2.5 · Sthāyi-bhāva

The non-contradictory bhāvas (aviruddhān) are those such as hāsya-rati (laughter) and the contradictory bhāvas are those such as krodha-rati (anger). The bhāva which rules over all these bhāvas is called the sthāyi-bhāva or permanent bhāva.

In order to give additional understanding to the previous statement, this verse is spoken. It was stated that the sthāyi-bhāva is rati directed towards Kṛṣṇa in 2.1.5. Now this is repeated with elaboration. Thus two types of sthāyi-bhāva are explained. The primary ratis are described starting with verse 3 of this chapter, and the secondary ratis are described from verse 39 till the end of the chapter.

The words śuddha-sattva-viśeṣātmā refers to the definition given in 1.3.1.

The example of the reflection of the sun in crystal and other items is used to illustrate the variety that rati assumes in different individuals, and not to illustrate that those who receive rati have only some reflection, and not genuine rati (since it is composed of the hlādinī and saṁvit śaktis). Because of particular differences, five distinct conditions appear which are given five different names.

This śuddha-rati is also called kevala-rati. It will be explained later that this rati is not endowed with particular tastes such as those of prīti, sakhya, vatsala and priyatā (madhura). This śuddha-rati, the first (ādimā), has three types: sāmānya, svaccha and śānta.

Śuddha-rati directed towards Kṛṣṇa does not have the excellent qualities found in other types of rati such as prīti-rati. Thus it is discussed separately from the others. When it does not have particular features (kañcid viśeṣam aprāptā) of even svaccha or śānta forms of śuddha-rati, it is called sāmānya-rati or ordinary rati. But by attaining higher levels of excellence, progressing through the form of svaccha-rati, it finally becomes śānta-rati. This sāmānya-rati will be found in ordinary people: This means it is found everywhere or commonly.

This is a statement by an ordinary person of Mathurā on seeing Kṛṣṇa after He had come to Mathurā….

Why has my mind, like bee’s wax (mānasa-madanam), become soft (mradimānam)? The sweet sun (Kṛṣṇa) has risen on the road in Mathurā. Therefore, there is a conjecture that this is the reason for the mind becoming soft. It implies “I can see no other reason.” [Note: The attraction for Kṛṣṇa is so weak that there is a doubt whether He is the cause for the softness of mind.] The locative case (asmin mathurā-vīthyām udayati madhure virocane purataḥ) has been used to describe one action taking place while another action takes place: yasya ca bhāvena bhāva-lakṣaṇam. (Pāṇini 2.3.37) (The literal meaning would be “Tell me friend, why has my mind become soft like bee’s wax while Kṛṣṇa has appeared on the road in Mathurā?”)

The compound tri-varṣā should be analyzed as follows. According to the rule, tam adhiṣṭo bhṛto bhūto bhāvī (Pāṇini 5.1.80), the suffix ka is used after a word expressing time (eg. varṣikā) in the accusative case to mean “to give instruction for such a period, to be hired for such a period, or to indicate that something has lasted that long or will last that long.” In this case, the meaning is that three years have passed. According to the rule varṣāl luk (Pāṇini 5.1.88) after a dvandva compound with the word varṣa, the suffix na or ka can be dropped. Furthermore, according to the rule cittavati nityam (Pāṇini 5.1.89), the suffix meaning “accomplished” or “in the past” (the suffix ka, as in varṣikā, having passed three years) must be dropped after the word varṣā in a dvandva compound referring to a living entity with reasoning power. Therefore, tri-varṣikā bālikā becomes tri-varṣā bālikā. This means a girl child who has already passed three years of age. Another version of the verse has tri-vārṣikī bālikeyam. According to the rule kālāṭh ṭhaṣ (Pāṇini 4.3.11), the suffix ka is added after a word denoting time. To avoid the rule 5.1.88 (ka must be dropped if the word indicates the past tense), if ka remains, it must refer to the future. This indicates a girl is about to become three years old, in the state of three years which have not yet finished. By the rule uttara-padasya (Pāṇini 7.3.9), the first vowel of the second member of a compound becomes vṛddhi (tri-vārṣikī instead of tri-varsīkī). In other words, it means “the child, not even three years old, can run after Kṛṣṇa.” According to the rule tatra bhavaḥ (Pāṇini 4.3.3), ka can be added to a word to indicate “existence” after a word in the locative case. Thus the meaning is “someone existing in three years.” Another form tri-varṣīyā is rejected. Varṣīyasi means “O old woman!”

