Dancing (CC - Madhya-lila)

Expressions researched:
"dance" |"danced" |"dances" |"dancing"

Notes from the compiler: VedaBase query: dance or danced or dances or dancing not chant*

CC Madhya-lila

CC Madhya 1.23, Translation:

Of these eighteen years at Jagannātha Purī, Śrī Caitanya Mahāprabhu spent six years with His many devotees. By chanting and dancing, He introduced the loving service of the Lord.

CC Madhya 1.35, Purport:

In the sixth vilāsa, the required practices for inviting the transcendental form of the Lord and bathing Him are given. In the seventh vilāsa, one is instructed on how to collect flowers used for the worship of Lord Viṣṇu. In the eighth vilāsa, there is a description of the Deity and instructions on how to set up incense, light lamps, make offerings, dance, play music, beat drums, garland the Deity, offer prayers and obeisances and counteract offenses. In the ninth vilāsa, there are descriptions about collecting tulasī leaves, offering oblations to forefathers according to Vaiṣṇava rituals, and offering food. In the tenth vilāsa there are descriptions of the devotees of the Lord (Vaiṣṇavas, or saintly persons). In the eleventh vilāsa, there are elaborate descriptions of Deity worship and the glories of the holy name of the Lord.

CC Madhya 1.52, Translation:

In the attitude of separation, Lord Caitanya Mahāprabhu appeared mad both day and night. Sometimes He laughed, and sometimes He cried; sometimes He danced, and sometimes He chanted in great sorrow.

CC Madhya 1.54, Translation:

When Caitanya Mahāprabhu used to dance before the car during the festival, He always sang the following two lines.

CC Madhya 1.54, Translation:

When Caitanya Mahāprabhu used to dance before the car during the festival, He always sang the following two lines.

CC Madhya 1.56, Purport:

When the gopīs of Vṛndāvana, the residents of Gokula, met Kṛṣṇa at Kurukṣetra during the solar eclipse, they wanted to take Kṛṣṇa back to Vṛndāvana. Śrī Kṛṣṇa Caitanya Mahāprabhu also felt the same ecstasy as soon as He saw Jagannātha in the temple or on the Ratha-yātrā car. The gopīs of Vṛndāvana did not like the opulence of Dvārakā. They wanted to take Kṛṣṇa to the village of Vṛndāvana and enjoy His company in the groves. This desire was also felt by Śrī Caitanya Mahāprabhu, and He danced in ecstasy before the Ratha-yātrā festival when Lord Jagannātha went to Guṇḍicā.

CC Madhya 1.57, Translation:

In that ecstasy, Śrī Caitanya Mahāprabhu recited a verse when dancing in front of Lord Jagannātha. Almost no one could understand the meaning of that verse.

CC Madhya 1.84, Translation:

The gopīs continued, "Dear Kṛṣṇa, the fragrance of the mellows of Your pastimes is spread throughout the forests of the glorious land of Vṛndāvana, which is surrounded by the sweetness of the district of Mathurā. In the congenial atmosphere of that wonderful land, You may enjoy Your pastimes, with Your flute dancing on Your lips, and surrounded by us, the gopīs, whose hearts are always enchanted by unpredictable ecstatic emotions."

CC Madhya 1.110, Translation:

Lord Śrī Caitanya Mahāprabhu passed the Cāturmāsya months with the Śrī Vaiṣṇavas, singing, chanting the holy name and dancing.

CC Madhya 1.134, Translation:

After this, Lord Caitanya Mahāprabhu and all the devotees saw the Ratha-yātrā, the car festival ceremony. Caitanya Mahāprabhu Himself danced in front of the car, and after dancing He entered a garden.

CC Madhya 1.143, Translation:

First the Lord washed the temple of Guṇḍicā very thoroughly. Then everyone saw the Ratha-yātrā festival and the Lord's dancing before the car.

CC Madhya 1.145, Translation:

After dancing in the Guṇḍicā temple, the Lord sported in the water with His devotees, and on Herā-pañcamī day they all saw the activities of the goddess of fortune, Lakṣmīdevī.

CC Madhya 1.167, Translation:

While performing saṅkīrtana in Rāmakeli-grāma, the Lord danced and sometimes lost consciousness due to love of God. While at Rāmakeli-grāma, an unlimited number of people came to see His lotus feet.

CC Madhya 1.251, Translation:

At Jagannātha Purī, Śrī Caitanya Mahāprabhu performed chanting and dancing unceasingly. Thus He enjoyed the pastime of saṅkīrtana. He manifested His causeless mercy, pure love of God, to everyone, including the lowest man.

CC Madhya 2.10, Translation:

Sometimes Caitanya Mahāprabhu mistook the small parks of the city for Vṛndāvana. Sometimes He would go there, dance and chant and sometimes fall unconscious in spiritual ecstasy.

CC Madhya 2.56, Translation:

Śrī Caitanya Mahāprabhu used to lament by saying, "Where is Śrī Kṛṣṇa, whose form is curved in three places? Where is the sweet song of His flute, and where is the bank of the Yamunā? Where is the rāsa dance? Where is that dancing, singing, and laughing? Where is My Lord, Madana-mohana, the enchanter of Cupid?"

CC Madhya 2.66, Purport:

The word unmāda is explained in the Bhakti-rasāmṛta-sindhu as extreme joy, misfortune and bewilderment in the heart due to separation. Symptoms of unmāda are laughing like a madman, dancing, singing, performing ineffectual activities, talking nonsense, running, shouting and sometimes working in contradictory ways. The word praṇaya is explained thus: When there is a possibility of receiving direct honor but it is avoided, that love is called praṇaya. Śrīla Rūpa Gosvāmī, in his Ujjvala-nīlamaṇi, explains the word māna thus: When the lover feels novel sweetness by exchanging hearty loving words but wishes to hide his feelings by crooked means, māna is experienced.

CC Madhya 2.72, Translation:

There were different transformations of the body of Lord Caitanya Mahāprabhu: being stunned, trembling, perspiring, fading away of color, weeping, and choking of the voice. In this way His whole body was pervaded by transcendental joy. As a result, sometimes Caitanya Mahāprabhu would laugh, sometimes cry, sometimes dance and sometimes sing. Sometimes He would get up and run here and there, and sometimes fall on the ground and lose consciousness.

CC Madhya 3.95, Translation:

When two or four pieces of the thrown rice touched His body, Advaita Ācārya began to dance in various ways with the rice still stuck to His body.

CC Madhya 3.96, Translation:

When the rice thrown by Nityānanda Prabhu touched His body, Advaita Ācārya thought Himself purified by the touch of remnants thrown by Paramahaṁsa Nityānanda. Therefore He began dancing.

CC Madhya 3.106, Translation:

Śrī Caitanya Mahāprabhu said, "Advaita Ācārya, You have made Me dance in various ways. Now give up this practice. Go with Mukunda and Haridāsa and accept Your lunch."

CC Madhya 3.106, Purport:

Śrī Caitanya Mahāprabhu is here telling Advaita Ācārya that it is not befitting for a sannyāsī to accept nice beds to lie on or to chew cloves and cardamom and have his body smeared with sandalwood pulp. Nor is it befitting for him to accept fragrant garlands and have his legs massaged by a pure Vaiṣṇava. "You have already made Me dance according to Your vow," Caitanya Mahāprabhu said. "Now please stop it. You can go and take Your lunch with Mukunda and Haridāsa."

CC Madhya 3.112, Translation:

As soon as it was evening, Advaita Ācārya began the congregational chanting. He even began to dance Himself, and the Lord saw the performance.

CC Madhya 3.113, Translation:

When Advaita Ācārya began to dance, Nityānanda Prabhu began dancing behind Him. Haridāsa Ṭhākura, being very pleased, also began dancing behind Him.

CC Madhya 3.116, Translation:

While dancing, Advaita Ācārya would sometimes turn around and around and catch the lotus feet of Śrī Caitanya Mahāprabhu. Advaita Ācārya would then speak to Him as follows.

CC Madhya 3.118, Translation:

So speaking, Advaita Ācārya performed congregational chanting with great pleasure for three hours that night and danced all the time.

CC Madhya 3.119, Translation:

When Advaita Ācārya danced in that way, Lord Caitanya felt ecstatic love for Kṛṣṇa, and because of His separation, the waves and flames of love increased.

CC Madhya 3.120, Translation:

Being agitated by the ecstasy, Śrī Caitanya Mahāprabhu suddenly fell to the ground. Seeing this, Advaita Ācārya stopped dancing.

CC Madhya 3.122, Translation:

Advaita Ācārya raised the body of Śrī Caitanya Mahāprabhu to help Him dance, but the Lord, after hearing the stanzas sung by Mukunda, could not be held due to His bodily symptoms.

CC Madhya 3.124, Purport:

When Mukunda saw that Caitanya Mahāprabhu was feeling ecstatic pain and manifesting ecstatic bodily symptoms, all due to feelings of separation from Kṛṣṇa, he sang songs about Śrīmatī Rādhārāṇī’s meeting with Kṛṣṇa. Advaita Ācārya also stopped dancing.

CC Madhya 3.130, Translation:

Upon standing up, the Lord said, "Go on speaking! Go on speaking!" Thus He began to dance, overwhelmed with pleasure. No one could understand the strong waves of this ecstasy.

CC Madhya 3.131, Translation:

Lord Nityānanda began to walk with Caitanya Mahāprabhu to see that He would not fall, and Advaita Ācārya and Haridāsa Ṭhākura followed Them, dancing.

CC Madhya 3.132, Purport:

In this way the Lord danced for at least three hours. Sometimes the symptoms of ecstasy were visible, including pleasure, moroseness and many other waves of ecstatic emotional love.

CC Madhya 3.133, Translation:

The Lord had been fasting for three days, and after that period He took eatables sumptuously. Thus when He danced and jumped high, He became a little fatigued.

CC Madhya 3.134, Translation:

Being fully absorbed in love of Godhead, He would not understand His fatigue. But Nityānanda Prabhu, catching Him, stopped His dancing.

CC Madhya 3.156, Translation:

Everyone was chanting the holy names of Hari and dancing. In this way the domicile of Advaita Ācārya was converted into Śrī Vaikuṇṭha Purī.

