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Early History of the Vaishnava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c8: Chapter IV. The Devotional Sentiments (Rasa-Śāstra)

Early History of the Vaiṣṇava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c8

Language
English

Contents

Chapter IV. The Devotional Sentiments (Rasa-Śāstra)

1. General Characteristics

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Among the six immediate followers of Śrī-kṛṣṇa-caitanya, the so-called six Gosvāmins of Vṛndāvana, to whom was left the task of elaborating and defining the doctrines, creeds and practices of Bengal Vaiṣṇavism, the credit of first systematising its supreme religious emotion of Bhakti belongs to Rūpa Gosvāmin. Himself a poet and rhetorician, as well as a devout scholar and ascetic, he took up for treatment the emotional aspect of Vaiṣṇava Bhakti, and gave an authoritative exposition of its psychology, pathology and rhetoric with all the enthusiasm of a scholastic, yet devout, mind.

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In Rūpa Gosvāmin's two systematic Sanskrit works on the Vaiṣṇava Rasa-śāstra, namely, the *Bhakti-rasāmṛta-sindhu* and its supplement the *Ujjvala-nīlamaṇi*, the religious sentiment of Bhakti has been approximated to the supreme relish of literary enjoyment, known as Rasa, of orthodox Sanskrit Poetics. A new turn was thus given not only to the old Rasa-theory of conventional Poetics but also to the religious emotion underlying the older Vaiṣṇava faith. Rūpa Gosvāmin gives an elaborate exposition of the mediaeval sentiment of Love, sublimated into a deeply religious sentiment, by bringing erotico-religious ideas to bear upon the general theme of literary Rasa, especially the Erotic Rasa. His two works, embodying what may be called the Bhakti-rasa-śāstra, constitute a kind of Rhetoric of Bhakti, with all its psychology, conceit and imagery. If the mediaeval Troubadours of France and Italy conceived the love of Christ as an aspect of the Law and wrote a Grammar of the amorous sentiment, the mediaeval Vaiṣṇavas of Bengal¹ conceived the love of Kṛṣṇa as an aspect of Psychology, and wrote a Rhetoric of the erotic sentiment. Since Bhakti is conceived as a Rasa, it was essentially of the nature of a subjective emotion. The literary Sahr̥daya, as the recipient connoisseur, was replaced by the religious Bhakta, the devotee of nice sensibility. The love of Kṛṣṇa (*kr̥ṣṇa-rati*) was installed as the dominant feeling (*Sthāyi-bhāva*) which, through its appropriate Excitants (*Vibhāvas*), as well as Ensuants (*Anubhāvas*) and Auxiliarie (*Vyabhicāri-bhāvas*), was raised to a supreme relishable condition in his susceptible mind as the Bhakti-rasa. For the working out of this novel idea the whole apparatus of orthodox Sanskrit Poetics was ingeniously utilised, although the orthodox rhetorician himself would not regard Bhakti as a Rasa, but as a Bhāva.¹ Our poet rhetorician, who was also an

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¹ There are three other rhetorical works produced by Bengal Vaiṣṇavism, viz. *Nāṭaka-candrikā* of Rūpa Gosvāmin, *Alaṃkāra-*

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¹ The terms Rasa and Bhāva are difficult to translate, but they have been rendered respectively by the terms 'sentiment' and 'emotion'. For the distinction, as well as for the difficulty of rendering these terms by modern critical vocabulary, see S. K. De, *Sanskrit Poetics*, 2nd ed. II. pp. 135, 259-60 and 278-80. These remarks also apply to the rendering

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*kaustubha* of Kavikarṇapūra and *Kāvya-candrikā* of Kavicandra. Although they occasionally bring in Vaiṣṇava ideas and choose illustrative verses of a Vaiṣṇavite character, they are not directly concerned with Bhakti-rasa, but are regular rhetorical treatises composed on conventional lines (see S. K. De, *Sanskrit Poetics*, 2nd Ed. I. pp. 253-255). As such they need not be taken into account here. Jīva Gosvāmin also devotes a considerable part of his *Prīti-samdarbha* to the subject of Bhakti as a Rasa, following in general the analysis of Rūpa Gosvāmin. Jīva's treatment, however, is somewhat different, for he brings in a great deal of theological and metaphysical matter to explain the subject. The same remark applies also to his *Bhakti-samdarbha*, which occasionally refers to the topic of Bhakti as a Rasa. As he keeps closely to Rūpa's exposition of the subject in its general outline, it is not necessary for us to analyse Jīva's treatment in detail here; but it will be dealt with below in connexion with our analysis of the respective Samdarbhas. We shall content ourselves here with noting occasionally only striking points from it, relevant to our subject. Kṛṣṇadāsa Kavirāja's exposition of the doctrine of Bhakti in his *Caitanya-caritāmṛta* Madhya xix, is nothing more than a summary of Rūpa Gosvāmin's two works, and need not therefore be separately considered.

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ardent devotee, follows very closely (even though his peculiar theme makes him depart in detail) the general outlines of the orthodox scheme of Poetics, adopting its main ideas and technicalities but making them applicable to the conception of emotional Bhakti. Not content with theoretical analysis, Rūpa Gosvāmin also took the trouble of writing a number of devotional poems and dramas and compiling an anthology on Kṛṣṇa-līlā for the special purpose of illustrating his theme. In the two Rasa-treatises every detail of elaborate analysis is freely illustrated by more than six hundred quotations from current sentimental and religious literature, as well as from these illustrative poems and dramas composed by Rūpa himself and his associates.

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of other technical terms of the Rasa-śāstra, which often indicate shades of meaning or concepts for which it is sometimes difficult to find a modern equivalent. Such terms have been translated or explained, as far as possible, in accordance to their actual definitions in the texts. The question whether Bhakti is Rasa or Bhāva is more or less academic, but it has been discussed at some length by Jagannātha in his Rasagaṅgādhara (ed. Kāvyamālā, 1913, p. 45). In the opinion of orthodox rhetoricians, it is devādi-viṣayā rati and therefore a Bhāva, and not a complete Rasa. Some advanced thinkers, however, would admit the Vātsalya, Preyas, Śraddhā, and even Bhakti as a Rasa; but this admission was probably made in later times through the influence of Vaiṣṇava theory itself. Jagannātha, one of the latest writers, however, represents the general orthodox attitude. He adds further that, being based on Anurāga or attachment, Bhakti cannot, as some maintain to the contrary, be comprehended in Śānta Rasa. Replying to this, Jīva Gosvāmin (Prīti-sandarbha, ed. Prangopal Gosvami, Calcutta B.E. 1337, p. 673-74) remarks that the phrase devādi means "ordinary gods" and does not apply to the supreme Kṛṣṇa; and that Bhakti, along with its Vibhāvas etc., is in its own nature alaukika, and therefore conforms to the rhetoricians' requirements (yat tu prākṛta-rasikai rasa-sāmagri-virahād bhaktau rasatvam neṣṭam, tat khalu prākṛta-devādi-viṣayam eva sambhavet.....tathā tatra kāruṇādayaḥ svata evālaukikādbhutarūpatvena darśitā darśitāś ca). Madhusūdana Sarasvati also discusses this question in the same strain in his Bhagavad-bhakti-rasāyana (ed. Benares 1927), ii. 75-80, but he adds that Bhakti as a Rasa is svānubhava-siddha and therefore incapable of direct proof.