Verses 12 and 13 explain svaccha-rati. bhavāpavargo bhramato yadā bhavej janasya tarhy acyuta sat-samāgamaḥ sat-saṅgamo yarhi tadaiva sad-gatau parāvareśe tvayi jāyate matiḥ When the material life of a wandering soul has ceased, O Acyuta, he may attain the association of Your devotees. And when he associates with them, there awakens in him devotion unto You, who are the goal of the devotees and the Lord of all causes and their effects. SB 10.51.53 This verse shows how devotee association acts as the seed of rati. Through association with various types of devotees, various types of sādhana which are like watering the seed will be performed. This will produce various bhāvas in the practicing devotee. The type of śuddha-rati previously mentioned, which produces such variety in a devotee is called svaccha. The cause of variety is explained in verse 13. The devotee’s rati, like a crystal, takes on a form similar to that of another devotee to whom he is attached. The example of the crystal is used because of its quality of taking on a variety of conditions, but not to indicate that this rati is only a reflection (not the real thing), since it is included in the topic of śuddha-rati, which is included in the topic of forms of genuine rati. However, this svaccha-rati is included in śuddha-rati because the particular tastes it manifests are temporary (rather than permanent as in prīti or other forms of rati). This also agrees with the later statement in verse 21, which describes śuddha-rati (which includes svaccha-rati) as being devoid of distinctive taste. Śuddha-rati has no mixture of the tastes found in the other types of rati such as prīti-rati.

These persons, because their hearts are not fixed in a particular taste (anācānta dhiyām) must conduct themselves according to the rules of scripture (āryāṇām). The word ārya-caritān in the following verse similarly means “following the path of the scriptures.” kā stry aṅga te kala-padāyata-veṇu-gīta- sammohitārya-caritān na calet tri-lokyām trailokya-saubhagam idaṁ ca nirīkṣya rūpaṁ yad go-dvija-druma-mṛgāḥ pulakāny abibhran My dear Lord Kṛṣṇa, where is that woman within the three worlds, who follows the rules of scripture, who would not be captivated by the rhythms of the sweet songs coming from Your wonderful flute? Who would not fall down from the path of chastity in this way? Your beauty is the most sublime within the three worlds. Upon seeing Your beauty, even cows, birds, animals and trees in the forest become stunned in jubilation. SB 10.29.40

First śama was described, and now the rati called śānta, which is characterized by śama, is being described. Bhāgavatam describes this rati: muktānām api siddhānāṁ nārāyaṇa-parāyaṇaḥ sudurlabhaḥ praśāntātmā koṭiṣv api mahā-mune O great sage, among many millions who are liberated and perfect in knowledge of liberation, one may be a devotee of Lord Nārāyaṇa. Such devotees, who are fully peaceful, are extremely rare. SB 6.14.5 Generally, (prāyaḥ) this śānta-rati, which is described in the Bhāgavatam verse above, occurs in those with a predominance of śama (śama-pradhānānām), who realize the Lord as Paramātmā, as the shelter of everything. This is illustrated in verses such as brahmaṇo hi pratiṣṭho ’ham. The śuddha-rati which is generated from such realization is called śānta-rati.

Ātmanaḥ here means “having surpassed the brahman.”

In these three types of rati, there is permanence of the various ratis, whereas in svaccha-śuddha-rati the taste is not permanent, even though various types of rati manifest. Mukharā, referred to in the verse, is an old woman who acted as a nurse for Yaśodā. [Note: Mukharā was a friend of Kṛṣṇa’s grandmother.] Because of treating the quality and the possessor of the quality as non-different, a devotee is designated by the particular rati which is most prominent in him. Thus though Uddhava has sakhya-bhāva he is predominantly a servant. Thus he is designated as a servant.

Those who identify themselves as inferiors to the Lord (svasmād nyūnāḥ) are called anugrāhyā (recipients of mercy). That rati whose essence (ātmikā) is to think of the Lord as worshipable (ārādhyatva) is called prīti-rati. This use of the word prīti is used in a specific sense (called paribhāṣika), being distinct from the previous usage of the word (where it meant joy or pleasure). Elsewhere, prīti is used differently to mean bhakti. Similarly, anugrāhyā is used with a more specialized meaning than previously (here it means dāsya-bhaktas).