CC Madhya 3.161, Translation:

All the people who came there during the day saw Lord Caitanya Mahāprabhu and the friendly behavior of Advaita Ācārya. At night they had the opportunity to see the Lord's dancing and hear His chanting.

CC Madhya 4.15, Translation:

When the Deity's helmet fell upon His head, Śrī Caitanya Mahāprabhu became very pleased, and thus He chanted and danced in various ways with His devotees.

CC Madhya 4.57, Translation:

During the festival at the installation ceremony, some people sang and some danced. All the milk, yogurt and clarified butter in the village were brought to the festival.

CC Madhya 4.113, Translation:

In the corridor of the temple, from which people generally viewed the Deity, Mādhavendra Purī chanted and danced. Then he sat down there and asked a brāhmaṇa what kinds of foods they offered to the Deity.

CC Madhya 4.133, Purport:

The sun is not polluted by absorbing such water. Rather, the sun makes the filthy place pure. If a devotee approaches the Supreme Personality of Godhead for an immoral or improper purpose, he nonetheless becomes purified; the Lord does not become infected. In Śrīmad-Bhāgavatam (10.29.15) it is stated that if one approaches the Supreme Lord even out of lust, anger or fear (kāmaṁ krodhaṁ bhayam), he is purified. The gopīs, being young girls, approached Kṛṣṇa because He was a beautiful young boy. From the external point of view, they approached the Lord out of lust, and the Lord danced with them at midnight. From the mundane point of view, these activities may appear immoral because a married or unmarried young girl cannot leave home to mix with a young boy and dance with him. Although this is immoral from the mundane viewpoint, the activities of the gopīs are accepted as the highest form of worship because it was Lord Kṛṣṇa whom they approached with lusty desires in the dead of night.

CC Madhya 4.144, Translation:

When Mādhavendra Purī was overwhelmed in the ecstasy of love of Godhead, he sometimes stood up and sometimes fell to the ground. Sometimes he laughed, danced and sang. In this way he enjoyed transcendental bliss by seeing the Jagannātha Deity.

CC Madhya 4.155, Translation:

When Mādhavendra Purī reached the temple of Gopīnātha, he offered his respectful obeisances many times at the lotus feet of the Lord. In the ecstasy of love, he began to dance and sing without cessation.

CC Madhya 4.200, Translation:

Exhibiting ecstatic emotions, the Lord began to run here and there, making resounding noises. Sometimes He laughed, and sometimes He cried, and sometimes He danced and sang.

CC Madhya 5.4, Translation:

In the temple of Varāhadeva, Śrī Caitanya Mahāprabhu engaged in chanting and dancing and offered prayers. He passed that night in the temple.

CC Madhya 5.6, Translation:

While there, Śrī Caitanya Mahāprabhu engaged in chanting and dancing for some time, and being overwhelmed, He offered many prayers to Gopāla.

CC Madhya 5.144, Translation:

After seeing the temple of Jagannātha from a distant place, Śrī Caitanya Mahāprabhu immediately became ecstatic. After offering obeisances to the temple, He began to dance in the ecstasy of love of God.

CC Madhya 5.145, Translation:

All the devotees became ecstatic in the association of Lord Caitanya, and thus absorbed in love of God, they were dancing and singing while going along the main road.

CC Madhya 5.146, Translation:

Śrī Caitanya Mahāprabhu laughed, cried, danced and made many ecstatic vibrations and sounds. Although the temple was only six miles away, to Him the distance seemed thousands of miles.

CC Madhya 6.208, Translation:

Out of ecstatic love of God, the Bhaṭṭācārya shed tears, and his body was stunned. He exhibited an ecstatic mood, and he perspired, shook and trembled. He sometimes danced, sometimes chanted, sometimes cried and sometimes fell down to touch the lotus feet of the Lord.

CC Madhya 6.209, Translation:

While Sārvabhauma Bhaṭṭācārya was in this ecstasy, Gopīnātha Ācārya was very pleased. The associates of Śrī Caitanya Mahāprabhu all laughed to see the Bhaṭṭācārya dance so.

CC Madhya 6.228, Translation:

The Lord and the servant embraced each other and began to dance. Simply by touching each other, they became ecstatic.

CC Madhya 6.229, Translation:

As they danced and embraced, spiritual symptoms manifested in their bodies. They perspired, trembled and shed tears, and the Lord began to speak in His ecstasy.

CC Madhya 6.238, Translation:

Seeing that Sārvabhauma Bhaṭṭācārya was firmly fixed in the cult of Vaiṣṇavism, Gopīnātha Ācārya, his brother-in-law, began to dance, clap his hands and chant, "Hari! Hari!"

CC Madhya 7.5, Translation:

At the end of the month of Phālguna, He witnessed the Dola-yātrā ceremony, and in His usual ecstatic love of God, He chanted and danced in various ways on the occasion.

CC Madhya 7.18, Translation:

The Lord replied, “I am simply a dancer, and You are the wire-puller. However You pull the wires to make Me dance, I shall dance in that way.

CC Madhya 7.77, Translation:

In great ecstasy, Śrī Caitanya Mahāprabhu danced and chanted for some time. Indeed, all the neighbors came to see Him.

CC Madhya 7.78, Translation:

All around Śrī Caitanya Mahāprabhu, who is also known as Gaurahari, people began to shout the holy name of Hari. Lord Caitanya, immersed in His usual ecstasy of love, danced in the midst of them.

CC Madhya 7.80, Translation:

Everyone present was astonished to see Śrī Caitanya Mahāprabhu's dancing and His bodily transformations. Whoever came did not want to return home.

CC Madhya 7.81, Translation:

Everyone-including children, old men and women—began to dance and to chant the holy names of Śrī Kṛṣṇa and Gopāla. In this way they all floated in the ocean of love of Godhead.

CC Madhya 7.82, Translation:

Upon seeing the chanting and dancing of Lord Śrī Caitanya Mahāprabhu, Lord Nityānanda predicted that later there would be dancing and chanting in every village.

CC Madhya 7.89, Translation:

The people came and went until evening, and all of them became Vaiṣṇava devotees and began to chant and dance.

CC Madhya 7.100, Translation:

Each of these empowered persons would return to his own village, always chanting the holy name of Kṛṣṇa and sometimes laughing, crying and dancing.

CC Madhya 7.114, Translation:

While at this place, Lord Śrī Caitanya Mahāprabhu was in His usual ecstasy of love of Godhead and was laughing, crying, dancing and chanting. Everyone who saw Him was astonished.

CC Madhya 7.116, Translation:

Just by seeing Lord Caitanya Mahāprabhu, everyone became a devotee. They began to chant "Kṛṣṇa" and "Hari" and all the holy names. They all were merged in a great ecstasy of love, and they began to dance, raising their arms.

CC Madhya 8.4, Translation:

Upon seeing the Deity of Lord Nṛsiṁha in the temple, Śrī Caitanya Mahāprabhu offered His respectful obeisances by falling flat. Then, in ecstatic love, He performed various dances, chanted, and offered prayers.

CC Madhya 8.12, Translation:

After performing His usual chanting and dancing for some time in this forest, the Lord crossed the river and took His bath on the other bank.

CC Madhya 8.80, Translation:

“"When Lord Śrī Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced around the neck by the Lord"s arms. This transcendental favor was never bestowed upon the goddess of fortune or the other consorts in the spiritual world. Nor was such a thing ever imagined by the most beautiful girls in the heavenly planets, girls whose bodily luster and aroma resemble the beauty and fragrance of lotus flowers. And what to speak of worldly women, who may be very, very beautiful according to material estimation?’

CC Madhya 8.81, Purport:

This verse is from Śrīmad-Bhāgavatam (10.32.2). When the rāsa dance was going on, Kṛṣṇa suddenly disappeared, and the gopīs became so overwhelmed, due to His separation and their intense love for Him, that Kṛṣṇa was obliged to appear again.

CC Madhya 8.102, Translation:

“During the rāsa dance Śrī Kṛṣṇa did not exchange loving affairs with Śrīmatī Rādhārāṇī due to the presence of the other gopīs. Because of the dependence of the others, the intensity of love between Rādhā and Kṛṣṇa was not manifest. Therefore He stole Her away.

CC Madhya 8.105, Translation:

“Finding Herself treated equally with all the other gopīs, Śrīmatī Rādhārāṇī displayed Her tricky behavior and left the circle of the rāsa dance. Missing Śrīmatī Rādhārāṇī’s presence, Kṛṣṇa became very unhappy and began to lament and wander throughout the forest to search Her out.

CC Madhya 8.106, Translation:

“‘Lord Kṛṣṇa, the enemy of Kaṁsa, took Śrīmatī Rādhārāṇī within His heart, for He desired to dance with Her. Thus He left the arena of the rāsa dance and the company of all the other beautiful damsels of Vraja.

CC Madhya 8.109, Translation:

“Although Kṛṣṇa was in the midst of hundreds of thousands of gopīs during the rāsa dance, He still kept Himself in one of His transcendental forms by the side of Śrīmatī Rādhārāṇī.

CC Madhya 8.111, Purport:

During the rāsa dance, one form of Kṛṣṇa was between every two gopīs. But by the side of Śrīmatī Rādhārāṇī there was only one Kṛṣṇa. Although this was the case, Śrīmatī Rādhārāṇī still manifested disagreement with Kṛṣṇa. This verse is from the Ujjvala-nīlamaṇi (Śṛṅgāra-bheda-kathana 102), written by Śrīla Rūpa Gosvāmī.

CC Madhya 8.112, Translation:

“When Rādhārāṇī left the rāsa dance out of anger and resentment, Lord Śrī Kṛṣṇa became very anxious because He could not see Her.

CC Madhya 8.114, Translation:

“The rāsa dance does not shine in the heart of Kṛṣṇa without Śrīmatī Rādhārāṇī. Therefore, He also gave up the circle of the rāsa dance and went out to search for Her.

CC Madhya 8.132, Translation:

Śrī Rāmānanda Rāya said, “I am just a dancing puppet, and You pull the strings. Whichever way You make me dance, I will dance.