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For a proper understanding of this Vaiṣṇava Bhakti-rasa, as expressed in its literary and religious productions, it would be necessary, therefore, to appreciate the fundamentals, as well as the details, of this presentation of Bhakti as a psychological entity, as a literary-erotic emotion transmuted into a deep and ineffable devotional sentiment, which is intensely personal and is yet impersonalised into a mental condition of disinterested joy. But the attitude is a curious mixture of the literary, the erotic and the religious, and the entire scheme as such is an extremely complicated one. There is an enthusiasm, natural to the analytic scholastic mind, for elaborate and subtle psychologising, as well as for developing and refining the inherited rhetorical traditions; but the attempt is also inspired very largely by an antecedent and still living poetic experience (Jayadeva and Lilāśuka), which found expression also in vernacular poetry (Vidyāpati and Caṇḍidāsa), as well as by the simple piety of popular religions which reflected itself in the conceptions of such Purāṇas as the Śrīmad-bhāgavata, the fountain source of mediaeval Vaiṣṇava Bhakti. But it goes further and rests ultimately on the transcendental in personal religious experience of an emotional character, which does not indeed deny the senses but goes beyond their pale.

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In the following pages we propose to give a general survey of the Rasa-śāstra of Caitanyaism by a rapid analysis of the two works of Rūpa Gosvāmin mentioned above, which form the chief original authorities on the emotionalism of Bengal Vaiṣṇavism. The quaint figurative title of the first work, which means "The Sea of the Nectar of Devotional Sentiment" (Bhakti-rasāmṛta-sindhu), is fairly appropriate in designating an abstruse treatise of bewildering proportions and of boundless depths of analytical acumen. The quinta essentia of the devotional sentiment is the Ujjvala or Madhura Rasa, by which is meant, in terms of Vaiṣṇava emotionalism, the Śṛṅgāra or Erotic sentiment of Kṛṣṇa as the ideal hero, the term Ujjvala (=bright) having been apparently suggested by Bharata's description¹ of the Rasa, and Madhura characterising its sweet and intoxicating character. But sufficient justice could not be done to this essential sentiment in a work which crowds in its broad scope the various subtle moods and aspects of Bhakti in all its maze of sinuous detail. The next work, the *Ujjvala-nīlamaṇi*, therefore, is offered as a supplement, which strictly confines itself to this topic of Vaiṣṇava amatory psychology; and its strange poetical title, with its obvious pun, indicates that the Ujjvala Rasa, being the bright sapphire (*nīlamaṇi*) borne out of the depths of the Sea of the Nectar of Religious Devotion, is to be embalmed as a name or symbol of the Lord of sapphire-like radiance in a work bearing this blessed name.

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¹ *Yat kiñcil loke śuci medhyam ujjvalam darśanīyam vā tac chṛṅgāreṇopamīyate*, Nāṭya-śāstra, ed. Grosset, pp. 89-90. The term Mādhurya is employed advisedly in contradistinction to the Aiśvarya aspect of Kṛṣṇa's Līlā.

2. The Bhakti-rasāmṛta-sindhu

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The *Bhakti-rasāmṛta-sindhu*² is divided into four parts (Vibhāgas), respectively entitled Pūrva, Dakṣiṇa, Paścima and Uttara,—a veritable quadrangular scheme of a strange world of spiritual experience. Each part is divided into Laharis (Waves) in keeping with the figurative title of the work. Like all scholastic writers, Rūpa Gosvāmin delights in elaborate definitions, fine distinctions and minute classifications of the devotional sentiment in all its moods, phases, adjuncts and situations; but the master-analyst is seen in the firm grip not only upon the subtle details of the whole gamut of a peculiar religious emotionalism, but also upon its fundamentals, both in theoretical conception and in its practical realisation.

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² Our references are to the Murshidabad edition of the work (Radharaman Press, Berhampur) in Bengali characters, published in 1331 B. E. (=1924 A.D.), with the commentary, entitled *Durgama-saṃgamanī*, of Jīva Gosvāmin. There is also another edition, with the same commentary, by Damodara Gosvami in the Acyuta Grantha-mālā Series, Benares 1932. Viśvanātha Cakravartin (d. about 1754 A.D.), who himself is said to have composed a commentary on this work as well as on the *Ujjvala-nīlamaṇi*, also wrote summaries or surveys of these two works, entitled *Bhakti-rasāmṛta-sindhu-bindu* and *Ujjvala-nīlamaṇi-kiraṇa* (ed. Prangopal Gosvami, Navadvipa, 1333 B. E.=1926 A.D. in Bengali characters).

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The Pūrva-vibhāga, consisting of four Laharīs, gives a preliminary discussion of the different types of Bhakti. The first Laharī discusses Bhakti in general (Sāmānya-bhakti); the second gives an exposition of Sādhana-bhakti (Bhakti attainable by special external effort) and its two varieties, Vaidhī and Rāgānugā; the third deals with Bhāva-bhakti (Bhakti resulting from spontaneous inward emotion); and the fourth treats generally of Prema-bhakti (Bhakti ripened into a sentiment of Love).

