View source for Her (Radharani's) reputation as the best of all Krsna's girlfriends is the stringed instrument She plays. When Krsna stands in His youthful posture, She puts Her hand on His shoulder

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[[Category:Her (Radharani)]]
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<div id="Other_Books_by_Srila_Prabhupada" class="section" sec_index="3" parent="compilation" text="Other Books by Srila Prabhupada"><h2>Other Books by Srila Prabhupada</h2>
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<div id="Teachings_of_Lord_Caitanya" class="sub_section" sec_index="0" parent="Other_Books_by_Srila_Prabhupada" text="Teachings of Lord Caitanya"><h3>Teachings of Lord Caitanya</h3>
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<div id="TLC31_0" class="quote" parent="Teachings_of_Lord_Caitanya" book="OB" index="37" link="TLC 31" link_text="Teachings of Lord Caitanya, Chapter 31">
<div class="heading">Rādhārāṇī’s smile is just like the taste of camphor. The garland of separation moves on Her body when She lies down on the bed of pride within the room of aroma. Her breasts are covered by the blouse of anger born of Her ecstatic affection for Kṛṣṇa. Her reputation as the best of all Kṛṣṇa's girlfriends is the stringed instrument She plays. When Kṛṣṇa stands in His youthful posture, She puts Her hand on His shoulder. Although She possesses so many transcendental qualities, She is still always engaged in the service of Kṛṣṇa.
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<span class="link">[[Vanisource:TLC 31|Teachings of Lord Caitanya, Chapter 31]]: </span><div style="display: inline;" class="text"><p style="display: inline;">In His spiritual form, Kṛṣṇa enjoys His spiritual energy, and that is the sum and substance of the Rādhā-Kṛṣṇa pastimes. These pastimes can be understood only by elevated devotees. One should not try to understand the Rādhā-Kṛṣṇa potencies and pastimes from the mundane platform. Generally people misunderstand these as being material.</p>
<p>When the pleasure potency is further condensed, it is called mahābhāva. Śrīmatī Rādhārāṇī, the eternal consort of Kṛṣṇa, is the personification of that mahābhāva. In this regard, in the Ujjvala-nīlamaṇi (4.3) Rūpa Gosvāmī states that there are two competitors in loving Kṛṣṇa—Rādhārāṇī and Candrāvalī. When they are compared, it appears that Rādhārāṇī is superior, for She is mahābhāva-svarūpa. The term mahābhāva-svarūpa, "the personification of mahābhāva," is applicable to Rādhārāṇī only, and no one else. Mahābhāva is full of the pleasure potency, and it is an exhibition of the highest love for Kṛṣṇa. Rādhārāṇī is therefore known throughout the world as the most beloved of Kṛṣṇa, and Her name is always associated with Kṛṣṇa as Rādhā-Kṛṣṇa.</p>
<p>The Brahma-saṁhitā (5.37) also confirms that Kṛṣṇa expands Himself by His pleasure potency in the spiritual world and that these potencies are all nondifferent from Him, the Absolute Truth. Although Kṛṣṇa is always enjoying the company of His pleasure-potency expansions, He is all-pervading. Therefore Brahmā offers his respectful obeisances to Govinda, the cause of all causes.</p>
<p>As Kṛṣṇa is the highest emblem of spiritual perfection, so Rādhārāṇī is the highest emblem of the spiritual pleasure potency meant for satisfying Kṛṣṇa. Kṛṣṇa is unlimited, and Rādhārāṇī is also unlimited in Her ability to satisfy Him. Kṛṣṇa is satisfied just by seeing Rādhārāṇī, but Rādhārāṇī expands Herself in such a way that Kṛṣṇa desires to enjoy Her more. Because Kṛṣṇa was unable to estimate the pleasure potency of Rādhārāṇī, He decided to accept the role of Rādhārāṇī, and that combination of Kṛṣṇa and Rādhārāṇī is Śrī Caitanya Mahāprabhu.</p>
<p>Rāmānanda Rāya then began to explain how Rādhārāṇīis the supreme emblem of Kṛṣṇa's pleasure potency. Rādhārāṇī expands Herself in different forms, known as Lalitā, Viśākhā and Her other confidential associates. In his Ujjvala-nīlamaṇi, Rūpa Gosvāmī explains that one of the characteristics of Śrīmatī Rādhārāṇī is that Her body is an evolution of transcendental pleasure. That body is decorated with flowers and fragrant aromas and is complete with transcendental love for Kṛṣṇa. Indeed, that body is the personification of His pleasure potency. Rādhārāṇī bathes Her transcendental body three times: first in the water of mercy, second in the water of youthful beauty, and third in the water of youthful luster. After She bathes three times in that way, Her body is covered with shining garments and decorated with Her personal beauty, which is compared to cosmetics. Thus Her beauty constitutes the highest artistry. Her body is also decorated with the ornaments of spiritual ecstasy—trembling, shedding of tears, perspiring, choking of the voice, cessation of all bodily functions due to transcendental pleasure, standing up of the bodily hairs, changing of bodily color, and madness.</p>
<p>The decorative transcendental pleasure potency manifests nine symptoms. Five of these are manifested by the expansion of Rādhārāṇī’s personal beauty, which is adorned with garlands of flowers. Her patient calmness is compared to a covering of cloths which have been cleansed by camphor. Her confidential agony for Kṛṣṇa is the knot in Her hair, and the mark of tilaka on Her forehead is Her good fortune. Rādhārāṇī’s sense of hearing is eternally fixed on Kṛṣṇa's name and fame. Chewing betel nuts makes one's lips reddish. Similarly, Rādhārāṇī’s complete attachment to Kṛṣṇa has blackened the borders of Her eyes. This darkness might be compared to ointment produced by Rādhā’s joking with Kṛṣṇa. Rādhārāṇī’s smile is just like the taste of camphor. The garland of separation moves on Her body when She lies down on the bed of pride within the room of aroma. Her breasts are covered by the blouse of anger born of Her ecstatic affection for Kṛṣṇa. Her reputation as the best of all Kṛṣṇa's girlfriends is the stringed instrument She plays. When Kṛṣṇa stands in His youthful posture, She puts Her hand on His shoulder. Although She possesses so many transcendental qualities, She is still always engaged in the service of Kṛṣṇa.</p>
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