CC Madhya 8.138, Purport:

The goddess of fortune and the gopīs are always present there. They are Kṛṣṇa's beloveds, and all of them are as spiritual as Kṛṣṇa. In Vṛndāvana, Kṛṣṇa is the Supreme Person and is the husband of all the gopīs and the goddess of fortune. The trees in Vṛndāvana are wish-fulfilling trees. The land is made of touchstone, and the water is nectar. Words are musical vibrations, and all movements are dancing. The flute is the Lord's constant companion. The planet Goloka Vṛndāvana is self-luminous like the sun and is full of spiritual bliss. The perfection of life lies in tasting that spiritual existence; therefore everyone should cultivate its knowledge.

CC Madhya 8.139, Purport:

The name Madana refers to Cupid, but Kṛṣṇa is the spiritual Madana. His body is not material like the body of Cupid in this material universe. Kṛṣṇa's body is all-spiritual—sac-cid-ānanda-vigraha (Bs. 5.1). Therefore He is called Aprākṛta-madana. He is also known as Manmatha-madana, which means that He is attractive even to Cupid. Sometimes Kṛṣṇa's activities and attractive features are misinterpreted by gross materialists who accuse Him of being immoral because He danced with the gopīs, but such an accusation results from not knowing that Kṛṣṇa is beyond this material world. His body is sac-cid-ānanda-vigraha (Bs. 5.1), completely spiritual.

CC Madhya 8.140, Translation:

“"When Kṛṣṇa left the rāsa-līlā dance, the gopīs became very morose, and when they were grieving, Kṛṣṇa reappeared dressed in yellow garments. Wearing a flower garland and smiling, He was attractive even to Cupid. In this way Kṛṣṇa appeared among the gopīs."

CC Madhya 8.232, Translation:

“"When Lord Śrī Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced around the neck by the Lord"s arms. This transcendental favor was never bestowed upon the goddess of fortune or the other consorts in the spiritual world. Nor was such a thing ever imagined by the most beautiful girls in the heavenly planets, girls whose bodily luster and aroma resemble the beauty and fragrance of lotus flowers. And what to speak of worldly women, who may be very, very beautiful according to material estimation?’”

CC Madhya 8.254, Translation:

Śrī Caitanya Mahāprabhu asked, "Where should the living entity live, abandoning all other places?"

Rāmānanda Rāya replied, "He should live in the holy place known as Vṛndāvana or Vrajabhūmi, where the Lord performed His rāsa dance."

CC Madhya 8.255, Purport:

"He who faithfully hears about the dealings between Lord Kṛṣṇa and the gopīs in the rāsa dance and he who describes these activities attain to the perfectional stage of devotional service and simultaneously lose material, lusty desires."

CC Madhya 8.255, Purport:

A liberated person who hears about the loving affairs of Rādhā and Kṛṣṇa is not inclined to have lusty desires. One mundane rogue once said that when the Vaiṣṇavas chant the name "Rādhā, Rādhā," he simply remembers a barber's wife named Rādhā. This is a practical example. Unless one is liberated, he should not try to hear about the loving affairs between Rādhā and Kṛṣṇa. If one is not liberated and listens to a relation of the rāsa dance, he may remember his own mundane activities and illicit connections with some woman whose name may also be Rādhā. In the conditioned stage one should not even try to remember such things. By practicing the regulative principles, one should rise to the platform of spontaneous attraction for Kṛṣṇa.

CC Madhya 8.260, Translation:

In this way Caitanya Mahāprabhu and Rāmānanda Rāya passed the whole night relishing the mellows of kṛṣṇa-kathā, topics about Kṛṣṇa. While they were chanting, dancing and crying, the night ended.

CC Madhya 9.70, Translation:

When Śrī Caitanya Mahāprabhu stayed at Viṣṇu-kāñcī for two days, He danced and performed kīrtana in ecstasy. When all the people saw Him, they were converted into devotees of Lord Kṛṣṇa.

CC Madhya 9.81, Translation:

In the temple of Raṅganātha, Śrī Caitanya Mahāprabhu chanted and danced in ecstatic love of Godhead. Seeing His performance, everyone was struck with wonder.

CC Madhya 9.87, Translation:

While there, Śrī Caitanya Mahāprabhu took His bath in the river Kāverī and visited the temple of Śrī Raṅga. Every day the Lord also danced in ecstasy.

CC Madhya 9.118, Translation:

"The goddess of fortune considered that her vow of chastity would not be damaged by her relationship with Kṛṣṇa. Rather, by associating with Kṛṣṇa she could enjoy the benefit of the rāsa dance."

CC Madhya 9.120, Translation:

Lord Caitanya Mahāprabhu replied, “I know that there is no fault on the part of the goddess of fortune, but still she could not enter into the rāsa dance. We hear this from the revealed scriptures.

CC Madhya 9.121, Translation:

“"When Lord Śrī Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced around the neck by the Lord"s arms. This transcendental favor was never bestowed upon the goddess of fortune or the other consorts in the spiritual world. Nor was such a thing ever imagined by the most beautiful girls in the heavenly planets, girls whose bodily luster and aroma exactly resemble the beauty and fragrance of lotus flowers. And what to speak of worldly women, who may be very, very beautiful according to material estimation?’

CC Madhya 9.122, Translation:

“But can you tell Me why the goddess of fortune, Lakṣmī, could not enter the rāsa dance? The authorities of Vedic knowledge could enter the dance and associate with Kṛṣṇa.

CC Madhya 9.124, Translation:

Having been asked by Caitanya Mahāprabhu why the goddess of fortune could not enter into the rāsa dance whereas the authorities on Vedic knowledge could, Veṅkaṭa Bhaṭṭa replied, "I cannot enter into the mysteries of this behavior."

CC Madhya 9.133, Purport:

The authorities in the Vedic literature who are known as the śruti-gaṇas desired to enter into Lord Śrī Kṛṣṇa's rāsa dance; therefore they began to worship the Lord in the ecstasy of the gopīs. In the beginning, however, they were unsuccessful. When they could not enter the dance simply by thinking of Kṛṣṇa in the ecstasy of the gopīs, they actually accepted bodies like those of the gopīs. They even took birth in Vrajabhūmi just like the gopīs and consequently became engrossed in the ecstasy of the gopīs' love. In this way they were allowed to enter into the rāsa-līlā dance of the Lord.

CC Madhya 9.134, Translation:

“The personified authorities on the Vedic hymns acquired bodies like those of the gopīs and took birth in Vrajabhūmi. In those bodies they were allowed to enter into the Lord's rāsa-līlā dance.

CC Madhya 9.137, Translation:

"Vyāsadeva, the supreme authority on Vedic literature, composed the verse beginning "nāyaṁ sukhāpo bhagavān" because no one can enter into the rāsa-līlā dance in any body other than that of a gopī."

CC Madhya 9.137, Purport:

Only when one regains his original spiritual body can he enter into the spiritual kingdom. As far as the rāsa-līlā pastimes of the Lord are concerned, it is futile for one who is within the material world to attempt to imitate the Lord's dances. One has to attain a spiritual body like that of a gopī to enter into the pastimes of the rāsa-līlā. In the nāyaṁ sukhāpo verse, the devotees are referred to as bhaktimat, that is, fully engaged in devotional service and devoid of material contamination. One cannot enter into Kṛṣṇa's rāsa-līlā dance simply by artificially imitating it or artificially thinking oneself a sakhī and dressing up like one. Kṛṣṇa's rāsa-līlā dance is completely spiritual; it has nothing to do with material contamination. Therefore no one can enter into this pastime by artificial, material means. That is the instruction of the nāyaṁ sukhāpo verse, and it must be strictly understood.

CC Madhya 9.235, Translation:

When the Lord saw the Ādi-keśava temple, He was immediately overwhelmed with ecstasy. Offering various obeisances and prayers, He chanted and danced.

CC Madhya 9.243, Translation:

Śrī Caitanya Mahāprabhu chanted and danced at Śrī Janārdana for two days. He then went to the bank of the Payasvinī River and visited the temple of Śaṅkara-nārāyaṇa.

CC Madhya 9.246, Translation:

While at the Uḍupī monastery, Śrī Caitanya Mahāprabhu saw "dancing Gopāla," a most beautiful Deity. This Deity appeared to Madhvācārya in a dream.

CC Madhya 9.248, Translation:

Madhvācārya brought this dancing Gopāla Deity to Uḍupī and installed Him in the temple. To date, the followers of Madhvācārya, known as Tattvavādīs, worship this Deity.

CC Madhya 9.249, Translation:

Śrī Caitanya Mahāprabhu received great pleasure in seeing this beautiful form of Gopāla. For a long time He danced and chanted in ecstatic love.

CC Madhya 9.279, Purport:

The Apsarās, denizens of the heavenly planets, are generally known as dancing girls. The girls in the heavenly planets are exquisitely beautiful, and if a woman on earth is found to be very beautiful, she is compared to the Apsarās. There were five Apsarās named Latā, Budbudā, Samīcī, Saurabheyī and Varṇā. It is said that these five beautiful dancing girls were sent by Indra to break the severe austerity of a saintly person called Acyuta Ṛṣi. This action was typical of Indra, the King of heaven. Whenever Indra discovered someone undergoing severe austerities, he would begin to fear for his post.

CC Madhya 9.279, Purport:

Indra was always anxious about his position, fearing that if someone became more powerful than he was, he would lose his elevated position. Thus as soon as he would see a saint undergoing severe austerities, he would send dancing girls to distract him. Even the great saint Viśvāmitra Muni fell victim to his plan.

CC Madhya 9.283, Translation:

Śrī Caitanya Mahāprabhu chanted and danced in various ways as usual. A brāhmaṇa, seeing Him in ecstatic love, was very pleased and invited the Lord to his home for lunch.

CC Madhya 9.340, Translation:

Śrī Nityānanda Rāya, Jagadānanda, Dāmodara Paṇḍita and Mukunda all became ecstatic in their happiness, and dancing along the way, they went to meet the Lord.

CC Madhya 9.347, Translation:

In ecstatic love Śrī Caitanya Mahāprabhu danced and chanted. At that time all the attendants and priests came to offer Him a garland and the remnants of Lord Jagannātha's food.

CC Madhya 10.80, Translation:

When Advaita Ācārya Gosvāmī heard of Śrī Caitanya Mahāprabhu's return, He became very pleased. In His great ecstasy of love, He made a rumbling sound and danced and chanted for a long time.