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In the first Laharī, the Sāmānya-bhakti (Religious Devotion in general) is distinguished from the Uttamā Bhakti or the highest Religious Devotion, which is defined as harmonious (ānukūlyena) pursuit of Kṛṣṇa (kṛṣṇānuśīlana), freed from all other desire (anyābhilāṣa-śūnya) and unconditioned by cognition and will (jñāna-karmādyanāvṛta). The commentary of Jīva Gosvāmin explains that the word "harmonious" implies that the pursuit should be such as is agreeable to Kṛṣṇa and should not be perverse or contrary; that "all other desire" refers to desire for worldly enjoyment (Bhoga-vāsanā) and desire for liberation (Mokṣa-vāsanā), which are thus excluded; that "cognition" means the knowledge of the identity of Brahman and Jīva (Nirbheda-brahmānusamdhāna) which is hardly suited to an attitude of Bhakti; and that "will" refers to such compulsory and occasional duties as are enjoined by the orthodox Smṛtis (Smṛtyādyukta-nitya-naimittikādi), and not the acts of worship relating to Kṛṣṇa (Bhajaniya-paricaryādi). Rūpa Gosvāmin himself establishes later on (Pūrva Laharī ii, p. 151 f) that Karman itself is not an Aṅga or means of Bhakti, nor is Jñāna or Vairāgya. Wealth etc. are also not Aṅgas, because by themselves they can never produce Bhakti; nor are the virtues of self-control (Yama) or purity (Śuci), because they come naturally to the true devotee. True Vairāgya or Renunciation is that which, without any attachment (anāsakta), enjoys all worldly objects properly (yathārha) and results in an eagerness in relation to Kṛṣṇa (kṛṣṇa-sambandhe nirbandhaḥ); but that is Phalgu Vairāgya, unsuited to Bhakti, by which one desirous of liberation (Mumukṣu) renounces, through phenomenal or insignificant purpose (prākṛta-buddhi), all objects in relation to the deity. Neither is worldly attachment (Bhoga), nor liberation (Mokṣa) the true object of Bhakti, although neither is in itself inconsistent with Bhakti.¹ The section then proceeds to discuss and illustrate in detail the six characteristics of the Uttamā Bhakti, namely: (1) capacity for removing suffering (Kleśa-ghnatva). Suffering may be due to sin (Pāpa), to desire the seed of sin (Pāpa-bīja), or to illusion (Avidyā). The fruits of sin may have either begun to mature (prārabdha) or not begun (aprārabdha). All these are removed by Uttamā Bhakti; (2) capacity for bestowing goods (Śubhadatva), producing either good qualities (Sadguṇa) or happiness (Sukha); (3) capacity for producing indifference to liberation (Mokṣa-laghutā-kāritva); (4) difficulty of attainment (Sudurlabhatva); (5) essential identity with a particular mood of compact happiness (Sāndrānanda-viśeṣātmatā), which is infinitely higher than the happiness of attaining Brahman; and (6) capacity for attracting and keeping under control (Vaśīkaraṇa) Kṛṣṇa himself (Śrī-kṛṣṇa-karṣaṇatva). Of these characteristics, (1) and (2) belong conspicuously to Sādhana-bhakti, (3) and (4) to Bhāva-bhakti, (5) and (6) to Prema-bhakti; but as each of these three forms of Uttamā Bhakti constitutes also stages of realisation, the first four really belong to Bhāva-bhakti and all the six to Prema-bhakti. Although all beings are eligible for Bhakti (p. 65), the Adhikārin or person fit to receive it is one who has faith in Kṛṣṇa (jāta-śraddha) and who is neither too much attached (nātisakta) nor too indifferent (na nirviṇṇa) to the world.

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¹ Jīva Gosvāmin goes further and lays down (Tattva-sandarbha, ed. Murshidabad 1910, p. 112) that Jñāna and Karman themselves depend upon Bhakti (jñānādes tu bhakti-sāpekṣatvam eva), i.e. there cannot be any true cognition and will without Bhakti. Again, he establishes (Bhakti-sandarbha, ed. Gauḍīya Maṭha, Calcutta, p. 65) bhaktyaiva jñānam siddhyati. This topic will be dealt with below under ch. v.

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Of the three forms of Uttamā Bhakti, namely, Sādhana-bhakti, Bhāva-bhakti and Prema-bhakti, the next section proceeds to deal with the first, the Sādhana-bhakti, which is defined as Bhakti realisable by the senses (kṛti-sādhyā ; kṛti= the senses)¹ and not by Bhāva or inward emotion, of which, however, it is a means (sādhya-bhāvā, explained as sādhyo bhāvo yayā sā). The Sādhana-bhakti is said to have been explained in Śrīmad-bhāgavata vii. 1, and may be either Vaidhi or Rāgānugā, both of which are forms of Bhakti attained by extraneous means and ways. The Vaidhi Sādhana-bhakti occurs where the impulse to devotional acts comes entirely from the injunction of the Vaiṣṇava Śāstra (śastrasya śāsanenaiva) and where the state of Rāga is not reached (rāgānavāptatvāt).² Viśvanātha Cakravartin explains that by the term Śāstra is meant exclusively the Śrīmad-bhāgavata which enjoins acts of devotion.¹ As the type of Bhakti follows the *vidhi* or injunction of the Śāstra, it is Vaidhī; and for the same reason it is sometimes called Maryādā-mārga or the Way of Convention. The Aṅgas or means of Vaidhī having already been defined in detail in the *Haribhakti-vilāsa*, Rūpa Gosvāmin contents himself by a reference to that work, briefly summarising them as sixty-four in number and illustrating them from the scriptures. These are acts of piety, great or small, such as resorting to the spiritual teacher (*guru-pādāśraya*); initiation and instruction by him (*dīkṣā-śikṣādi*);

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serving the spiritual teacher with confidence (*viśrambhena guru-sevā*); following the example of saintly persons (*sādhu-vartmānuvartana*); enquiry into the true dharma (*śuddharma-prcchā*); renunciation of worldly enjoyment for the sake of Kṛṣṇa (*bhogādi-tyāgaḥ kṛṣṇasya hetave*); dwelling in sacred places of pilgrimage (*Tīrtha*) like Dvārakā, Mathurā or the banks of the Ganges; abjuring books (with the exception of the scriptures) as well as the practice of the various arts and controversy (*bahu-grantha-kalābhyāsa-vyākhyā-vāda-vivarjana*); putting on the external signs of a Vaiṣṇava (*vaiṣṇava-cihna-dhāraṇa*); writing the name of Hari on the body by means of sandal etc. (*hari-nāmākṣara-dhāraṇa*); prostrate obeisance (*daṇḍavan natiḥ*); worship (*arcana*); going round the image of the deity (*parikrama*); repeating (*japa*), singing (*gīta*) or recital (*saṃkīrtana*) of the name of the Lord; partaking of the offerings made to the deity (*naivedyāsvāda*) and of the water of his holy feet (*pādyāsvāda*); observing Ekādaśī or other days of fasting, attending the Birth-festival (Janmāṣṭamī) etc.; constantly resorting to the *Śrīmad-bhāgavata*, the Tulasī plant, Mathurā and the Vaiṣṇava devotees, all of which are dear to the Lord; and so forth. Of these the first three ways of cultivation are, however, declared to be of special value; but Kṛṣṇadāsa Kavirāja's *Caitanya-caritāmṛta* (Madhya xxii.

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125) distinguishes five, namely, the society of saintly persons (sādhu-saṅga), the chanting of Kṛṣṇa's name (nāma-kīrtana), listening to the reading of the Bhāgavata (bhāgavata-śravaṇa), dwelling at Mathurā (mathurā-vāsa), reverential service of his image (śrīmūrtir śraddhāye sevana), that is, fellowship, song, scripture, pilgrimage and image worship.¹ Any one of these modes, even a little of the five, can create Bhakti. The Vaidhī Sādhana-bhakti, which consists of these positive acts and practices of piety and which is described as "worship by the body, the senses and the mind" (kāya-hṛṣīkāntaḥkaraṇānām upāsanā), also involves, negatively, the avoidance of the so-called Sevāparādhas (offences relating to worship) and Nāmā-parādhas (offences relating to the name of the Lord). The commentary gives (p. 89) a list of thirty-two Sevāparādhas, to which is added twenty-three more from the Varāha-purāṇa and ten again from some other source. These consist of offences like entering the temple in a conveyance, or with one's shoes on, or without washing one's feet; not observing the festivals of the Lord; not doing obeisance; eating what is not offered to the deity; not observing silence during worship, etc. The Nāmāparādhas are the logical result of the theory of the efficacy of the blessed name (Nāma-mahātmya). They are given as ten in number by the commentary (p. 93-94) and include such offences as unwillingness to listen to the Māhātmya of the name;

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equalising the Nāma-māhātmya to the merit of other pious acts; giving instruction in the subject to persons devoid of faith, and so forth. Then the section proceeds to lay down that the Vaidhi Bhakti may be ekāṅga, that is, attainable by means of one Aṅga only (e. g. Parikṣit by hearing, Śukadeva by reciting, Arjuna by friendship, Hanūmat by service, Prahlāda by recollection, Bali by self-surrender, etc., as in *Padyāvali* 53), or it may be *anekāṅgā* or attainable by more than one Aṅga (e. g. Ambariṣa).

