(Translator's note on chapter 7 verses 102-148; Approximately around 1519-20 Sri Caitanya displays divyaunmadamaya-mahabhava and as a consequence discards his customary ritual of calculating nama-japa on the knotted string kept around his waist. The unpretentious sentiment and unguarded manners of a simple child are now his reigning disposition. The occasion of ratha arrives. Surveying Caitanya’s dancing in front of the ratha, the Gajapati is thoroughly astounded. Immersed in kirtan before the ratha, Caitanya’s dancing rises and falls in undulating crescendo. The proceeding moment he has altogether vanished from every ones vision. Immersed in radha-bhava copious tears flow from his eyes. Discerning his divyaunmadamaya-mahabhava the Gajapati is readily disposed to embrace Caitanya is an avatar of bhagavan and, as advised by Ramananda Raya, the Gajapati publicly announces that Caitanya is mahaprabhu to a crowd of curious pilgrims. The descriptions of divyaunmadamaya-mahabhava in these passages are truly unprecedented.)
The celebrated occasion of the chariot festival arrives and Prabhu’s dancing commences before the ratha. Who can perchance depict the genuine and lively image of his dancing? For he is the prince of those who savour divine mellows (rasaraja) and his exclusive zeal is the exquisite prompting of mahabhava. One moment his dance touches the heights of exuberance, only to fade away the following instant. The next moment he has entirely disappeared from every ones vision.
Copious tears incessantly flow from his eyes as he is verily possessed of Radha’s own sentiments. The king feels a profound magnetism as he witnesses the free and unfettered fashion of his dancing, and confesses that he is surely no mortal, but rather the living and direct embodiment of radha-bhava.
Rama Raya had also confided to the king that Prabhu was no mere mortal but rather one who is surely animated by a divine temperament which he reveals through the medium of his dance. Rama Raya encourages him to make a formal declaration that he is indeed the Lord himself to the all pilgrims gathered at the ratha-yatra. All delightfully welcome his announcement, and likewise applaud Prabhu’s uncommon and unique aspect.
The precise measure and extent of Prabhu’s mahabhava can never be truly ascertained by anyone. Who can proclaim even a drop of the mahabhava he undergoes in the gambhira which prompts him to rise, then induces him to sit and next impels him to roll on the ground whilst uttering “ha-krsna!” as tears endlessly drop from his eyes in his krsna-anuraga. Notwithstanding the separation he endures being segregated from Krsna which is explicitly apparent on his every limb.
Captivated (by mahabhava) he renounces his innate custom of nama-japa performed upon a knotted string that rests around his waist and now bears the demeanour of a child. Sometimes (in an impassioned trance) he dashes toward the temple exclaiming, “show me where Krsna is!” Then as he weeps aloud uttering ha-krsna! he begins to bewail and ridicule his nija-rupa.
(Translator’s note; nija-rupa-ninde; verse 122 2nd line; literally translates as he “ridicules his own form.” We may justifiably conjecture that Gauranga Mahaprabhu utters this in radha-bhava. Could we then suppose that just as Radha may deride the faultless composition of her own limbs when she fears that Krsna is no longer attracted to her (and hence not arriving at the appointed hour in her kunja) similarly Gauranga, in radha-bhava, now berates his own body?)
At other times he runs, swiftly careering toward the ocean animated by an overbearing expectation of catching a glimpse of Krsna there. If he happens to spy a cloud in the sky he becomes wholly distraught. Every so often he sits down within the flowery blossoming groves at Tota-Gopinath.
Occasionally he strays into the Gundica, and reclining on a mandapa seems to be entirely engrossed in profound ruminations. Shortly afterwards, he is then animated by an exclusive contemplation solely upon the form of krsna, and he remains as such, savouring and relishing this particular bhava. From time to time he repeatedly drops, falling in a fainting swoon. At other times his limbs are irrepressibly assailed by horripulation. Once in a while he is seen to roll in the dust, and each and every limb of his body is now smothered in dust.
Next he takes off and hastily darts in a running pace to the Narendra pond. At other times he is noted to be bathing in the waters of the Markenda lake. He is altogether enchanted with kirtan-rasa and dances in a unique and exceptional style leaving a trail of tears scattered behind and before him as he roars aloud leaping to and fro. Every so often he will simply remain outside conducting a jovial discourse with nature. Then, possessed of a singular bhava, he dances in delight and in anuraga for the kirtan-rasa.
He now has no awareness whatsoever whether it is day, or whether it is night. Swami draws near with a dish of rice, and has to gently force him to dine. Next, he drifts into Swarupa Damadhara’s presence inflamed with mahabhava, which astonishes Swarupa, but he is one who comprehends the Lord’s mood.
Understand that Prabhu is the prema-dhana of Nilacala. He is the veritable embodiment of prema and Swami is the prema-rasa.
No one can truly fathom Prabhu’s bhava apart from Swami, who is naturally able to do so. He says to Prabhu, “compose yourself, and unreservedly entrust your heart to the kirtan-rasa, as kirtan is verily your bhava-murati”. How may wretched mortals possibly conceive of this?
Balarama, Jagannath, Ananta, Acyuta and Jasovanta, these five assembled round Prabhu and their hearts melt in the kirtan-rasa. Prabhu ardently petitions them to forever keep themselves in his close companionship saying, “Always stay by my side.”
In this manner Prabhu discloses his bhava as he enacts his manusya-lila.
And so speaks Madhava a servant true, while he longs for the feet of this Prabhu.