CC Madhya 11.1, Translation:

Śrī Caitanya Mahāprabhu merged the entire world into the ocean of ecstatic love by performing His beautiful dances within the temple of Jagannātha. He danced exquisitely and jumped high.

CC Madhya 11.54, Translation:

“On the day of the car festival, Śrī Caitanya Mahāprabhu will dance before the Deity in great ecstatic love.

CC Madhya 11.55, Translation:

“On that Ratha-yātrā festival day, after dancing before the Lord, Śrī Caitanya Mahāprabhu will enter the Guṇḍicā garden. At that time you should go there alone, without your royal dress.

CC Madhya 11.56, Translation:

“When Śrī Caitanya Mahāprabhu enters the Guṇḍicā garden, you should also go there and read the five chapters of Śrīmad-Bhāgavatam about Lord Kṛṣṇa's dancing with the gopīs. In this way you can catch hold of the Lord's lotus feet.

CC Madhya 11.96, Translation:

"I have never before seen such ecstatic love, nor heard the vibration of the holy name of the Lord chanted in such a way, nor seen such dancing during saṅkīrtana."

CC Madhya 11.102, Purport:

The word su-medhasaḥ means "sharply intelligent." When one's intelligence is sharp, he can increase the interests of common men in loving Caitanya Mahāprabhu and through Him in loving Rādhā-Kṛṣṇa. Those not interested in understanding Śrī Caitanya Mahāprabhu are simply material in their attempts at professional chanting and dancing for money, despite their supposed artistry. If one does not have full faith in Śrī Caitanya Mahāprabhu, he cannot properly chant and dance in the saṅkīrtana movement. Artificial chanting and dancing may be due to sentiments or sentimental agitation, but this cannot help one advance in Kṛṣṇa consciousness.

CC Madhya 11.215, Translation:

Four parties were then distributed in four directions to perform saṅkīrtana, and in the middle of them the Lord Himself, known as the son of mother Śacī, began to dance.

CC Madhya 11.220, Translation:

At this time Śrī Caitanya Mahāprabhu circumambulated the temple of Jagannātha and continuously danced about the whole area.

CC Madhya 11.225, Translation:

On all four sides the four saṅkīrtana groups chanted very loudly, and in the middle Śrī Caitanya Mahāprabhu danced, jumping high.

CC Madhya 11.226, Translation:

After dancing for a long time, Śrī Caitanya Mahāprabhu became still and ordered four great personalities to begin to dance.

CC Madhya 11.227, Translation:

In one group Nityānanda Prabhu began to dance, and in another group Advaita Ācārya began to dance.

CC Madhya 11.228, Translation:

Vakreśvara Paṇḍita began to dance in another group, and in yet another group Śrīvāsa Ṭhākura began to dance.

CC Madhya 11.229, Translation:

While this dancing was going on, Śrī Caitanya Mahāprabhu watched them and performed a miracle.

CC Madhya 11.231, Translation:

Wanting to see the dancing of the four great personalities, Śrī Caitanya Mahāprabhu exhibited this miracle of seeing everyone simultaneously.

CC Madhya 11.233, Translation:

In His own pastimes in Vṛndāvana, when Kṛṣṇa used to eat on the bank of the Yamunā and sit in the center of His friends, every one of the cowherd boys would perceive that Kṛṣṇa was looking at him. In the same way, when Caitanya Mahāprabhu observed the dancing, everyone saw that Caitanya Mahāprabhu was facing him.

CC Madhya 11.234, Translation:

When someone came nearby while dancing, Śrī Caitanya Mahāprabhu would tightly embrace him.

CC Madhya 11.235, Translation:

Upon seeing the great dancing, great love and great saṅkīrtana, all the people of Jagannātha Purī floated in an ecstatic ocean of love.

CC Madhya 12.64, Translation:

The boy began to cry and dance, and he chanted, "Kṛṣṇa! Kṛṣṇa!" Upon seeing his bodily symptoms and his chanting and dancing, all the devotees praised him for his great spiritual fortune.

CC Madhya 12.136, Translation:

Śrī Caitanya Mahāprabhu also cleansed the Nṛsiṁha temple inside and outside. Finally, He rested a few minutes and then began dancing.

CC Madhya 12.137, Translation:

All around Śrī Caitanya Mahāprabhu all the devotees performed congregational chanting. The Lord, just like a maddened lion, danced in the middle.

CC Madhya 12.138, Translation:

As usual, when Caitanya Mahāprabhu danced, there were perspiration, trembling, fading, tears, jubilation and roaring. Indeed, the tears from His eyes washed His body and those before Him.

CC Madhya 12.140, Translation:

The sky was filled with the great and loud chanting of saṅkīrtana, and the earth shook from the jumping and dancing of Lord Caitanya Mahāprabhu.

CC Madhya 12.141, Translation:

Śrī Caitanya Mahāprabhu always liked the loud chanting of Svarūpa Dāmodara. Therefore when Svarūpa Dāmodara sang, Śrī Caitanya Mahāprabhu danced and jumped high in jubilation.

CC Madhya 12.142, Translation:

The Lord thus chanted and danced for some time. Finally, understanding the circumstances, He stopped.

CC Madhya 12.143, Translation:

Śrī Caitanya Mahāprabhu then ordered Śrī Gopāla, the son of Advaita Ācārya, to dance.

CC Madhya 12.144, Translation:

While dancing in ecstatic love, Śrī Gopāla fainted and fell to the ground unconscious.

CC Madhya 12.149, Translation:

As soon as Gopāla heard the voice of Śrī Caitanya Mahāprabhu, he immediately came to his senses. All the devotees then began to dance, chanting the holy name of Hari.

CC Madhya 13 Summary:

he road to the temple led along a broad, sandy beach, and on both sides of the road were residential quarters, houses and gardens. Along that road the servants called gauḍas began to pull the cars. Śrī Caitanya Mahāprabhu divided His saṅkīrtana party into seven divisions. With two mṛdaṅgas in each division, there were altogether fourteen mṛdaṅgas. While performing kīrtana, Śrī Caitanya Mahāprabhu exhibited various symptoms of transcendental ecstasy, and Jagannātha and Śrī Caitanya Mahāprabhu exchanged Their feelings very blissfully. When the cars reached the place known as Balagaṇḍi, the devotees offered the Deities simple food. At this time, in a nearby garden, Śrī Caitanya Mahāprabhu and His devotees took a brief rest from the dancing.

CC Madhya 13.1, Translation:

May the Supreme Personality of Godhead, Śrī Kṛṣṇa Caitanya, who danced in front of the car of Śrī Jagannātha, be all glorified! By seeing His dancing, not only was the whole universe held in wonder, but Lord Jagannātha Himself became very much astonished.

CC Madhya 13.3, Translation:

All glories to the listeners of Śrī Caitanya-caritāmṛta! Please hear the description of the dancing of Lord Caitanya Mahāprabhu at the Ratha-yātrā festival. His dancing is very enchanting. Please hear of it with great attention.

CC Madhya 13.35, Translation:

Śrī Caitanya Mahāprabhu ordered Nityānanda Prabhu, Advaita Ācārya, Haridāsa Ṭhākura and Vakreśvara Paṇḍita to dance in each of the four respective parties.

CC Madhya 13.38, Translation:

Advaita Ācārya Prabhu was ordered to dance in the first group. The Lord then formed another group with Śrīvāsa Ṭhākura as the chief man.

CC Madhya 13.46, Translation:

Another party was formed by the people of Khaṇḍa. These people were singing in a different place. In that group, Narahari Prabhu and Raghunandana were dancing.

CC Madhya 13.47, Translation:

Four parties chanted and danced in front of Lord Jagannātha, and on either side was another party. Yet another was at the rear.

CC Madhya 13.60, Purport:

Lord Jagannātha was astonished to see the transcendental dancing and chanting of Śrī Caitanya Mahāprabhu, and He stopped His car just to see the dancing. Lord Caitanya Mahāprabhu then danced in such a mystical way that He pleased Lord Jagannātha. The seer and the dancer were one and the same Supreme Person, but the Lord, being one and many at the same time, was exhibiting the variegatedness of His pastimes. This is the meaning behind His mysterious exhibition.

CC Madhya 13.63, Translation:

Lord Śrī Caitanya Mahāprabhu performed His pastimes for some time in this way. He personally sang and induced His personal associates to dance.

CC Madhya 13.65, Purport:

Śrī Caitanya Mahāprabhu exhibited His mystic power in presenting Himself simultaneously in each and every saṅkīrtana group. Most people thought that He was one, but some saw that He was many. The internal devotees could understand that the Lord, although one, was exhibiting Himself as many in the different saṅkīrtana groups. When Śrī Caitanya Mahāprabhu danced, He forgot Himself and was simply absorbed in ecstatic bliss. But His internal potency arranged everything perfectly.

CC Madhya 13.66, Translation:

Just as Lord Śrī Kṛṣṇa formerly performed the rāsa-līlā dance and other pastimes at Vṛndāvana, Lord Śrī Caitanya Mahāprabhu performed uncommon pastimes moment after moment.

CC Madhya 13.67, Translation:

Śrī Caitanya Mahāprabhu's dancing before the Ratha-yātrā car could be perceived only by pure devotees. Others could not understand. Descriptions of Lord Kṛṣṇa's uncommon dancing can be found in the revealed scripture Śrīmad-Bhāgavatam.

CC Madhya 13.67, Purport:

Lord Śrī Kṛṣṇa expanded Himself into many forms while engaged in the rāsa-līlā dance, and He also expanded Himself when He married 16,000 wives in Dvārakā. The same process was adopted by Śrī Caitanya Mahāprabhu when He expanded Himself into seven forms to dance in each and every group of the saṅkīrtana party. These expansions were appreciated by pure devotees, including King Pratāparudra. Although for reasons of external formality Śrī Caitanya Mahāprabhu refused to see King Pratāparudra because he was a king, King Pratāparudra became one of the Lord's most confidential devotees by the Lord's special mercy upon him.

CC Madhya 13.68, Translation:

In this way Śrī Caitanya Mahāprabhu danced in great jubilation and inundated all the people with waves of ecstatic love.

CC Madhya 13.69, Translation:

Thus Lord Jagannātha mounted His car, and Lord Śrī Caitanya Mahāprabhu inspired all His devotees to dance in front of it.