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¹ Lest the word sādhya, 'realisable', should mislead, Rūpa Gosvāmin adds that Bhakti is nitya-siddha (eternally existing), but by sādhya is merely meant its manifestation (nitya-siddhasya bhāvasya prākaryam hṛdi sādhyatā). Jīva Gosvāmin explains that Bhakti is nitya-siddha because it is an aspect of the Svarūpa-śakti of the Bhagavat, but this metaphysical explanation need not concern us here. What it implies is that the Sādhana of Bhakti is merely the manifestation of an already existing and natural impulse of love and bliss in man as a reflex of the attribute of infinite love and bliss in the Bhagavat (see C-C, Madhya xxii. 103-4: श्रवणादि क्रिया तार स्वरूप लक्षण । तदस्थलक्षणे उपजये प्रेमधन ॥ नित्यसिद्ध कृष्णप्रेम साध्य कभु नय । श्रवणादि शुद्धचित्ते करये उदय ॥ )

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² śravaṇa-kīrtanādīni śāstra-śāsana-bhayena yadi kriyante tadā vaidhī bhaktiḥ, Viśvanātha Cakravartin in Bhakti-rasāmṛta-sindhu-bindhu, p. 11.

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¹ *tac ca śāstram bhajana-pratipādakam śrī-bhāgavatam eva*, op. cit. p. 14.

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¹ Jiva Gosvāmin distinguishes eleven elements or stages of the Vaidhī Bhakti, namely Śaraṇāpatti, Guru-sevā, Śravaṇa, Kīrtana, Smaraṇa, Pada-sevā, Arcanā, Vandana, Dāsya, Sakhya and Ātma-nivedana: for which see below ch. v, under Bhakti-sandarbha. The nine elements or stages are already enumerated in the Śrīmad-bhāgavata vii. 6, namely: śravaṇam, kīrtanam viṣṇoḥ, smaraṇam, pāda-sevanam/ arcanam, krandanam, dāsyam, sakhyam, ātma-nivedanam.//

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But passionate souls soon pass beyond outward rule and form to an inner and more esoteric way of realisation, based upon the cultivation of inward feelings of devotion. The second type of Sādhana bhakti, named Rāgānugā, is so called because it follows (*anuga*) the trend of the devotion and attachment, Rāgātmikā Bhakti, of the people of Vraja who stood in actual relation to Kṛṣṇa.¹ Rāga is defined as the natural, deep and inseparable absorption (*svārasiki tanmayi pārāviṣṭatā*) in the desired object (*iṣṭa*), namely, Kṛṣṇa. The Rāgānugā is distinguished from the Vaidhi (pp. 173-75) inasmuch as in the Vaidhi the realisation is through the injunction (*vidhi*) of the Śāstra, but here it is through the greed (*lobha*) of realising the feelings of the people of Vraja.² It consists of devoted meditation or recollection (*smarana*) of Kṛṣṇa and his dear ones (*preṣṭha*), and living either physically or mentally³ in Vraja, as a Sādhaka or as a Siddha, following the ways of Vraja-loka (*vraja-lokānusārataḥ*) with a desire to realise the same state of feeling (*tadbhāva-lipsā*). One desirous of this way of realisation will adopt the particular Bhāva (e. g. Rādhā-bhāva, Sakhī-bhāva, etc.) of the particular favourite of Kṛṣṇa according to his or her Līlā, Veśa and Svabhāva, and live in the ecstasy of that vicarious enjoyment. The emotion is achieved chiefly by Smaraṇa or recollection (*rāgānugāyām smaraṇasya mukhyatvam*), a concentrated imaginative process which is supposed to be more effective for a mystic union with the beloved object. It is indeed not achieved by the direct injunction of the Śāstras, but it does not also arise spontaneously in one's own self. It is engendered by external effort, by elaborately imitating the action and feeling of those connected with Kṛṣṇa in Vraja, and is thus a phase of Sādhana-bhakti attainable by extraneous ways.¹ But it is governed by no mechanical Śāstric rules whatever, even if they are not necessarily discarded; it follows the natural inclination of the heart, and depends entirely upon one's own emotional capacity of devotion. The devotee by his ardent meditation not only seeks to visualise and make the whole Vṛndāvana-līlā of Kṛṣṇa live before him, but he enters into it imaginatively, and by playing the part of a beloved of Kṛṣṇa, he experiences vicariously the passionate feelings which are so vividly pictured in the literature. The Vaidhi Bhakti need not involve any emotional realisation of this character; it is enough if the religious duties enjoined by the Vaiṣṇava scriptures in general and the Śrīmad-bhāgavata in particular are performed as overt acts in an attitude of piety. The Rāgānugā Bhakti, on the other hand, consists of an emotional sublimation of intimate human sentiments towards Kṛṣṇa, in terms of the intimate devotional sentiments displayed in different personal relationships (as that of a son, relative, lover, friend, servant and so forth) between the deity and his dear ones in his eternal sport at Vraja. It is thus an ecstasy of vicarious enjoyment in the sense that the devotee does not seek to establish a direct personal contact of his own with the deity, but prepares himself for it by imitating and realising within himself the different aspect of the beatific sports in terms of one or other of the blissful devotional sentiments; and through years of constant practice he ultimately identifies himself with such sentiments.

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¹ virājatīm abhivyaktaṃ vraja-vāsi-janādiṣu/ rāgātmikām anusṛtā yā sā rāgānugocyate// p. 162. Viśvanātha Cakravartin (op. cit., p. 11-12) explains: nijābhimata-vraja-rāja-nandanasya sevā-prāpti-lobhena yadi tāni (=śravaṇa-kīrtanādīni) kriyante tadā rāgānugā bhaktiḥ.

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² Viśvanātha Cakravartin (op. cit., p. 15) explains: vraja-līlā-parikarastha-śṛṅgārādi-bhāva-mādhurye śrute idam mamāpi bhūyād iti lobhotpatti-kāle śāstra-yukryapekṣā na syāt.

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³ kuryād vāsam vraje sadā (p. 174); the commentary explains: sāmarthye sati vraje...śarīreṇa vāsam kuryāt, tad-abhāve manasāpyarthah.