This is a further explanation. The author shows the specific quality of this prīti. Hi indicates a reason (because) and tatra means “for Kṛṣṇa.” This rati (asau) for Kṛṣṇa (tatra), which is called prīti, which accepts Kṛṣṇa as worshipable, produces attachment to Kṛṣṇa and destroys attachment to all other persons or things. When this prīti-rati manifests for Kṛṣṇa, rati for other objects is destroyed. Where there is attraction for other objects in prīti-rati, it should be understood that these objects are related to Kṛṣṇa.

This verse is an example of the statement made in the previous verse. Though I go anywhere, I will maintain my prīti for You, and not for anyone else. In the other ratis starting with sakhya, there are other distinctive attributes however. That is the difference between prīti and the superior ratis.

Tulyā does not mean equal in all ways, but having an identity of being equal. That rati which reveals familiarity or lack of restriction (viśrambha) caused by the sense of equality with Kṛṣṇa (sāmyāt) is called sakhyam. That familiarity is characterized by actions such as joking and loud laughing.

These are the thoughts of Kṛṣṇa in lamentation when Brahmā stole the cowherd boys. Or these are the words of Kṛṣṇa to Uddhava in Mathurā. All those who were sent by Kṛṣṇa to gather the calves engaged in playing, while saying “I will return and be touched first by Kṛṣṇa!”

Considering yourself a king, your queen (devyai hriye) is shame. Instead of devyai sometimes sakhyai (friend) is seen in the verse.

The word guravaḥ (elders or superiors) indicates those who identify themselves as elders or parents of Kṛṣṇa. The word vatsala means “those who give (lānti) their breasts to their children (vatsam). Thus vatsala refers to parents and vātsalyam refers to their emotional state or bhāva. This usage of the word vatsalā is found in the Bhāgavatam in relation to Devahūti: vanaṁ pravrajite patyāv apatya-virahāturā jñāta-tattvāpy abhūn naṣṭe vatse gaur iva vatsala Devahūti’s husband had already left home and accepted the renounced order of life, and then her only son, Kapila, left home. Although she knew all the truths of life and death, and although her heart was cleansed of all dirt, she was very aggrieved at the loss of her son, just as a cow is affected when her calf dies. SB 3.33.21

The rati of the women which is the root cause of eight types of mutual enjoyment (such as seeing or remembering) between the Lord and the doe-eyed women is called priyatā-rati. This rati is defined in this way with the perception of the devotee as the experiencer and Kṛṣṇa as the object of experience. When Kṛṣṇa is the experiencer and the devotee (gopī) is the object of His experience, that rati becomes a stimulus or uddīpana for further rati in the devotee. The word priyatā means the emotional state of the female lover (who is called priyā). Thus this definition of priyatā-rati describes the devotee’s or gopī’s emotional state of being a lover of Kṛṣṇa. According to the rule tasya bhāvas tva talau (Pāṇini 5.1.119) tva and tā are added as suffixes to indicate “having the nature of...” They thus indicate qualities. Thus priyatā-rati means that rati which has the quality of being a female lover. Used to indicate qualities, they are added to masculine forms of words. In the Kātantra grammar this is explained: guṇa-grahaṇenātra jāti-saṁjñayor nivṛttiḥ kriyate tena pācikāyāḥ pācakatvam: when a word becomes descriptive of quality by addition of tā, it first loses its original gender and name, as in pācikā becoming pācakatvam. This priyatā-rati is also called madhura-rati (madhurāpara-paryāyā). The example given in the following verse should be understood to illustrate this rati to a small degree.

…Among the various tastes such as sweet, sour and bitter, a particular person has a particular liking because of previous impressions. Because of impressions from past life of a particular rasa such as dāsya, in this life also, the person has that taste alone and not others, by the mercy of a great devotee with a similar taste. This is the case of for the two types of dāsya and the other three higher rasas.

