Rāmānanda Rāya then began to explain Rādhārāṇī as 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 book Ujjvala-nīlamaṇi, Rūpa Gosvāmī explains the characteristics of Śrīmatī Rādhārāṇī. He points out that the body of Rādhārāṇī is in itself an actual evolution of transcendental pleasure. That body is decorated with flowers and fragrant aromas and is complete with transcendental love for Kṛṣṇa. That is the personification of His pleasure potency. That transcendental body takes bath three times: first in the water of mercy, second in the water of youthful beauty, and third in the water of youthful luster. After taking bath three times in that way, Her body is covered with shining garments and decorated with Kṛṣṇa's 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 tears, petrification, perspiration, choking, cessation of all bodily functions due to transcendental pleasure, stumbling, high blood pressure and madness.
The decorative transcendental pleasure potency manifests nine symptoms. Five of these are manifested by the expansion of Her personal beauty, which is adorned with garlands of flowers. Her patient calmness is compared with 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 fortune. Rādhārāṇī's sense of hearing is eternally fixed on Kṛṣṇa's name and fame. One's lips become red from chewing betel nuts. Similarly, the borders of Rādhārāṇī's eyes are blackened due to Her complete attachment to Kṛṣṇa. This darkness might be compared to ointment used by nature when nature jokes with Rādhā and 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. Out of ecstatic affection for Kṛṣṇa, Her breast is covered by the blouse of anger. Reputed as the best of all Kṛṣṇa's girl friends, She plays a stringed instrument. When Kṛṣṇa stands in His youthful posture, She puts Her hand on His shoulder. Although She possesses so many transcendental qualities, She is always engaged in the service of Kṛṣṇa.
Śrīmatī Rādhārāṇī is decorated with sūddīpta-sāttvika emotions, which sometimes include tribulation and sometimes pacification. All the transcendental ecstasies are manifested in the body of Śrīmatī Rādhārāṇī. Sūddīpta-sāttvika emotions are manifest when a lover is overwhelmed with certain feelings which he or she cannot check. Rādhārāṇī has another emotion called kilakiñcita, which is manifest in twenty different ways. These emotions are manifested partly due to body, mind and habit. As far as the bodily emotions are concerned, they are manifested in posture and movement. As far as the emotions of the mind are concerned, they are manifested as beauty, luster, complexion, flavor, talking, magnanimity and patience. As far as habitual emotions are concerned, they are manifested as pastimes, enjoyment, preparation and forgetfulness.