CC Madhya 13.70, Translation:

Now please hear about Lord Jagannātha's going to the Guṇḍicā temple while Śrī Caitanya Mahāprabhu danced before the Ratha car.

CC Madhya 13.71, Translation:

The Lord performed kīrtana for some time and, through His own endeavor, inspired all the devotees to dance.

CC Madhya 13.72, Translation:

When the Lord Himself wanted to dance, all seven groups combined together.

CC Madhya 13.74, Translation:

When Śrī Caitanya Mahāprabhu desired to jump high while dancing, He placed these nine people in the charge of Svarūpa Dāmodara.

CC Madhya 13.82, Translation:

When Śrī Caitanya Mahāprabhu danced and jumped high, roaring like thunder and moving in a circle like a wheel, He appeared like a circling firebrand.

CC Madhya 13.82, Purport:

If a burning cinder of a firebrand is whirled about very swiftly, it gives the appearance of a circle of fire. This is called alāta-ākāra or alāta-cakra, a firebrand circle. This whole circle is not actually made of fire but is a single fire in motion. Similarly, Lord Śrī Caitanya Mahāprabhu is a single personality, but when He danced and jumped high in a circle, He appeared like the alāta-cakra.

CC Madhya 13.83, Translation:

Wherever Śrī Caitanya Mahāprabhu stepped while dancing, the whole earth, with its hills and seas, appeared to tilt.

CC Madhya 13.84, Translation:

When Caitanya Mahāprabhu danced, He displayed various blissful transcendental changes in His body. Sometimes He appeared as though stunned. Sometimes the hairs of His body stood on end. Sometimes He perspired, cried, trembled and changed color, and sometimes He exhibited symptoms of helplessness, pride, exuberance and humility.

CC Madhya 13.85, Translation:

When Śrī Caitanya Mahāprabhu fell down with a crash while dancing, He would roll on the ground. At such times it appeared that a golden mountain was rolling on the ground.

CC Madhya 13.91, Translation:

With his hands on the shoulders of Haricandana, King Pratāparudra could see Lord Caitanya Mahāprabhu dancing, and the King felt great ecstasy.

CC Madhya 13.92, Translation:

While the King beheld the dancing, Śrīvāsa Ṭhākura, standing in front of him, became ecstatic as he saw the dancing of Śrī Caitanya Mahāprabhu.

CC Madhya 13.94, Translation:

Absorbed in watching Śrī Caitanya Mahāprabhu dance, Śrīvāsa Ṭhākura could not understand why he was being touched and pushed. After he was pushed again and again, he became angry.

CC Madhya 13.98, Translation:

Everyone was astonished by the dancing of Caitanya Mahāprabhu, and even Lord Jagannātha became extremely happy to see Him.

CC Madhya 13.99, Translation:

The car came to a complete standstill and remained immobile while Lord Jagannātha, with unblinking eyes, watched the dancing of Śrī Caitanya Mahāprabhu.

CC Madhya 13.100, Translation:

The goddess of fortune, Subhadrā, and Lord Balarāma both felt great happiness and ecstasy within their hearts. Indeed, they were seen smiling at the dancing.

CC Madhya 13.101, Translation:

When Caitanya Mahāprabhu danced and jumped high, eight wonderful transformations indicative of divine ecstasy were seen in His body. All these symptoms were visible simultaneously.

CC Madhya 13.111, Translation:

After Śrī Caitanya Mahāprabhu had performed His devastating dance for some time, His mind entered into a mood of ecstatic love.

CC Madhya 13.112, Translation:

After abandoning the dancing, the Lord ordered Svarūpa Dāmodara to sing. Understanding His mind, Svarūpa Dāmodara began to sing as follows.

CC Madhya 13.114, Translation:

When this refrain was loudly sung by Svarūpa Dāmodara, Śrī Caitanya Mahāprabhu again began rhythmically dancing in transcendental bliss.

CC Madhya 13.115, Translation:

The car of Lord Jagannātha began to move slowly while the son of mother Śacī went ahead and danced in front.

CC Madhya 13.116, Translation:

While dancing and singing, all the devotees in front of Lord Jagannātha kept their eyes on Him. Caitanya Mahāprabhu then went to the end of the procession with the saṅkīrtana performers.

CC Madhya 13.119, Purport:

Śrī Caitanya Mahāprabhu's following at the rear of the ratha indicated that Lord Jagannātha, Kṛṣṇa, was forgetting the inhabitants of Vṛndāvana. Although Kṛṣṇa neglected the inhabitants of Vṛndāvana, He could not forget them. Thus in His opulent Ratha-yātrā, He was returning to Vṛndāvana. In the role of Śrīmatī Rādhārāṇī, Śrī Caitanya Mahāprabhu was examining whether the Lord still remembered the inhabitants of Vṛndāvana. When Caitanya Mahāprabhu fell behind the Ratha car, Jagannātha-deva, Kṛṣṇa Himself, understood the mind of Śrīmatī Rādhārāṇī. Therefore, Jagannātha sometimes fell behind the dancing Śrī Caitanya Mahāprabhu to indicate to Śrīmatī Rādhārāṇī that He had not forgotten.

CC Madhya 13.120, Translation:

While Śrī Caitanya Mahāprabhu was dancing, His ecstasy changed. Raising His two arms, He began to recite the following verse in a loud voice.

CC Madhya 13.135, Translation:

While dancing, Śrī Caitanya Mahāprabhu began to recite the following verse, which He tasted in the association of Svarūpa Dāmodara Gosvāmī.

CC Madhya 13.143, Translation:

“It is amazing that You have forgotten the land of Vṛndāvana. And how is it that You have forgotten Your father, mother and friends? How have You forgotten Govardhana Hill, the bank of the Yamunā and the forest where You enjoyed the rāsa-līlā dance?

CC Madhya 13.162, Translation:

Śrī Caitanya Mahāprabhu danced completely absorbed in ecstatic emotion. While looking at the face of Lord Jagannātha, He danced and recited these verses.

CC Madhya 13.176, Translation:

Upon seeing the dancing and ecstatic love of Śrī Caitanya Mahāprabhu, everyone became astonished. In their hearts they became infatuated with love of Kṛṣṇa.

CC Madhya 13.177, Translation:

Everyone danced and chanted in ecstatic love, and a great noise resounded. Everyone was overwhelmed with transcendental bliss just to see the dancing of Śrī Caitanya Mahāprabhu.

CC Madhya 13.178, Translation:

Apart from the others, even Lord Jagannātha and Lord Balarāma, with great happiness, began to move very slowly upon seeing the dancing of Śrī Caitanya Mahāprabhu.

CC Madhya 13.179, Translation:

Lord Jagannātha and Lord Balarāma sometimes stopped the car and happily observed Lord Caitanya's dancing. Anyone who was able to see Them stop and watch the dancing bore witness to Their pastimes.

CC Madhya 13.180, Translation:

When Lord Śrī Caitanya Mahāprabhu was dancing and wandering in this way, He fell down in front of Mahārāja Pratāparudra.

CC Madhya 13.191, Translation:

As the car began to move, Śrī Caitanya Mahāprabhu took His personal associates in front of the cars occupied by Lord Balarāma and Subhadrā, the goddess of fortune. Greatly inspired, He then began to dance in front of them.

CC Madhya 13.192, Translation:

After finishing the dance before Lord Baladeva and Subhadrā, Śrī Caitanya Mahāprabhu came before Lord Jagannātha's car. Upon seeing Lord Jagannātha, He began to dance again.

CC Madhya 13.195, Translation:

Śrī Caitanya Mahāprabhu and His devotees were dancing in front of the car, and Lord Jagannātha, having stopped the car, watched the dancing.

CC Madhya 13.201, Translation:

While the food was being offered, a large crowd of people gathered. At that time Śrī Caitanya Mahāprabhu stopped His dancing and went to a nearby garden.

CC Madhya 13.203, Translation:

The Lord was very much fatigued from the hard labor of dancing, and there was perspiration all over His body. He therefore enjoyed the fragrant, cool breeze of the garden.

CC Madhya 13.205, Translation:

Thus I have described the great performance of congregational chanting by Lord Śrī Caitanya Mahāprabhu as He danced in front of Lord Jagannātha.

CC Madhya 13.206, Translation:

In his prayer known as the Caitanyāṣṭaka, Śrīla Rūpa Gosvāmī has given a vivid description of the Lord's dancing before the car of Jagannātha.

CC Madhya 13.207, Translation:

"Śrī Caitanya Mahāprabhu danced down the main road in great ecstasy before Lord Jagannātha, the master of Nīlācala, who was sitting on His car. Overwhelmed by the transcendental bliss of dancing and surrounded by Vaiṣṇavas who sang the holy names, He manifested waves of ecstatic love of Godhead. When will Śrī Caitanya Mahāprabhu again be visible to my vision?"

CC Madhya 14.1, Translation:

Accompanied by His personal devotees, Śrī Caitanya Mahāprabhu went to the festival known as Lakṣmī-vijayotsava. There He discussed the superexcellent love of the gopīs. Just by hearing about them, He became very pleased and danced in great ecstatic love for the Lord.

CC Madhya 14.63, Translation:

While Lord Jagannātha, Lord Balarāma and Subhadrā sat on their respective thrones, Śrī Caitanya Mahāprabhu and His devotees began to perform saṅkīrtana with great pleasure, chanting and dancing in the yard of the temple.

CC Madhya 14.64, Translation:

While Śrī Caitanya Mahāprabhu was chanting and dancing, He was overwhelmed with ecstatic love, and all the people who saw Him were also flooded in the ocean of love of Godhead.

CC Madhya 14.65, Translation:

In the evening, after finishing His dancing in the yard of the Guṇḍicā temple, the Lord observed the ārati ceremony. Thereafter He went to a place called Āiṭoṭā and took rest for the night.

CC Madhya 14.71, Translation:

By chanting and dancing, Śrī Caitanya Mahāprabhu induced Advaita Ācārya to dance. Sometimes He induced Nityānanda Prabhu, Haridāsa Ṭhākura and Acyutānanda to dance.

CC Madhya 14.72, Translation:

Sometimes Śrī Caitanya Mahāprabhu engaged Vakreśvara and other devotees in chanting and dancing. Three times daily—morning, noon and evening—He would perform saṅkīrtana in the yard of the Guṇḍicā temple.