After the five types of rati have been described, a doubt arises. Should all these types be considered equal or successively superior? If they are equal, then all the ratis should have the same inclinations. If they are successively superior, what is the cause for differing inclinations in people for different ratis? This verse answers. Increasing from first to last (yathottaram), from śuddha-rati to priyatā-rati, they become progressively filled with taste or delight. But what determines who takes up which type of rati? Is it decided by having no impressions of a particular rati from previous lives, by having an impression of one type of rati from previous lives, or by having impressions of many types of rati? In the first option--absence of impressions--rati cannot occur at all, because no taste could arise. In the case of persons having impressions of many types of rati, a particular rati could not manifest prominently because conflicting tastes would result in improper manifestation of rasa (rasābhāsa). Therefore, impressions of only one type carried from previous lives produce the specific taste. Though not being in a position to perceive the depth of that rasa, one can confirm its identity by comparing scriptural descriptions of rasas with one’s own inclinations, and by inference through seeing how rasas, different from one’s own rasa, either nourish or fail to nourish the total ingredients. [Note: For each primary rasa, certain other primary and secondary rasas restrict or increase it.]

With the completion of the description of the principal ratis, now the secondary ratis are described. Vibhāva here refers to the ālambana (in this case the viṣaya, Kṛṣṇa). Rati is said to become restricted because it allows a different emotional state to appear from time to time. Though the particular emotional state which manifests is called rati, that rati is an honorary title. That is why the word gauṇī (secondary) is used to describe the rati. We say “The shed makes sound” and thereby attribute qualities of a living being to an inanimate object, when actually it is the person in the shed making sound. (In the same way, we call these states rati, because they act similar to rati, though they cannot exist without the presence of the mukhya-ratis, which subdue themselves.) [Note: At the end of the discussion of the secondary ratis (4.7.14) the author says that actually the secondary ratis are vyabhicāri-bhāvas, but have been classed as secondary rati in deference to Bharata Muni and other literary authorities.]

Since they are under the control of the primary ratis (rater vaśāt), Kṛṣṇa is the cause (vibhāvatvam) of the first six secondary ratis from hāsa to bhaya. They fall under the control of rati, since they can suitably be expressed in relation to Kṛṣṇa. The causes of the seventh secondary rati, jugupsā or disgust, are the material body and other such things. Kṛṣṇa is not a cause of disgust.

The bhāvas such as hāsa are different from the svārtha-mukhya-ratis (śuddha-sattva-viśeṣataḥ). However, when the emotions join with the primary ratis (which then assumes a parārtha form and recede into the background), they become ratis or sthāyi-bhāvas.

Here is the definition of the secondary ratis. They take prominence over the primary ratis which become parārtha-ratis (nourishing to the secondary ratis).

Sahajā api means spontaneous or natural. They are later covered by a contrary bhāva (baliṣṭhena) arising from rati and thus disappear.

That rati (sā) which does not leave (avyabhicarantī) its receptacles (svādhārān, the āśrayas or devotees) should be considered the continuous or ātyantika-sthāyi-bhāva of those devotees. Sometimes svādhārāt in the ablative case is seen instead of svādhārān.

Because the enemies of Kṛṣṇa are devoid of rati, there is no possibility of even ratyābhāsa, since they are hostile to the Lord. [Note: This type of emotion is later called aparasa, and is included under the broad title of rasābhāsa (4.9.38).]

Aviruddhair api spṛṣṭā bhāvaih means literally “touched by non-contrary bhāvas.” However, the meaning is actually “not touched by contrary bhāvas (hostility)” since the previous subject was hostility. It is similar in usage to the phrase asūryampaśyā (king’s wife). That literally means one who sees (paśyā) no sun (asūryam), but really means one who does not see the sun, since the queen is confined to the inner chambers of the palace. These vyabhicāri-bhāvas disappear on their own with the passage of time. [Note: The secondary rasas also disappear after some time by being covered by contrary bhāvas, but verse 51 explains that the secondary ratis leave impressions after they disappear, whereas the vyabhicāri-bhāvas do not leave impressions.]

The first statement is contrary to the author’s views. Thus the authority is then given. Tad-vidaḥ means persons such as Bharata Muni.

