Early History of the Vaishnava Faith and Movement in Bengal, from Sanskrit and Bengali Sources c8.s3.31

c8.s3.31

Three kinds of Anubhāvas, which consist of such outward manifestations of the feeling as follow and strengthen it, are distinguished, namely, twenty-two Alaṃkāras, seven Udbhāsvaras, and twelve Vācikas. Of the twenty-two Alaṃkāras or embellishments, the three physical ones (Bhāva, Hāva and Helā) refer to the degree of awakening and manifestation of love in a nature previously exempt; then there are seven inherent (Sattvaja) qualities, such as brilliance of youth, beauty, sweetness, courage etc.; and ten natural (Svabhāvaja) graces, such as Līlā (playful imitation of the beloved), Vilāsa (playful gestures), Vicchitti (decoration), Moṭṭāyita (clear expression of desire) etc., conclude the list. All this is conventional;² but the seven Udbhāsvaras, which are new, include such gestures or physical expressions of love as unconscious untying of the knot of the lower garment (nīvi-visaṃsraṇa), dropping of the upper garment (uttarīya skhalana), yawning (jṛmbhā), loosening of the hair (keśa-saṃsraṇa), etc. These are really aspects of Vilāsa and Moṭṭāyita mentioned above, but they are separately treated because they have a charm of their own. The twelve Vācikas or conversational attributues are Ālāpa (agreeable and flattering talk), Vilāpa (lamentation), Samlāpa (dialogue), Pralāpa (vain or meaningless words), Anulāpa (repetition), Apalāpa (contrary application of a spoken word), Samdeśa (message), Atideśa (taking another's words as one's own), Apadeśa (hinting), Upadeśa (instruction), Nirdeśa (pointed reference) and Vyapadeśa (artful expression of one's desire).¹