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¹ The Rāgānugā Bhakti is explained in greater detail by Viśvanātha Cakravartin in his Rāga-vartma-candrikā (ed. as above), where (p. 69) as an example of Sādhaka, Rūpa Gosvāmin himself is mentioned, and as Siddha Rūpa-mañjarī of Vraja, of whom Rūpa Gosvāmin is supposed in Vaiṣṇava hagiology to have been an incarnation, and whose bhāva he is supposed to have realised. In Gaura-gaṇoddeśa-dīpikā (śl. 180-186) we are told that, of the beloved Gopīs of Kṛṣṇa, Rūpa-mañjarī became incarnated as Rūpa Gosvāmin, Lāvaṇya-mañjarī as Sanātana Gosvāmin, Rati-mañjarī as Raghunātha-dāsa, Guṇa-mañjarī as Gopāla Bhaṭṭa, Vilāsa-mañjarī as Jīva Gosvāmin, and Rasa-mañjarī as Raghunātha Bhaṭṭa. In this way a complete scheme of reincarnation of the Gaṇas of Kṛṣṇa is elaborated, in the work quoted, as Gaṇas of Caitanya. This conception of the prominent Vaiṣṇavas as the incarnations chiefly of the Gopīs of Vṛndāvana, is based probably on the doctrine which regards Kṛṣṇa as the sole male and maintains that worshippers can fully realise passionate devotion only when they conceive themselves as females,—a curious development of the theory of Rāgānugā Bhakti! But of this elaborate scheme there is no trace in the works of the Vṛndāvana Gosvāmins themselves. For Jīva Gosvāmin's exposition of the Rāgānugā Bhakti, see below ch. v, under Bhakti-sandarbha.

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As the Rāgātmikā Bhakti of the people of Vraja, which is eternally displayed, is the model or source (Ādarśa) of Rāgānugā, it is analysed and explained in detail. The Rāgātmikā way arises from desire (Kāma, e. g. the Gopīs), enmity (Dveṣa, e. g. Kaṃsa), fear (Bhaya, e. g. Śiśupāla), or affection (Sneha, e. g. the Yādavas). But enmity and fear with reference to Kṛṣṇa, being uncongenial, may be left aside; and affection (Sneha) being a form of fellowship (Sakhya) would come under the Vaidhī, or being an aspect of love (Preman) does not come at all under Sādhana-bhakti. Hence, the Rāgātmikā Bhakti may be either

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(i) Kāma-rūpa, consisting of a desire for erotic-mystic enjoyment (Sambhoga-tṛṣṇā) inspired by an exclusive effort to please Kṛṣṇa (kṛṣṇa-saukhyārtham eva kevalam udyamaḥ), and resulting in Preman or love found only in the Gopīs (vraja-devīṣu). The attitude of the Kubjā is described as kāma-prāyā (and not kāma-rūpā) rati; for (as explained later in the Ujjvala-nīlamaṇi) the enjoyment here is as much for oneself as for the pleasure of Kṛṣṇa.

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(ii) Sambandha-rūpa, consisting of a sense of relationship (as father, mother, friend etc.) to Kṛṣṇa. It is found, for instance, in Nanda, Yaśodā, the Gopas etc.

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Following these two aspects, the Rāgānugā Bhakti may be either

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(i) Kāmānugā, which may again be either desire for enjoyment inspired by a sense of Kṛṣṇa's sport (*keli-tātparyavat sambhogecchāmayī*), or a desire to realise those particular Bhāvas (*tat-tad-bhāvecchātmikā*) of particular Gopīs, especially the erotic feeling (*bhāva-mādhurya-kāmitā*). The Padma-purāṇa, one of the authoritative works of Bengal Vaiṣṇavism, is cited to support the view that even men can follow this way of love of the Gopīs, for in the Mathurā-māhātmya of the Purāṇa it is said that the Munis of Daṇḍaka, out of their curiosity to enjoy the sport of Kṛṣṇa, became incarnated as Gopīs of Vṛndāvana.

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(ii) Sambandhānugā, in which the devotee seeks to realise the feelings of personal relationship (e. g. as father, brother, friend etc.) to Kṛṣṇa, modelled on the feelings of Nanda, Yaśodā, the Gopas etc.

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The Rāgānugā Bhakti is sometimes called the Way of Fulfilment (Puṣṭi-mārga), because it seeks the grace of Kṛṣṇa and his dear ones.

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The third Laharī takes up the second type of Uttamā Bhakti, namely, Bhāva-bhakti, which is really a further maturing of the Sādhana-bhakti (*sādhana-paripākena*, as Viśvanātha Cakravartin puts it), but which may also develop independently through the grace of Kṛṣṇa or his Bhaktas (*kṛṣṇa-kṛpayā tad-bhakta-kṛpayā vā*). The Bhāva may, therefore, either be (i) Sādhanābhiniveśaja, the Sādhana way of worship being again either the Vaidhī or the Rāgānugā, as described above, (ii) Kṛṣṇa-prasādaja, due to the personal favour or grace of Kṛṣṇa, either through his word (Vācika), his bestowal of light (Āloka-dāna), or his cordiality (Hārda), or (iii) Kṛṣṇa-bhakta-prasādaja, due to the grace of the followers of Kṛṣṇa. The cases (ii) and (iii) require no special effort, but they are rarely to be met with.

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This Bhāva-bhakti is devotion based on inward emotion (Bhāva), which has not yet reached the stage of the sentiment (Rasa) of Love or Preman. It may be born of Sādhana-bhakti, but it is not the direct result of extraneous ways and means, and arises spontaneously as a personal feeling, although this feeling has not yet ripened into Prema-bhakti. It is defined as consisting of a particular pure and inborn feeling (śuddha-sattva-viśeṣa), which partakes of the nature of the first dawn of love (prema-sūryāṃśu-sāmya-bhāk)¹ and brings a smoothness of the mind (citta-māsṛṇyakṛt), arising from relish (ruci). This relish, as the commentary explains, may take the form of a desire for the deity (bhagavat-prāptyabhilāṣa), for his favour (tad-ānukūlyābhilāṣa) or for his friendship (tat-sauhārdābhilāṣa). The ensuing attendant circumstances (Anubhāvas) occur as signs, whenever there is a sprouting of this form of Bhakti, namely, placidity of mind (kṣānti), an effort to apply one's time to the successful realisation of this feeling (avyartha-kālatā), distaste for the objects of sense (virakti), lack of pride (māna-śūnyatā), bond of hope (āśā-bandha), eagerness (samutkaṇṭhā), taste for singing the name of the deity (nāma-gāne ruciḥ), desire for the recital of the attributes of the deity (tad-guṇa-vyākhyāne āsaktiḥ), and pleasure in the place where the Lord lived, e.g. Mathurā, Vraja etc. (tad-vasati-sthale prītiḥ).

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¹ Explained in the commentary as premṇaḥ prathama-cchavi-rūpaḥ.