In verse 43, the definition of the secondary ratis was given: when a primary rati becomes covered by hāsa, it is called hāsa-rati. Now, in this verse, it is said that hāsa and other emotions are called rati because of assuming rati as their own nature--by identifying themselves as rati. Hāsa-rati means rati-like hāsa. This is similar to the meaning of the compound puruṣa-vyaghra: tiger-like man. Previously the meaning of hāsa-rati (primary rati which takes up the mood of hāsa) would be similar to the word śāka-pārthiva: king who enjoys vegetables. Hāsa-rati manifests by the primary rati limiting itself (saṅkucad-ātmanā). The cause of limiting of the primary rati is given: it arises from the spreading of intense happiness from actions related to Kṛṣṇa (kṛṣṇa- sambandhi-ceṣṭotthaḥ). But even seeing the irregularity in actions in persons hostile to Kṛṣṇa (not directly related to Kṛṣṇa) laughter may arise, which will also become a cause of restricting the primary rati, because at that time the devotee will be (happily) thinking of the future actions of Kṛṣṇa which will destroy those enemies. This should be understood in the case of other secondary ratis also.

One time, a messenger, seeing that Jaṭilā had gone to the village, brought Kṛṣṇa to meet Rādhā in Rādhā’s house. Suddenly Jaṭilā appeared and saw her daughter-in-law enjoying with Kṛṣṇa. She began to scold Rādhā. In order to deceive her, Kṛṣṇa spoke these words. “O old lady! I have not even looked at your yogurt. I make that oath. Your bold daughter is sniffing my mouth in order to confirm if I have eaten the yogurt. You should teach your daughter that such hostile doubts—unsubstantiated-- should not be entertained for cultured persons such as myself.” The messenger could not stop herself from laughing.

Bringing yogurt to the forest on the pretext of performing worship of the devatās, the gopīs were moving about here and there in order to pick flowers. Kṛṣṇa was carrying on an exchange with one gopī who was assigned to safeguard the yogurt alone by staying next to it. Suddenly one coy gopī appeared and began sniffing Kṛṣṇa’s mouth to see if He had eaten the yogurt. Kṛṣṇa refers to her in this verse. Sometimes jarati (old woman) replaces sumukhi and vadhu (young woman) replaces sakhī, but this is not the accepted version.

Vistṛti or “expansion of the mind” means the mind displays various conditions, saying “What is that?” Expansion of the heart was mentioned in relation to hāsa in verse 52 (ceto vikāsa), where it meant “joy.” However, here it means “opening up.”

Yuddhādi means fighting, charity, compassion and righteous acts. [Note: These different types of utsāha are explained in the section dealing with secondary rasas (4.3).] Instead of yuddhādi, svābhīṣṭa (cherished) is sometimes seen.

Citta-kleśa-bhavaḥ means intense pain in the heart arising from thoughts that one’s beloved has perished. [Note: If there were only intense pain in separation, it would be self-centered.]

In this verse Yaśodā criticizes herself.

Jaṭilā played the role of the mother-in-law of Rādhā. Her anger manifests from rati directed towards Kṛṣṇa. In attempting to thwart the relationship between her daughter-in-law and Kṛṣṇa, she acts for the pleasure of Kṛṣṇa (and thus the anger is not material). This should be understood in other similar instances also.

Heti here means a weapon or flame. Alika means forehead.

Vaktra-kūṇana means “curling the lips.”

Prathamā here means primary ratis. If the eight attain the state of rasa, then they are called rasas, not sthāyi-bhāvas.

If these bhāvas do not attain the nature of rasa by serving the sthāyi-bhāva and thus remain independent, then they are considered to be the thirty-three vyabhicāri-bhāvas, the eight sāttvika-bhāvas and the eight ratis. Tān means the total of forty-nine bhāvas.

The meaning of the verses is as follows. Because they are filled with the presence of Kṛṣṇa, these bhāvas are filled with spiritual happiness. And because even viṣāda and other sorrowful emotions are related to Kṛṣṇa, they should be said to be filled with happiness. The appearance of bhāvas which involve sorrow arise through thinking that one will not attain Kṛṣṇa. However, the cause of that sorrow is a previous experience of Kṛṣṇa. It is certain that the devotees’ aspiration will be fulfilled and they will attain Him. After attaining the Lord, in order to remove selfish thoughts that the Lord belongs to oneself, which may spring from that attainment, and in order to nourish the joy of attaining the Lord, viṣāda and other sorrowful emotions, appear as part of that bliss, just as hunger nourishes enjoyment of food. Such emotions have the appearance of sorrow, but are not really sorrow. This state of happiness and sorrow in the devotee appears like happiness and distress which arise from the material guṇas in the non-devotee. However, this state of happiness and sorrow is not the same. Bhāgavatam says: kaivalyaṁ sāttvikaṁ jñānaṁ rajo vaikalpikaṁ ca yat prākṛtaṁ tāmasaṁ jñānaṁ man-niṣṭhaṁ nirguṇaṁ smṛtam Absolute knowledge is in the mode of goodness, knowledge based on duality is in the mode of passion, and foolish, materialistic knowledge is in the mode of ignorance. Knowledge based upon Me, however, is understood to be transcendental. SB 11.25.24