CC Madhya 14.94, Translation:

In the afternoon, Śri Caitanya Mahāprabhu went to the Guṇḍicā temple to visit the Lord and dance. At night He went to the garden to take rest.

CC Madhya 14.95, Translation:

The next day, Śrī Caitanya Mahāprabhu also went to the temple of Guṇḍicā and saw the Lord. He then chanted and danced in the yard for some time.

CC Madhya 14.98, Translation:

As Śrī Caitanya Mahāprabhu danced beneath each and every tree, Vāsudeva Datta sang alone.

CC Madhya 14.99, Translation:

As Vāsudeva Datta sang a different song beneath each and every tree, Śrī Caitanya Mahāprabhu danced there alone in great ecstasy.

CC Madhya 14.100, Translation:

Śrī Caitanya Mahāprabhu then ordered Vakreśvara Paṇḍita to dance, and as he began to dance, the Lord began to sing.

CC Madhya 14.110, Translation:

“Collect all kinds of small and large flags and ringing bells. Then decorate the carrier and have various musical and dancing parties accompany it. In this way decorate the carrier attractively.

CC Madhya 14.129, Translation:

The palanquin was also surrounded by people carrying umbrellas, cāmara whisks and flags, and it was preceded by musicians and dancing girls.

CC Madhya 14.158, Translation:

“"Lord Śrī Kṛṣṇa, who is the Absolute Truth, enjoyed His rāsa dance every night during the autumn season. He performed this dance in the moonlight and with full transcendental mellows. He used poetic words and surrounded Himself with women who were very much attracted to Him."

CC Madhya 14.190, Translation:

“When Śrīmatī Rādhārāṇī stands before Kṛṣṇa, She stands bent in three places—Her neck, waist and legs—and Her eyebrows dance.

CC Madhya 14.224, Translation:

“In Vṛndāvana, the natural speech of the people sounds like music, and their natural motion resembles a dance.

CC Madhya 14.227, Translation:

“"The damsels of Vṛndāvana, the gopīs, are super goddesses of fortune. The enjoyer in Vṛndāvana is the Supreme Personality of Godhead, Kṛṣṇa. The trees there are all wish-fulfilling trees, and the land is made of transcendental touchstone. The water is all nectar, the talking is singing, the walking is dancing, and the constant companion of Kṛṣṇa is His flute. The effulgence of transcendental bliss is experienced everywhere. Therefore Vṛndāvana-dhāma is the only relishable abode."

CC Madhya 14.229, Translation:

Śrīvāsa Ṭhākura then began to dance in ecstatic love. He vibrated sounds by slapping his armpits with the palms of his hands, and he laughed very loudly.

CC Madhya 14.230, Translation:

Thus Śrī Caitanya Mahāprabhu heard these discussions about the pure transcendental mellow of Śrīmatī Rādhārāṇī. Absorbed in transcendental ecstasy, the Lord began to dance.

CC Madhya 14.231, Translation:

While Śrī Caitanya Mahāprabhu was dancing in ecstatic love and Svarūpa Dāmodara was singing, the Lord said, "Go on singing! Go on singing!" The Lord then extended His own ears.

CC Madhya 14.233, Translation:

Finally the goddess of fortune returned to her apartment. In due course of time, as Śrī Caitanya Mahāprabhu was dancing, afternoon arrived.

CC Madhya 14.235, Translation:

While dancing absorbed in Śrīmatī Rādhārāṇī’s ecstatic love, Śrī Caitanya Mahāprabhu appeared in Her very form. Seeing this from a distant place, Nityānanda Prabhu offered prayers.

CC Madhya 14.242, Translation:

As soon as He saw Lord Jagannātha, Śrī Caitanya Mahāprabhu began to chant and dance. Afterward, accompanied by His devotees, the Lord enjoyed sporting in the lake called Narendra-sarovara.

CC Madhya 14.245, Translation:

As previously, Śrī Caitanya Mahāprabhu and His devotees chanted and danced with great pleasure.

CC Madhya 15.4, Translation:

While Śrī Caitanya Mahāprabhu stayed at Jagannātha Purī, He constantly enjoyed chanting and dancing with His devotees.

CC Madhya 15.5, Translation:

In the beginning of the day, Śrī Caitanya Mahāprabhu saw the Deity of Lord Jagannātha in the temple. He offered Him obeisances and prayers and danced and sang before Him.

CC Madhya 15.21, Translation:

As usual, Śrī Caitanya Mahāprabhu danced jubilantly. Everyone was covered with milk, yogurt and yellow turmeric water.

CC Madhya 15.36, Purport:

The Dīpāvalī festival takes place on the dark-moon night in the month of Kārtika (October-November). The Rāsa-yātrā, or rāsa dancing of Kṛṣṇa, takes place on the full-moon night of the same month. Utthāna-dvādaśī takes place the day after Ekādaśī in the waxing fortnight of the moon in the same month. All the devotees of Śrī Caitanya Mahāprabhu participated in all these festivals.

CC Madhya 15.44, Translation:

"I shall also go to see You at intervals. Keeping Myself invisible, I shall watch You dance."

CC Madhya 15.46, Translation:

Śrī Caitanya Mahāprabhu requested Śrīvāsa Ṭhākura, “Perform congregational chanting daily, and be assured that I shall also dance in your presence. You will be able to see this dancing, but not others.

CC Madhya 15.237, Purport:

This is a quotation from Śrīmad-Bhāgavatam (11.6.46). In the Hare Kṛṣṇa movement, the chanting of the Hare Kṛṣṇa mahā-mantra, the dancing in ecstasy and the eating of the remnants of food offered to the Lord are very, very important. One may be illiterate or incapable of understanding the philosophy, but if he partakes of these three items, he will certainly be liberated without delay.

CC Madhya 15.278, Translation:

After hearing Śrī Caitanya Mahāprabhu and being touched by Him, Amogha, who was on his deathbed, immediately stood up and began to chant the holy name of Kṛṣṇa. Thus he became mad with ecstatic love and began to dance emotionally.

CC Madhya 15.279, Translation:

While Amogha danced in ecstatic love, he manifested all the ecstatic symptoms—trembling, tears, jubilation, trance, perspiration and a faltering voice. Seeing these waves of ecstatic emotion, Śrī Caitanya Mahāprabhu began to laugh.

CC Madhya 15.296, Translation:

Thereafter, Amogha became an unalloyed devotee of Śrī Caitanya Mahāprabhu. He danced in ecstasy and peacefully chanted the holy name of Lord Kṛṣṇa.

CC Madhya 16.28, Translation:

When they all arrived at Remuṇā, they went to see Lord Gopīnātha. In the temple there, Advaita Ācārya danced and chanted.

CC Madhya 16.40, Translation:

Indeed, They began chanting the holy name of Kṛṣṇa on that very spot, and in this way, dancing and dancing, Advaita Ācārya and Nityānanda Prabhu reached Jagannātha Purī.

CC Madhya 16.49, Translation:

The inhabitants of Kulīna-grāma delivered silken ropes to Lord Jagannātha, and, as previously, they all danced before the Lord's car.

CC Madhya 16.50, Translation:

After dancing a great deal, they all went to a nearby garden and took rest beside a lake.

CC Madhya 16.61, Translation:

Seeing the face of Advaita Ācārya, Lord Śrī Caitanya Mahāprabhu smiled. Understanding that the Lord had accepted the proposal, Advaita Ācārya started to dance.

CC Madhya 16.164, Translation:

“All these saintly people incessantly chant the Hare Kṛṣṇa mahā-mantra, and they all laugh, dance, chant and cry.

CC Madhya 16.166, Translation:

“All these people become like madmen. They simply chant the holy name of Kṛṣṇa and dance. Sometimes they even cry and roll on the ground.

CC Madhya 16.168, Translation:

After saying this, the messenger began to chant the holy names of Hari and Kṛṣṇa. He also began to laugh and cry, dance and sing exactly like a madman.

CC Madhya 16.281, Purport:

It was not essential for Śrī Caitanya Mahāprabhu to go to Vṛndāvana, for wherever He stayed was immediately converted to Vṛndāvana. Indeed, at that place were also the river Ganges, the river Yamunā and all other places of pilgrimage. This was also expressed by Śrī Caitanya Mahāprabhu Himself when He danced in the Ratha-yātrā. At that time He said that His very mind was Vṛndāvana (mora-mana—vṛndāvana). Because His mind was Vṛndāvana, all the pastimes of Rādhā and Kṛṣṇa were taking place within Himself. Nonetheless, just to teach people, He visited bhauma-vṛndāvana, Vṛndāvana-dhāma in this material world. In this way the Lord instructed everyone to visit Vṛndāvana-dhāma, which is a very holy place.

CC Madhya 17.1, Translation:

On His way to Vṛndāvana, Lord Śrī Caitanya Mahāprabhu passed through the forest of Jhārikhaṇḍa and made all the tigers, elephants, deer and birds chant the Hare Kṛṣṇa mahā-mantra and dance. Thus all these animals were overwhelmed by ecstatic love.

CC Madhya 17.29, Translation:

The Lord said, "Chant the holy name of Kṛṣṇa!" The tiger immediately got up and began to dance and to chant "Kṛṣṇa! Kṛṣṇa!"

CC Madhya 17.32, Translation:

The elephants whose bodies were touched by the water splashed by the Lord began to chant "Kṛṣṇa! Kṛṣṇa!" and dance and sing in ecstasy.

CC Madhya 17.40, Translation:

When Śrī Caitanya Mahāprabhu said "Chant "Kṛṣṇa! Kṛṣṇa!"" the tigers and deer began to chant "Kṛṣṇa!" and dance.

CC Madhya 17.41, Translation:

When all the tigers and does danced and jumped, Balabhadra Bhaṭṭācārya saw them and was struck with wonder.

CC Madhya 17.44, Translation:

Various birds, including the peacock, saw Śrī Caitanya Mahāprabhu and began to follow Him, chanting and dancing. They were all maddened by the holy name of Kṛṣṇa.

