé addresses her friend, “My dear friend,
when I heard the sound of Kåñëa's flute, I tried to hide myself
from the reaction of the vibration. But still I could not check the
trembling of my body, and therefore all of my friends in the house
could detect my attachment for Kåñëa without any doubt (page
230).”
Dépta — Burning: Four or five ecstatic symptoms manifest
simultaneously, and are impossible to conceal. “When the ecstatic
symptoms cannot be checked and they appear simultaneously in
four or five categories, this stage of ecstatic love is called shining
(page 230).”
Çréla Rüpa Gosvämé gives two examples, one of Närada and
one of Çrématé Rädhäräëé. The second: “Dear Friend, You are
blaming the aroma of the flowers for the tears in Your eyes. You
are rebuking the air for the standing of the hairs on Your body. And
You are cursing Your walking in the forest for your thighs' being
stunned. But Your faltering voice reveals the cause to be different:
it is just Your attachment for Kåñëa! (page 230)” This illustrates
the multiplicity of symptoms and impossibility of concealment that
occurs at dépta

Uddépta — Brightly Burning: Five or more ecstatic symptoms

manifest simultaneously and very powerfully. The residents of
Våndävana exemplified this (“My dear Pétämbara...” page 230-
31).

Suddépta — The Most Bright: This level is unattainable by

ordinary souls. Suddépta occurs when all the eight sättvika-
bhävas manifest simultaneously, with the highest possible degree
of intensity. This can happen only in the mahäbhäva of Çrématé
Rädhäräëé and Çré Caitanya Mahäprabhu.
Çréla Prabhupäda mentions, “when the symptoms of ecstatic
love become the most bright, that stage is accepted as
mahäbhäva (page 231).”

Intensity of Ecstatic Symptoms in Non-Devotees

The reflective ecstatic symptoms of a non-devotee (rukña-
sättvika) can achieve no more than the minimal intensity
(dhümäyita — smoky). Çréla Prabhupäda expresses this, “All these
symptoms are listed under the dried-up existential condition
known as smoky, and they are exhibited in different ways (page
229).”
There is one exception: in a devotional festival amidst
dancing devotees, a non-devotee may sometimes exhibit
symptoms which radiate up to the intensity of jvalita ("blazing").
Çréla Prabhupäda says, “Sometimes while participating in
ceremonies celebrating Kåñëa's pastimes, or in a society of
devotees, there is dancing ecstasy. Such sentiments are called
blazing (page 229).”
No genuine symptom of ecstacy can manifest in a person
who does not have strong Kåñëa rati. Consequently, rukña
sättvika bhäva, which is devoid of rati, cannot be the shelter of
genuine bliss, it is a reflection only - an abhäsa. “None of the
above symptoms can be manifested without the basic principle of
strong attachment for Kåñëa (page 229).” Persons without rati
may, however, develop some of the reflective symptoms listed
below.

Sättvika-Äbhäsa
When ecstatic symptoms seem to appear in a person who has no
genuine affection for Kåñëa, they are called sättvika-äbhäsa — a
semblance (äbhäsä) of real ecstasy.
There are four types of sättvika-äbhäsa. “Çréla Rüpa
Gosvämé further analyzes the ecstatic loving expression into four
divisions which are called sättvikäbhäsa (page 231).”

1) Raty-äbhäsa — (an abhäsa of rati) "Ecstatic symptoms" caused

by proximity to a genuine ecstatic devotee.
2) Sättvika-äbhäsa — (an abhäsa of sattva) "Ecstatic symptoms"
caused by a soft-hearted emotional disposition.
3) Nisattva — (absence of sattva) "Ecstatic symptoms" that are
simply a forced, theatrical display.
4) Pratipa — "Ecstatic symptoms" that arise in persons who are
averse to Kåñëa.
 Raty-Äbhäsa
Raty-äbhäsa occurs when the genuine rati (affection) of a pure
devotee reflects in the heart of a neophyte or non-devotee.
A genuine devotee's heart radiates ecstatic affection for
Kåñëa as brilliantly as the sun. This may reflect into the dark
hearts of non-devotees like impersonalists and cause them to
experience a glimmer of ecstatic symptoms. The section on
bhäva-bhakti has already extensively described this. 7

Çréla Prabhupäda says, “. . .even if the reactions to chanting

are manifest in an impersonalist's body, they should not be
considered to be symptoms of actual attachment, but reflections
only, just like the sun reflected in a dark room through some
polished glass (page 231).”

Sättvika-Äbhäsa
Raty-abhäsa is a reflection of genuine ecstatic love (rati). Sättvika-
äbhäsa, however, is not a reflection of rati but of the emotions
connected with rati. It refers simply to a softhearted emotional
disposition that causes a semblance of ecstasy. Kåñëa's name or
pastimes may by chance strike a chord in the heart of those who
are naturally sensitive and emotional, and thus cause them to cry,
etc.
Kåñëa-kathä is so powerful that sometimes even stoic,
barren hearts will be moved to a reflection of transcendental
emotion. Çréla Prabhupäda explains, “Such non-devotees are not
actually melted, they are hard-hearted. But the influence of the
glories of the Lord is so great that even the non-devotees
sometimes shed tears (page 231).”

Nisattva
Nisattva literally means an absence of sattva. Therefore it is 8

neither a reflection of rati nor of the emotions arising from rati.

Sometimes a person with no rati, and also without any of the

7 References: The Nectar of Devotion, page 139; Waves of Devotion, page Error:
Reference source not found.
8 When the heart of a jäta rati bhakta is overwhelmed with loving emotions, it is called
sattva.
above äbhäsäs may display symptoms of ecstasy. They are simply
actors and who can display emotions by practice.
Physical displays like crying and shivering are not necessarily
transcendental symptoms of ecstasy. “Sometimes it is found that
a non-devotee who has practically no taste for Kåñëa and who
follows no rules or regulations, can, by practice, make a show of
devotional symptoms, even crying in an assembly of devotees
(page 232).”

Pratipa
When the enemies of Kåñëa experience change in bodily color,
and other symptoms as a result of fear, anger, and so on, such
symptoms are called pratipa sättvika abhäsa.
The following is an example of pratipa sättvika abhäsa
arising out of anger, as stated in the Harivaàça — "Due to feelings
of great anger toward Çré Kåñëa, Kamsa's upper lip was quivering
and his lower lip was becoming red. Thus his whole face became
as red as the sun." 9

Reason for Discussing Sättvika-Äbhäsa

Çréla Rüpa Gosvämé describes these varieties of pseudo-ecstasy
so one can distinguish between the real thing and the imitation.
Çréla Prabhupäda explains, “Although there is no need to describe
these reflections of ecstatic love, Çréla Rüpa Gosvämé gives some
instances where there is no actual devotional service and such
expressions are manifested (page 232).”

9 BRS 2.3.92-93