The meaning of the verses is as follows. Because they are filled with the presence of Kṛṣṇa, these bhāvas are filled with spiritual happiness. And because even viṣāda and other sorrowful emotions are related to Kṛṣṇa, they should be said to be filled with happiness. The appearance of bhāvas which involve sorrow arise through thinking that one will not attain Kṛṣṇa. However, the cause of that sorrow is a previous experience of Kṛṣṇa. It is certain that the devotees’ aspiration will be fulfilled and they will attain Him. After attaining the Lord, in order to remove selfish thoughts that the Lord belongs to oneself, which may spring from that attainment, and in order to nourish the joy of attaining the Lord, viṣāda and other sorrowful emotions, appear as part of that bliss, just as hunger nourishes enjoyment of food. Such emotions have the appearance of sorrow, but are not really sorrow. This state of happiness and sorrow in the devotee appears like happiness and distress which arise from the material guṇas in the non-devotee. However, this state of happiness and sorrow is not the same. Bhāgavatam says: kaivalyaṁ sāttvikaṁ jñānaṁ rajo vaikalpikaṁ ca yat prākṛtaṁ tāmasaṁ jñānaṁ man-niṣṭhaṁ nirguṇaṁ smṛtam Absolute knowledge is in the mode of goodness, knowledge based on duality is in the mode of passion, and foolish, materialistic knowledge is in the mode of ignorance. Knowledge based upon Me, however, is understood to be transcendental. SB 11.25.24

One would assume (prāyaḥ) that bhāvas such as harṣa (śītā) are filled with happiness and others such as viṣāda (uṣṇā) are filled with sorrow. Rati has by its very nature some sorrow even in meeting of the lovers, because there is a predominance of longing during separation which causes suffering and worry about separation during meeting which causes suffering as well. Thus it is said: adṛṣṭe darśanotkaṇthā dṛṣṭe viccheda-bhīrutā nāḍṣṭena na dṛṣṭena bhavatā labhyate sukham If I do not see You, then I am filled with longing to see You, and when I do see You, I am filled with fear of separation. Thus, both on not seeing You, and on seeing You, I do not attain happiness.

By a joyful bhāva (śītaiḥ), the sorrowful rati becomes joyful. This means that the sorrowful rati becomes one with the joyful states. A sorrowful rati does not itself produce pain, since it does not have intrinsically any intense suffering. However, by the vyabhicāri-bhāvas such as viṣāda, it becomes intensely sorrowful, and thus appears (bhāsate) to give pain. The qualities of these bhāvas which arise because of separation from the Lord impose themselves on rati. It is similar to the medicine called yogarāja which takes on many qualities by having a combination of ingredients which have a variety of properties. This is an appearance only, because it is temporary with beginning and end. However, after the imposition of separation from the Lord, that interim period where one experiences the pain of separation appears to be permanent.

The two types of rati (ratir dvidhā) are the primary and secondary ratis. By experiences (avagataiḥ) about Kṛṣṇa in dramas, hearing about Kṛṣṇa and contemplating Kṛṣṇa, the two types of rati then manifest vibhāvas, anubhāvas, sāttvika-bhāvas and vyabhicāri-bhāvas.

These are special definitions of what was already explained, to make the point clear. By using the word vibhāvayanti, the author explains the origin of the word vibhāva. Those elements which cause (vibhāvayanti) rati to become most suitable for relishing the various tastes are called vibhāvas. The following verses similarly explain the other elements of rasa.

Those elements which further relish (anubhāvayanti) that rati produced by vibhāva (tām), in other words, which produce (tanvanti) fullness of taste (āsvāda-nirbharām) within the mind (antaḥ) are called anubhāvas. The taste becomes full because of the full expression of one’s rati.

Tathā-vidhām means rati which has become tasty through the vibhāvas and the anubhāvas.

Tathā-bhāve means the nature of vibhāva and the other elements of rasa.