CC Madhya 17.48-49, Translation:

When someone heard the chanting of the holy name from the mouth of Śrī Caitanya Mahāprabhu, and someone else heard this chanting from that second person, and someone again heard this chanting from the third person, everyone in all countries became a Vaiṣṇava through such disciplic succession. Thus everyone chanted the holy name of Kṛṣṇa and Hari, and they danced, cried and smiled.

CC Madhya 17.54, Purport:

As evidence of Śrī Caitanya Mahāprabhu's mercy, we are experiencing that the people of Africa are taking to Kṛṣṇa consciousness, chanting and dancing and taking prasādam like other Vaiṣṇavas. This is all due to the power of Śrī Caitanya Mahāprabhu.

CC Madhya 17.56, Translation:

Similarly, whenever Śrī Caitanya Mahāprabhu saw a river, He immediately accepted it as the river Yamunā. Thus while in the forest He was filled with great ecstatic love, and He danced and fell down crying.

CC Madhya 17.87, Translation:

With great pleasure Tapana Miśra brought Śrī Caitanya Mahāprabhu to his home and rendered service unto Him. Indeed, he began to dance, waving his cloth.

CC Madhya 17.112, Translation:

“Sometimes He dances, laughs, sings and cries, and sometimes He roars like a lion.

CC Madhya 17.117, Translation:

Prakāśānanda Sarasvatī continued, “I know that His name is Caitanya and that He is accompanied by many sentimentalists. His followers dance with Him, and He tours from country to country and village to village.

CC Madhya 17.149, Translation:

Śrī Caitanya Mahāprabhu then went to Prayāga, where He bathed at the confluence of the Ganges and the Yamunā. He then visited the temple of Veṇī Mādhava and chanted and danced there in ecstatic love.

CC Madhya 17.152, Translation:

Wherever the Lord stopped to rest on the way to Mathurā, He delivered the holy name of Kṛṣṇa and ecstatic love of Kṛṣṇa. Thus He made the people dance.

CC Madhya 17.157, Translation:

When Śrī Caitanya Mahāprabhu chanted, danced and made loud vibrations, all the people were astonished to see His ecstatic love.

CC Madhya 17.158, Translation:

One brāhmaṇa fell at the lotus feet of Śrī Caitanya Mahāprabhu and then began to dance with Him in ecstatic love.

CC Madhya 17.159, Translation:

The two of them danced in ecstatic love and embraced each other. Raising their arms, they said, "Chant the holy names of Hari and Kṛṣṇa!"

CC Madhya 17.161, Translation:

When the people saw Śrī Caitanya Mahāprabhu's dancing and chanting, they were struck with wonder, and they all said, "Such transcendental love is never an ordinary thing."

CC Madhya 17.162, Translation:

The people said, “Simply by seeing Śrī Caitanya Mahāprabhu, everyone is maddened with love of Kṛṣṇa. Indeed, everyone is laughing, crying, dancing, chanting and taking the holy name of Kṛṣṇa.

CC Madhya 17.174, Translation:

Balabhadra Bhaṭṭācārya then explained the relationship between Mādhavendra Purī and Śrī Caitanya Mahāprabhu. After hearing this, the brāhmaṇa became very pleased and began to dance.

CC Madhya 17.189, Translation:

When the people assembled, Śrī Caitanya Mahāprabhu raised His arms and said very loudly, "Haribol!" The people responded to the Lord and became ecstatic. As if mad, they began to dance and to vibrate the transcendental sound "Hari!"

CC Madhya 17.199, Translation:

Bumblebees and birds like the parrot and cuckoo all began to sing loudly on the fifth note, and the peacocks began to dance in front of the Lord.

CC Madhya 17.212, Translation:

The female parrot said, “Śrīmatī Rādhārāṇī’s affection, Her exquisite beauty and good behavior, Her artistic dancing and chanting and Her poetic compositions are all so attractive that they attract the mind of Kṛṣṇa, who attracts the mind of everyone in the universe.”

CC Madhya 17.217, Translation:

Both parrots then flew onto a tree branch, and Śrī Caitanya Mahāprabhu began to watch the dancing of the peacocks with curiosity.

CC Madhya 17.223, Translation:

The mind of Śrī Caitanya Mahāprabhu wandered in ecstatic love of Kṛṣṇa. He immediately stood up and said, "Chant! Chant!" Then He Himself began to dance.

CC Madhya 17.224, Translation:

Being thus ordered by the Lord, both Balabhadra Bhaṭṭācārya and the brāhmaṇa began to chant the holy name of Kṛṣṇa. Then the Lord, dancing and dancing, proceeded along the path.

CC Madhya 18.3, Translation:

Śrī Caitanya Mahāprabhu danced in ecstasy, but when He arrived at Āriṭ-grāma, His sense perception was awakened.

CC Madhya 18.9, Translation:

“In that lake, Lord Kṛṣṇa and Śrīmatī Rādhārāṇī used to sport daily in the water and have a rāsa dance on the bank.

CC Madhya 18.13, Translation:

Śrī Caitanya Mahāprabhu thus offered prayers to Rādhā-kuṇḍa. Overwhelmed by ecstatic love, He danced on the bank, remembering the pastimes Lord Kṛṣṇa performed on the bank of Rādhā-kuṇḍa.

CC Madhya 18.19, Translation:

Mad with ecstatic love, Śrī Caitanya Mahāprabhu began to dance before the Harideva Deity. Hearing of the Lord's wonderful activities, all the people came to see Him.

CC Madhya 18.33, Translation:

Just by seeing Govardhana Hill, Śrī Caitanya Mahāprabhu became ecstatic with love of Kṛṣṇa. While dancing and dancing, He recited the following verse.

CC Madhya 18.36, Translation:

Śrī Caitanya Mahāprabhu then went to the village of Gāṅṭhuli-grāma and saw the Lord Gopāla Deity. Overwhelmed by ecstatic love, He began to chant and dance.

CC Madhya 18.37, Translation:

As soon as the Lord saw the beauty of the Gopāla Deity, He was immediately overwhelmed by ecstatic love, and He recited the following verse. He then chanted and danced until the day ended.

CC Madhya 18.40, Translation:

Caitanya Mahāprabhu walked with the Deity of Gopāla, and He chanted and danced. A large and jubilant crowd of people also chanted the transcendental name of Kṛṣṇa, "Hari! Hari!"

CC Madhya 18.63, Translation:

Every day the Lord chanted and danced in ecstatic love. Finally He went to Khadiravana.

CC Madhya 18.72, Translation:

After seeing the holy place called Praskandana, Śrī Caitanya Mahāprabhu went to Dvādaśāditya. From there He went to Keśī-tīrtha, and when He saw the place where the rāsa dance had taken place, He immediately lost consciousness due to ecstatic love.

CC Madhya 18.73, Translation:

When the Lord regained His senses, He began to roll on the ground. He would sometimes laugh, cry, dance and fall down. He would also chant very loudly.

CC Madhya 18.88, Translation:

Śrī Caitanya Mahāprabhu then bestowed upon Kṛṣṇadāsa His causeless mercy by embracing him. Kṛṣṇadāsa became mad with ecstatic love and began to dance and to chant the holy name of Hari.

CC Madhya 18.94, Translation:

The people replied, “Kṛṣṇa has again manifested Himself on the waters of Kālīya Lake. He dances on the hoods of the serpent Kālīya, and the jewels on those hoods are blazing.

CC Madhya 18.105, Translation:

“From a distance, people mistakenly think that they are seeing Kṛṣṇa dancing on the body of the Kālīya serpent.

CC Madhya 18.121-122, Translation:

“If they see You just once, even women, children, old men, meat-eaters and members of the lowest caste immediately chant the holy name of Kṛṣṇa, dance like madmen and become spiritual masters capable of delivering the whole world.

CC Madhya 18.177, Translation:

Coming to His senses, the Lord very loudly began chanting the holy name, "Hari! Hari!" The Lord raised His arms upward and began to dance in ecstatic love.

CC Madhya 19.39, Translation:

Some of the people following the Lord were crying. Some were laughing, some dancing and some chanting. Indeed, some of them were rolling on the ground, exclaiming "Kṛṣṇa! Kṛṣṇa!"

CC Madhya 19.42, Translation:

The Lord was loudly chanting the holy name of Hari. Dancing in ecstatic love and raising His arms, He asked everyone to chant "Hari! Hari!"

CC Madhya 19.80, Translation:

They all hastily grabbed Śrī Caitanya Mahāprabhu and pulled Him out of the water. Once on the boat's platform, the Lord began to dance.

CC Madhya 19.107, Translation:

Śrī Caitanya Mahāprabhu then embraced Raghupati Upādhyāya in ecstatic love. Raghupati Upādhyāya also was overwhelmed by love, and he began to dance.

CC Madhya 19.108, Translation:

Vallabha Bhaṭṭācārya was struck with wonder to see Śrī Caitanya Mahāprabhu and Raghupati Upādhyāya dance. He even brought forward his two sons and made them fall down at the Lord's lotus feet.

CC Madhya 19.129, Translation:

“They carry only waterpots, and they wear torn quilts. They always chant the holy names of Kṛṣṇa and discuss His pastimes. In great jubilation, they also dance.

CC Madhya 19.132, Purport:

Śrīla Rūpa Gosvāmī and Sanātana Gosvāmī had no fixed residence. They stayed beneath a tree for one day only and wrote huge volumes of transcendental literature. They not only wrote books but chanted, danced, discussed Kṛṣṇa and remembered Śrī Caitanya Mahāprabhu's pastimes. Thus they executed devotional service.

CC Madhya 19.180, Purport:

In his Amṛta-pravāha-bhāṣya, Śrīla Bhaktivinoda Ṭhākura states that anubhāva can be divided into thirteen categories: (1) dancing, (2) rolling on the ground, (3) singing, (4) yelling, (5) jumping, (6) making loud noises, (7) yawning, (8) heavy breathing, (9) not caring for public opinion, (10) discharging saliva, (11) roaring laughter, (12) unsteadiness and (13) hiccuping. These are the symptoms of anubhāva. Thus the transcendental mellows are experienced in different stages. Similarly, there are many other forms of expression that have been analytically studied by the Gosvāmīs. In the Bhakti-rasāmṛta-sindhu, Rūpa Gosvāmī gives each and every symptom a particular name.