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The semblance (and not the reality) of this feeling of attachment (Ratyābhāsa) is then described as taking the form either of (i) Reflection or Pratibimba, attainable without much difficulty, where one or two characteristic signs (like tears etc.) appear, but where the thirst for worldly enjoyment (Bhoga) and liberation (Mokṣa) still remains, or (ii) Shadow or Chāyā, consisting of a little short-lived curiosity, and bearing some resemblance to the real Rati. But this Ābhāsa or apparent feeling, we are told (p. 208), may all of a sudden be converted into the real feeling. It is also interesting to note that the form of worship, which believes in an essential identity of the worshipper and the worshipped (Bhajanīyeśa-bhāvatā or Aham-grāha-upāsanā) and which is affected, for instance, by the Advaita-vādins, is considered to be an Ābhāsa only.

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The fourth and last Laharī of the Pūrva-vibhāga gives a general exposition of the third and highest type of Uttamā Bhakti, namely, Prema-bhakti, which is really a further direct ripening of the Bhāva-bhakti itself (bhāva-bhakti-paripāka eva, Viśvanātha Cakravartin). It occurs when the Bhāva or emotion has developed or solidified into (sāndrātmā) a sentiment of love (Preman); it makes the soul entirely smooth (samyaṅ-masṛṇa-svānta) and is marked by an exclusive and loving attachment (ananya-mamatā). It may develop from either the Vaidhī Bhāva or the Rāgānugā Bhāva, but it may also originate from the grace (Prasāda) of the deity. The grace may be either pure, that is, not dependent on any other circumstance (Kevala), or the result of the knowledge of his greatness (Māhātmya-jñāna), the former being Rāgānugā and the latter following the Vaidhī Mārga. The sequence by which this devotional love or Prema-bhakti develops is given thus: Faith (Śraddhā)—companionship of saintly persons (Sādhu-saṅga)—acts of worship (Bhajana-kriyā)—withdrawal from unworthy objects (Anartha-nivṛtti)—devotedness (Niṣṭhā)—relish (Ruci)—attachment (Āsakti)—emotion (Bhāva)—love (Preman).

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Having thus given a preliminary analysis and exposition of the different types of Bhakti, the rest of the work proceeds to consider and analyse Bhakti as a Rasa. The Dakṣiṇa Vibhāga deals with its Sthāyi-bhāva and describes its development by means of its appropriate Vibhāvas, Anubhāvas, Sāttvikas and Vyabhicārins, which are described in some detail: the Paścima treats of what are called the five Mukhya or Primary Bhakti Rasas; and the last or Uttara Vibhāga is devoted to the study of the seven Gauṇa or Secondary Bhakti Rasas, of the Opposition of the Rasas, and of Apparent Rasas or Rasābhāsas.

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The five Laharīs of the Dakṣiṇa Vibhāga deal respectively with the excitants (Vibhāvas), the ensuants (Anubhāvas), the involuntarily expressed feelings (Sāttvika Bhāvas, which in later Poetics are kinds of Anubhāvas), and the Auxiliary feelings (Vyabhicāri-bhāvas), as well as the dominant or permanent feeling (Sthāyi-bhāva) in relation to Bhakti conceived as a Rasa. Although orthodox Poetics itself would not, strictly speaking, regard Bhakti as a Rasa, the nomenclature and treatment are borrowed from orthodox Poetics and applied, mutatis mutandis, to the Vaiṣṇava conception of Bhakti as a Rasa. The technicalities are the same, but of course the analysis in detail is entirely novel and ingenious.¹

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¹ Jiva Gosvāmin in his Priti-sandarbha introduces further refinement into the accepted theory regarding the origin and development of Rasa. He maintains, for instance, that the alaukikatva of Vibhāvas etc. and of the Sthāvin is possible only in Kṛṣṇa-rati, and not in the laukika Kāvyas which deal with the love of ordinary heroes and heroines. If the Vibhāvas etc. appear as alaukika in an ordinary Kāvya, it is not natural, but is only due to the cleverness of the poet's composition (p. 574). He also maintains that in Kṛṣṇa-rati, the locus of the Rasa is not only in the audience (Sāmājika, here the Bhakta) but also in the anukārya (the deity represented, viz. Kṛṣṇa) and in the anukartṛ, who may sometimes be the Bhakta himself (pp. 594 f).

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Of this Bhakti Rasa, the dominant underlying emotion (Sthāyi-bhāva) is suppossed to be the emotion of Kṛṣṇa himself and his dear ones (Kṛṣṇa-rati), which by means of the Excitants (Vibhāvas) etc. is raised to a state of relish (svādyatām) as a sentiment (Rasa) in the Bhakta or the devotee, who stands for the literary Sāmājika or Sahṛdaya. As in the theory of the Rasa-Dhvani school of orthodox Poetics, the latent germ of this feeling (Vāsanā of Sadbhakti) is presumed in the heart of the Bhakta, either as acquired from previous births (prāktanī) or as due to present experience (adhunikī); and the process of the awakening of Rasa runs along the familiar grooves of Alaṃkāra expression. Against the nine conventional Rasas of Sanskrit Poetics, Rūpa Gosvāmin mentions twelve, but seven of these are regarded as secondary. Of the five primary Rasas, he practically gives prominence to one, namely, the Erotic (Śṛṅgāra). In this attitude he resembles Bhoja ; unlike Bhoja, however, our author evaluates it in terms of Vaiṣṇava devotion.

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Hence, the definitions of Excitants (Vibhāvas) etc. are, with necessary variations, the same. Without going into the detailed technicalities, a general outline of the scheme of Excitants (Vibhāvas) etc. may be given here in a tabular form. There are inevitable departures in the detailed working out (especially in the analysis and classification of the Sthāyi-bhāva and the Rasa), and these, wherever important, will also be noted.

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1. The Vibhāvas (Excitants) which make the dominant emotion (sthāyi-bhāva), Kṛṣṇa-rati, capable of being relished (ratyāsvāda-hetavah).

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Two kinds: the Substantial (Ālambana) and the Enhancing (Uddīpana):

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1. The Substantial Excitant or Ālambana Vibhāva of Kṛṣṇa-rati, which consists of such material ground and object of the emotion as the deity, his dear ones, his adjuncts etc., may be represented as follows:

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The Ālambana Vibhāva of Kṛṣṇa-rati

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| Kṛṣṇa as the object (viṣaya) of the emotion | Kṛṣṇa-bhakta as the ground (ādhāra) of the emotion |
| Svarūpa as Kṛṣṇa is in himself | Anya-rūpa as He sometimes appears, e.g. as a boy | Sadhaka who is in the process of attainment | Siddha who has attained |
| Avṛta assuming disguise | Prākṛta undisguised | Samprāpta-siddhi who has attained | Nitya-siddha whose attainment is eternally spontaneous, and who possesses all the 55 and other qualities of the deity; e.g. the Gopas, Laksmana, Samkarṣaṇa etc. |
| His qualities and excellences, as given below. His assistants or Sahāyas in love (Mādhurya), in religion (Dharma), in war (Yuddha) and in counsel (Mantra) | by Sādhanā or effort | by Kṛpā or grace | |

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Kṛṣṇa is again conceived as the most complete (*pūrṇatama*) in Vraja, more complete (*pūrṇatara*) in Mathurā, and complete (*pūrṇa*) in Dvārakā. Viewed as an ideal hero, he is, following orthodox Poetics, (i) brave and high-spirited (Dhirodatta), (ii) brave and haughty (Dhiroddhata), (iii) brave and sportive (Dhira-lalita) and (iv) brave and serene (Dhira-praśānta).