Asyāḥ rateḥ means “that rati related to the Lord.” The power or splendor (ayam prabhāvaḥ) of rati related to the Lord (as inconceivable, sweet and most astonishing), which is explained in this work, is the ultimate cause of understanding it.

“What was described here may not produce rasa, even if composed with good poetic ornaments. How much less it will produce rasa if it lacks good poetic composition. Therefore, good poetic qualities are of value.” To defeat this argument, the present verse is given. Mahā-śakti-vilāsātmā means that it manifests from the hlādinī śakti. Therefore, its very nature is inconceivable (acintya-svarūpa-bhāk), in the sense that it surpasses the bliss of liberation and gives bliss even to the Lord Himself. It cannot be analyzed through material logic. However, it is acceptable to comprehend it through perception which is in line with the devotional scriptures. The reason why logic defiles rasa is explained in the statement from the Mahābhārata (verse 93), which has been quoted by the ancient authorities. “Ancient authorities” (prāktanaiḥ) means “knowers of scripture” such as the writer of the Śārīraka-bhāṣya (Śaṅkara’s commentary on the Vedānta-sūtras). Scriptural evidences are as follows: evaṁ-vrataḥ sva-priya-nāma-kīrtyā jātānurāgo druta-citta uccaiḥ hasaty atho roditi rauti gāyaty unmāda-van nṛtyati loka-bāhyaḥ By chanting the holy name of the Supreme Lord, one comes to the stage of love of Godhead. Then the devotee is fixed in his vow as an eternal servant of the Lord, and he gradually becomes very much attached to a particular name and form of the Supreme Personality of Godhead. As his heart melts with ecstatic love, he laughs very loudly or cries or shouts. Sometimes he sings and dances like a madman, for he is indifferent to public opinion. SB 11.2.40 kvacid rudanty acyuta-cintayā kvacid dhasanti nandanti vadanty alaukikāḥ nṛtyanti gāyanty anuśīlayanty ajaṁ bhavanti tūṣṇīṁ param etya nirvṛtāḥ Having achieved love of Godhead, the devotees sometimes cry out loud, absorbed in thought of the infallible Lord. Sometimes they laugh, feel great pleasure, speak out loud to the Lord, dance or sing. Such devotees, having transcended material, conditioned life, sometimes imitate the unborn Supreme by acting out His pastimes. And sometimes, achieving His personal audience, they remain peaceful and silent. SB 11.3.32

The power or influence of rati is here described. The word dharmān should be understood after vibhāvatādīn. Thus meaning of the phrase is “Attractive rati, making Kṛṣṇa and the devotee take on the role of vibhāva (viṣaya, uddīpana and āśraya), clearly increases itself by these elements which have attained the status of vibhāvas and have produced anubhāvas, sāttvika-bhāvas and vyabhicāri-bhāvas.” [Note: Rati or the sthāyi-bhāva, a permanent relationship of love, is the cause of Kṛṣṇa being the vibhāva and the devotee being the āśraya. This then produces anubhāvas, sāttvika-bhāvas and vyabhicāri-bhāvas. This combination is called rasa. This rasa or bliss increases the rati, the attraction for Kṛṣṇa, even more.]

“Then poetic works are useless for developing rati.” This verse answers the doubt. If a new sprout of rati appears in a person who is knowledgeable of poetic works (hari-bhaktasya), then poetry or drama concerning the Lord become somewhat of a cause for realizing vibhāva and the other elements. The genitive case has the sense of locative (“in a person” instead of “belonging to a person”). It may be said that poetic works are one type of cause for a person who has already developed rati, but they are not a cause for a person who has not already developed rati.