CC Madhya 19.210, Purport:

The gopīs approached Kṛṣṇa to enjoy themselves with Him in the rāsa dance. Kṛṣṇa knew this very well, but He was superficially trying to avoid them. He is therefore addressed by the gopīs as kitava, a great cheater, because He first attracted them to come dance with Him, and yet when they actually came, neglecting the orders of their friends and relatives, He tried to avoid them by giving them so-called good instructions. These cunning instructions were too much for the gopīs to tolerate; they therefore had a right to address Kṛṣṇa as kitava, a great cheater. They were all young girls, and they had come to Him to be enjoyed. How could He avoid them? The gopīs therefore expressed great disappointment in this verse. They came voluntarily, but Kṛṣṇa was so cunning that He wanted to avoid their company. The gopīs' lamentation was certainly very appropriate, and in this way Kṛṣṇa tested their sincerity.

CC Madhya 20.167, Translation:

“In His original form, Kṛṣṇa manifests Himself in two features—prābhava and vaibhava. He expands His one original form into many, as He did during the rāsa-līlā dance.

CC Madhya 20.168, Translation:

“When the Lord married 16,108 wives at Dvārakā, He expanded Himself into many forms. These expansions and the expansions at the rāsa dance are called prābhava-prakāśa, according to the directions of revealed scriptures.

CC Madhya 20.181, Translation:

“One instance of Vāsudeva's attraction to Kṛṣṇa occurred when Vāsudeva saw the Gandharva dance at Mathurā. Another instance occurred in Dvārakā when Vāsudeva was surprised to see a picture of Kṛṣṇa.

CC Madhya 20.341, Translation:

“Lord Kṛṣṇa, the son of Nanda Mahārāja, personally introduces the occupational duty of the Age of Kali. He personally chants and dances in ecstatic love, and thus the entire world chants congregationally.

CC Madhya 20.384, Translation:

“Lord Kṛṣṇa exhibits His pastimes of childhood, boyhood and pre-youth. When He reaches pre-youth, He continues to exist eternally to perform His rāsa dance and other pastimes.

CC Madhya 21.44, Translation:

“Vṛndāvana is the storehouse of Kṛṣṇa's mercy and the sweet opulences of conjugal love. That is where the spiritual energy, working as a maidservant, exhibits the rāsa dance, the quintessence of all pastimes.

CC Madhya 21.105, Translation:

“Ornaments caress that body, but the transcendental body of Kṛṣṇa is so beautiful that it beautifies the ornaments He wears. Therefore Kṛṣṇa's body is said to be the ornament of ornaments. Enhancing the wonderful beauty of Kṛṣṇa is His three-curved style of standing. Above all these beautiful features, Kṛṣṇa's eyes dance and move obliquely, acting like arrows to pierce the minds of Śrīmatī Rādhārāṇī and the gopīs. When the arrow succeeds in hitting its target, their minds become agitated.

CC Madhya 21.107, Translation:

“Favoring the gopīs, Kṛṣṇa rides on the chariots of their minds, and just to receive loving service from them, He attracts their minds like Cupid. Therefore He is also called Madana-mohana, the attractor of Cupid. Cupid has five arrows, representing form, taste, smell, sound and touch. Kṛṣṇa is the owner of these five arrows, and with His Cupid-like beauty He conquers the minds of the gopīs, though they are very proud of their superexcellent beauty. Becoming a new Cupid, Kṛṣṇa attracts their minds and engages in the rāsa dance.

CC Madhya 21.128, Translation:

“His fingernails are many full moons, and they dance on the flute in His hands. Their song is the melody of that flute. His toenails are also many full moons, and they dance on the ground. Their song is the jingling of His ankle bells.

CC Madhya 21.129, Translation:

“Kṛṣṇa's face is the enjoyer king. That full-moon face makes His shark-shaped earrings and lotus eyes dance. His eyebrows are like bows, and His eyes are like arrows. His ears are fixed on the string of that bow, and when His eyes spread to His ears, He pierces the hearts of the gopīs.

CC Madhya 21.130, Translation:

“The dancing features of His face surpass all other full moons and expand the marketplace of full moons. Although priceless, the nectar of Kṛṣṇa's face is distributed to everyone. Some purchase the moonrays of His sweet smiles, and others purchase the nectar of His lips. Thus He pleases everyone.

CC Madhya 21.143, Translation:

“The vibration of His flute slackens the knots of their underwear even in front of their husbands. Thus the gopīs are forced to abandon their household duties and come before Lord Kṛṣṇa. In this way all social etiquette, shame and fear are vanquished. The vibration of His flute causes all women to dance.

CC Madhya 22.122, Translation:

“One should also (10) dance before the Deity, (11) sing before the Deity, (12) open one's mind to the Deity, (13) offer obeisances to the Deity, (14) stand up before the Deity and the spiritual master just to show them respect, (15) follow the Deity or the spiritual master and (16) visit different places of pilgrimage or go see the Deity in the temple.

CC Madhya 23.37, Translation:

“"O Lord Puṇḍarīkākṣa, while chanting Your holy name with tears in my eyes, when shall I dance in ecstasy on the bank of the Yamunā?"

CC Madhya 23.51, Translation:

“The subordinate ecstasies are smiling, dancing and singing, as well as different manifestations in the body. The natural ecstasies, such as being stunned, are considered among the subordinate ecstasies (anubhāva).

CC Madhya 23.51, Purport:

"The many external ecstatic symptoms, or bodily transformations which indicate ecstatic emotions in the mind and which are also called udbhāsvara, are the anubhāvas, or subordinate ecstatic expressions of love." Some of these symptoms are dancing, falling down and rolling on the ground, singing and crying very loudly, bodily contortions, loud vibrations, yawning, deep breathing, disregard for others, the frothing of saliva, mad laughter, spitting, hiccups and other, similar symptoms. All these symptoms are divided into two divisions—śīta and kṣepaṇa. Singing, yawning and so on are called śīta. Dancing and bodily contortions are called kṣepaṇa.

CC Madhya 23.122, Translation:

“If You want to make a lame man like me dance, kindly bestow Your transcendental blessings by placing Your lotus feet on my head.

CC Madhya 24.50, Purport:

This verse from Śrīmad-Bhāgavatam (10.29.39) was spoken by the gopīs when they arrived near Kṛṣṇa for the rāsa dance on a full-moon night. The attracted gopīs were awestruck, and they began to speak about how they came to Kṛṣṇa to enjoy the rāsa dance.

CC Madhya 24.276, Translation:

“When the hunter chanted the Hare Kṛṣṇa mahā-mantra before his spiritual master, his body trembled and tears welled up in his eyes. Filled with ecstatic love, he raised his hands and began to dance, waving his garments up and down.

CC Madhya 24.334, Purport:

(50) The Hare Kṛṣṇa mantra and approved songs should be sung. (51) Musical instruments should be played. (52) One should dance before the Deity. (53) One should circumambulate the Deity. (54) One should again offer obeisances. (55) One should offer different types of prayers and hymns at the Lord's lotus feet. (56) One should touch the lotus feet of the Lord with one's head. This may not be possible for everyone, but at least the pūjārī should do this. (57) The flowers offered on the previous day should touch one's head. (58) One should take the remnants of the Lord's food. (59) One should sit before the Lord and think that he is massaging the Lord's legs. (60) One should decorate the Lord's bed with flowers before the Lord takes His rest. (61) One should offer one's hand to the Lord. (62) One should take the Deity to His bed. (63) One should wash the feet of the Lord and then sit Him on the bed. (64) One should place the Lord on the bed and then massage His feet.

CC Madhya 25.21, Translation:

As soon as people received instructions from Śrī Caitanya Mahāprabhu, they began to chant the Hare Kṛṣṇa mahā-mantra. Thus everyone laughed, chanted and danced with the Lord.

CC Madhya 25.62, Translation:

Upon reaching the temple of Bindu Mādhava, Śrī Caitanya Mahāprabhu, seeing the beauty of Lord Bindu Mādhava, became overwhelmed in ecstatic love. He then began to dance in the courtyard of the temple.

CC Madhya 25.67, Translation:

When Prakāśānanda Sarasvatī saw the Lord, he and his disciples also joined the chanting with Śrī Caitanya Mahāprabhu. Prakāśānanda Sarasvatī was charmed by the Lord's dancing and ecstatic love and by the transcendental beauty of His body.

CC Madhya 25.70, Translation:

When Śrī Caitanya Mahāprabhu regained His external consciousness, He saw that many Māyāvādī sannyāsīs and other people were gathered there. He therefore suspended His dancing for the time being.

CC Madhya 25.130, Purport:

This is a quotation from Śrīmad-Bhāgavatam (10.30.4). The gopīs almost went mad due to Kṛṣṇa's suddenly leaving the rāsa dance. Because the gopīs were fully absorbed in thoughts of Kṛṣṇa, they were imitating His different postures and pastimes. They became very much saddened because of His absence, and this incident is explained by Śukadeva Gosvāmī to Mahārāja Parīkṣit.

CC Madhya 25.139, Translation:

“Now hear from Me what actual love of Godhead is. It is the prime object of life and is symptomized by bodily trembling, tears in the eyes, chanting and dancing.

CC Madhya 25.165, Translation:

All the inhabitants of Kāśī (Vārāṇasī) began chanting the Hare Kṛṣṇa mahā-mantra in ecstatic love. Sometimes they laughed, sometimes they cried, sometimes they chanted, and sometimes they danced.

CC Madhya 25.232, Translation:

As soon as Śrī Caitanya Mahāprabhu saw Lord Jagannātha in the temple, He was immediately overwhelmed with love and affection. He chanted and danced with His devotees for a long time.

CC Madhya 25.252, Translation:

In the Thirteenth Chapter I have described Śrī Caitanya Mahāprabhu's dancing before the chariot of Jagannātha. In the Fourteenth Chapter, there is an account of the Herā-pañcamī function.

CC Madhya 25.278, Translation:

Men become strong and stout by eating sufficient grains, but the devotee who simply eats ordinary grains but does not taste the transcendental pastimes of Lord Caitanya Mahāprabhu and Kṛṣṇa gradually becomes weak and falls down from the transcendental position. However, if one drinks but a drop of the nectar of Kṛṣṇa's pastimes, his body and mind begin to bloom, and he begins to laugh, sing and dance.