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His sixty-four (50+5+5+4) qualities, physical, mental and spiritual, are elaborately defined and illustrated (pp. 229-332). His fifty qualities are: Suramyāṅga (possessing fine symmetrical limbs), sarva-sallakṣaṇānvita (possessed of all the excellent lakṣaṇas or characteristics), rucira (good-looking), tejasvin (powerful and shining), balīyas (strong), vayo'nvita (youthful), vividhādbhuta-bhāṣāvid (acquainted with many and strange languages), satya-vāc (truthful), priyamvada (capable of pleasant speech), vāvadūka (expert in conversation), supaṇḍita (learned and wise), buddhimat (intelligent), pratibhānvita (possessed of genius), vidagdha (well-versed in the arts), catura (ingenious), dakṣa (dexterous and quick), kṛtajña (grateful), sudrḍha-vrata (resolute), daśa-kāla-supātrajña (possessing a knowledge of fit time, place and object), śāstra-cakṣus (acting according to the śāstra), sthira (steadfast), śuci (pure and purifying), vaśin (continent), dānta (capable of suffering), kṣamā-śīla (forgiving), gambhīra (profound), dhṛtimat (contented and placid), sama (equable), vādānya (liberal in gift), dhārmika (dutiful), śūra (brave), karuṇa (compassionate), mānya-māna-kṛt (respectful), vinayin (humble), dakṣiṇa (amiable and well-behaved), hrimat (modest), śaraṇāgata-pālaka (protector), sukhin (happy), bhakta-suhṛt (friend of the devotee), prema-vaśya (controllable by love), sarva-śubhamkara (beneficent to all), pratāpin (subjugator of enemies), kīrtimat (famous), rakta-loka (popular), sādhu-samāśraya (partial to the good), nārī-gaṇa-manohārin (charmer of women), sarvārādhya (pre-eminently adorable), samṛddhimat (prosperous), varīyas (pre-eminent) and īśvara (independent and supreme). The five additional qualities are: sadā-svarūpa-samprāpta (unconditioned), sarvajña (omniscient), nitya-nūtana (ever new), sac-cid-ānanda-sāndrāṅga (having self-existent, self-conscious, blissful compact form), sarva-siddhi-niṣevita (possessed of all powers and perfection). These qualities he shares also with Śiva and Brahmā; but as Nārāyaṇa his five exclusive theological qualities are: avicintya-mahā-śakti (possessed of infinite and indescribable powers), koṭi-brahmāṇḍa-vigraha (container of infinite worlds), avatārāvali-bīja (the seed of incarnations), hatāri-gati-dāyaka (giver of salvation to enemies killed), and ātmārāma-janākarṣin (attractor of the liberated wise). His four special qualities are: līlā (divine sport), prema-priyādhikya (abundance of beloved persons obtained by love), veṇumādhurya (sweetness of his flute) and rūpa-mādhurya (sweetness of his beauty). To these is added a set of eight inherent excellences (sattva-bheda) on the model of the eight Sāttvika excellences of the literary hero (see S.K. De, *Sanskrit Poetics*, 2nd Ed. ii, p.271), only substituting Māṅgalya for Gāmbhīrya. Even if some of these qualities are apparently inconsistent with each other, they can reside without conflicting in Kṛṣṇa as a deity (p. 332). He is also free from eighteen great blemishes which are also enumerated, defined and illustrated (pp. 33f). Among his qualities (physical), his adolescence (Kaiśora) is extolled as the proper and principal (*dharmin*) age for contemplation.

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Jīva Gosvāmin enumerates 85 Guṇas which he includes under the Uddīpana-Vibhāvas, some of these relating exclusively to Kṛṣṇa, the others being shared with his Avatāras and his Bhaktas. The classification of the hero in orthodox Poetics into Dhīrodātta, Dhīra-lalita, Dhīroddhata, and Dhīra-praśānta, and, as a lover, into Anukūla, Dakṣiṇa, Dhṛṣṭa and Śaṭha is also applied to Kṛṣṇa. Rūpa Gosvāmin, as stated above, also accepts this classification and speaks of twenty-five further excellences of Kṛṣṇa as a lover in his *Ujjvala-nīlamaṇi*. See below.

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2. The Enhancing Excitant or Uddīpana Vibhāva of Kṛṣṇa-rati, which includes such conditions of time, place and circumstance¹ as serve to foster the feeling, may be represented thus:

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¹ Jīva Gosvāmin declares (*Prīti-sandarbha*, p. 724) that the Uddīpanas, those which relate to Vṛndāvana are the best (*eṣu ca śrī-vṛndāvana-sambandhinas tu prakṛṣṭāḥ*). He classifies the Uddīpana-Vibhāvas as relating respectively to the Guṇa (quality), Jāti (characteristics of a class), Kriyā (action) and Dravya (substance) in reference to Kṛṣṇa. On this see below, ch. v.

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The Uddīpana Vibhāva of Kṛṣṇa-rati

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(a) His Guṇa (b) His Ceṣṭā (c) His Prasādhana (d) Other Circumstances.

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(a) His Guṇas (qualities)

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Kāyika (physical) Vācika (verbal) Mānasika (mental) already described under His qualities

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Vayaḥ (age) Saundarya (natural beauty) Rūpa (beauty due to embellishment) Mṛdutā (softness)

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Kaumāra (infancy, up to the fifth year) Paugaṇḍa (boyhood, up to the tenth year) Kaiśora (adolescence, up to the sixteenth year) Yauvana (youth, thereafter)

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Adya (commencement) Madhya (middle) Śeṣa (end)

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(b) His Ceṣṭā (exploits)

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Rāsa Duṣṭa-vadha (slaying of the wicked) Etc.

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(c) His Prasādhana (embellishment)

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| Vasana (dress) | | | Akalpa (decoration) | Mandana (ornament) |
| Yuga (twofold, upper and lower garments) | Catuska (fourfold) | Bhūyiṣṭha (manifold, the variegated dress for festive times) | | |
| Kañcuka (bodice) | Uṣṇīṣa (headdress) | Tunda-bandha (waist-bond) | Antarīyaka (wearing garments) | | |
| | | | Keśa-bandha (dressing of the hair) | Alepa (besmearing) | Mālā (garland) | Citra (painting of the face) | Viśeṣaka (putting tilaka) | Tām-būla (betel) | Keli-padma (toy-lotus) | Etc. |
| | | | | | | | Śveta (white) | Pīta (yellow) | Aruṇa (red) | |
| | | | | | Vaijayantī (made of two kinds of flowers and reaching down to the knee) | | Ratnamālā (made of jewels) | | Vana-sraj (made of flowers and leaves and reaching down to the feet) | |
| | | | | | Pāṇḍara (grey) | Pīta (yellow) | Karbūra (variegated) | | | |
| | | | Cūḍā (binding a top-knot) | Kavari (binding with flowers) | Jūṭa (binding at the back of the neck) | Veṇī (braid) | | | | |
| | | | | | | | Kiriṭa (crown) | Kuṇḍala (ear-ornament) | Hāra (necklace) | Catuṣki (a kind of four-stringed ornament for the neck) | Valaya (bracelet) | Aṅgurī (ring) | Keyūra (armlet) | Nūpura (anklet) | Etc. |

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[Figure: (d) Other Circumstances Smita (smile) Aṅga-saurabha (fragrance of the body) Śṛṅga (a kind of trumpet made of buffalo-horns) Kambu (conch-shell) Padāṅka (foot-prints) Kṣetra (place of sports) Tulasi (the sacred plant) Bhakta (the devotee) Vāsara (the fast-days) Vaṃśa (wind instrument for music) Etc. Veṇu (about 12 inches long, one inch thick, and having six stops) Murali (three feet long, one bore for the mouth and four stops) Vaṃśī (17 inches long, 8 stops at an interval of an inch, bore at every half-inch; in all 9 stops above and below)]

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(All these are individually described and illustrated by poetical quotations).

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II. The Anubhāvas (Ensuants)

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which follow and strengthen an emotion and comprise its outward manifestations. In the case of Kṛṣṇa-rati, they are given as : Nṛtya (dancing), Viluṭhita (rolling on the ground), Gīta (singing), Krośana (loud crying), Tanu-moṭana (twisting of the body), Huṃkāra (shouting), Jṛmbhā (yawning), Śvāsa-bhūman (profusion of sighs), Lokānapekṣitā (disregard of popular opinion), Lālā-srava (foaming at the mouth), Aṭṭa-hāsa (loud laughter), Ghūrṇā (giddiness) and Hikkā (hiccough). Each of these, as usual, is illustrated by poetical quotations.

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III. The Sāttvika Bhāvas (External Signs Of Internal Emotion)

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The eight orthodox Sāttvika Bhāvas are accepted, namely, Stambha (stupor), Sveda (perspiration), Romāñca (thrilling of the body), Svara-bhaṅga (break of voice), Vepathu (trembling), Vaivarnya (change of colour), Aśru (tears), and Pralaya (loss of consciousness); but each of these is further analysed, according as it springs from fear, pleasure, wonder, anger, jealousy, enthusiasm etc. The Sāttvikas are, however, not really Bhāvas or emotions, but external manifestations of them, and in later Poetics they are taken as kinds of Anubhāvas. Of these, since Pralaya or loss of consciousness would mean inaction, Jiva Gosvāmin (Priti-samdarbha, p. 730) points out that in Kṛṣṇa-rati, Pralaya causes cessation of outward action indeed but not of inward feeling for Kṛṣṇa. Jiva Gosvāmin includes Sāttvikas, as well as Udbhāsvaras, under Anubhāva.

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The most notable departure occurs in the classification of these Sāttvikas, which is entirely original. They are generally classified into (i) Snigdha (soft), which may be either directly (mukhya) or indirectly (gauṇa) connected with Kṛṣṇa, (ii) Digdha (saturated), and (iii) Rukṣa (harsh), occurring in people who have no feeling for Kṛṣṇa. They are again differentiated, with reference to the degree of excitement produced by the presence of one or more Sāttvikas, into (a) Dhūmāyita (smouldering) when there is only one Sāttvika, (b) Jvalita (flaming), when there are two or three Sāttvikas, (c) Dīpta (burning) when there are four or five Sāttvikas, and (d) Uddīpta (brightly burning), when six or all the Sāttvikas are present. The excitement, again, may last a long time (bhūri-kāla-vyāpī), may pervade many limbs (bahvāṅga-vyāpī), or may attain its climax by its own nature (svarūpeṇa-utkarṣaḥ).

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In this connexion mention is made of Ābhāsas or semblances of Sāttvikas, which are an innovation. They are (i) those which arise from the semblance of Rati (ratyābhāsa-bhāva), (ii) those which arise in feeble-hearted people who are by nature incapable of them (*sattvābhāsa-bhāva*), e. g. a grammarian or an old Mīmāṃsaka, (iii) those which arise from habit in people whose heart is soft externally but hard internally (*niḥsattva*), and (iv) those which arise in people who are hostile to Kṛṣṇa (*pratīpa*), e.g. Kamsa.

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IV. The Vyabhicāri-bhāvas (Auxiliary Feelings)

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These, also called Saṃcāri-bhāvas, are subsidiary feelings of a more less transitory nature, which are accessory, and which accompany or interrupt the dominant emotion (Sthāyi-bhāva) without, however, supplanting it. They are likened, in the orthodox manner, to the waves of the sea, whereby the dominant feeling is understood to be the sea.

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The thirty-three orthodox Vyabhicāri-bhāvas are categorically accepted, defined and illustrated with reference to Kṛṣṇa-rati. They are : Nirveda (self-disparagement), Viṣāda (despondency), Dainya (depression), Glāni (debility), Śrama (weariness), Mada (intoxication), Garva (arrogance), Śaṅkā (apprehension), Trāsa (alarm), Āvega (flurry), Unmāda (madness), Apasmāra (dementedness), Vyādhi (sickness), Moha (distraction), Mṛti (death), Ālasya (indolence), Jāḍya (stupefaction), Vrīḍā (shame), Avahittha (dissembling), Smṛti (recollection), Vitarka (doubt), Cintā (reflection), Mati (resolve), Dhṛti (equanimity), Harṣa (joy), Autsukya (longing), Ugratā (sternness), Amarṣa (impatience of opposition), Asūyā (envy), Cāpalya (unsteadiness), Nidrā (drowsiness), Supti (dreaming), and Bodha (awakening).

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Thirteen more Vyabhicāri-bhāvas are also mentioned (p. 524), but they are included in one or other of the above thirty-three. Under individual Rasas in Vibhāga iv some other Vyabhicārins are mentioned, but they are special and peculiar to the Rasas dealt with.

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The classification of these Accessory feelings is peculiar. They are said to be (i) independent (svatantra) where they are developed independently of the dominant feeling (Sthāyi-bhāva), or (ii) dependent on the dominant feeling (paratantra). The dependent may be directly (sākṣāt) or indirectly (vyavahita) connected, or may be subordinated to two different Rasas (avara). The independent may be either rati-śūnya (devoid of any touch of the Sthāyin), or rati-gandhin (giving a hint of the Sthāyin and incidentally touching it).

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