“So, is there then no necessity of relishing poetic works for realizing these bhāvas?” This verse answers. The taste will develop simply by a little hearing. Joy and sorrow arise invariably in people who are capable of experiencing joy and sorrow. Poetry and drama are easily appreciated by all. Spiritual taste with deep realization can thus arise through poetry and drama. There are famous examples, such as Hanumān constantly hearing Rāmāyaṇa, Parīkṣit’s testimony, and the expression of desires of the women of Vraja. naiṣātiduḥsahā kṣun māṁ tyaktodam api bādhate pibantaṁ tvan-mukhāmbhoja-cyutaṁ hari-kathāmṛtam Because of my vow on the verge of death, I have given up even drinking water, yet because I am drinking the nectar of topics about Kṛṣṇa, which is flowing from the lotus mouth of Your Lordship, my hunger and thirst, which are extremely difficult to bear, cannot hinder me. SB 10.1.13 tava kathāmṛtaṁ tapta-jīvanaṁ kavibhir īḍitaṁ kalmaṣāpaham śravaṇa-maṅgalaṁ śrīmad ātataṁ bhuvi gṛṇanti ye bhūri-dā janāḥ The nectar of Your words and the descriptions of Your activities are the life and soul of those suffering in this material world. These narrations, transmitted by learned sages, eradicate one’s sinful reactions and bestow good fortune upon whoever hears them. These narrations are broadcast all over the world and are filled with spiritual power. Certainly those who spread the message of Godhead are most munificent. SB 10.31.9 “Then, without hearing poetic works, one cannot develop realization of the elements of rasa?” The answer is given. Among the causes, the strength of rati previously described is the real cause of attaining realization of vibhāva and other elements (tathākṛtau).

The word tanute means “reveals.”

The deformity in the vibhāva here refers to deformity in Kṛṣṇa or the devotee and inappropriate conditions of Kṛṣṇa. If there are irregularities in the persons playing the roles of Rādhā and Kṛṣṇa in a drama, or if Rādhā is depicted as older than Kṛṣṇa, rati becomes restricted, not nourished by those vibhāvas. Similarly, when poetic works have such discrepancies, rati becomes restricted.

Vibhāva here indicates Kṛṣṇa and the particular devotee of Kṛṣṇa. Vairūpyam means that these elements display unsuitable qualities.

Hearing during a recitation of Rāmāyaṇa how Hanumān jumped over the ocean, sometimes a sympathetic devotee, absorbed in that mood, giving up all shyness, jumps up amidst the hearers in order to cross the ocean. Or in a drama, sometimes an actor taking the role of Daśaratha, on hearing that Rāma went to the forest, absorbed in the mood of Daśaratha, also gives up his life.

This type of rati brings about an identity of the present day devotee with the devotees of previous times. By the attainment of this identity with the previous devotees’ bhāvas, the condition of rasa will also be similar. Three verses (101-103) explain this. Bhāvāḥ here indicates the different types of rati and the elements starting with vibhāva. It is thus said: vyāpāro ’asti vibhāvader nāmnā sādhāraṇī kṛtiḥ tat-prabhāvāt parasyāsan pāthodhi-plavanādayaḥ utsāhadi-samudbodhaḥ sādhāraṇyābhimānataḥ nṛṇām api samudrādi-laṅghanādau na duṣyati sadhāraṇyena ratyādir api tadvat pratīyate parasya na parasyeti mameti na mameti ca tad āsvāde vibhāvādeḥ paricchedo na vidyate The actions of the elements such as vibhāva create total identity of the present devotee with the ancient devotee. By that identification, the devotee plunges into the ocean experienced by previous devotees, and there is an awakening of utsāha and other bhāvas with an experience identical to that of the ancient devotees. No man at all is condemned for entering that ocean. Rati and other elements appear identical to those of the previous devotees. In tasting rati, there is no distinction of vibhāva and the other elements of the previous persons and person of the present time. Sāhitya-darpaṇa 11-14 The example of plunging in the ocean is given to show, from the normal perspective, that there should be no fear or shame at accruing for oneself rati and the other elements, and there should be no joy in identifying with others’ material emotions. (There can be no criticism, because of the great achievement.)

According to Bharata Muni’s statement, there is naturally a difference, but there develops non-difference between oneself and the previous devotees by the śakti of vibhāva and other elements.

Two verses describe another facet of rati’s incomprehensibility. When the suffering of other persons becomes the devotee’s own suffering by not distinguishing himself from the character in the drama or poetic work, that suffering also produces a taste of astonishing bliss. na yatra śoko na jarā na mṛtyur nārtir na codvega ṛte kutaścit yac cittato ’daḥ kṛpayānidaṁ-vidāṁ duranta-duḥkha-prabhavānudarśanāt In that planet of Satyaloka, there is neither bereavement, nor old age nor death. There is no pain of any kind, and therefore there are no anxieties, save that sometimes, due to consciousness, there is a feeling of compassion for those unaware of the process of devotional service, and who are subjected to unsurpassable miseries in the material world. SB 2.2.27 This is a glorification of Satyaloka. Ārti means suffering and udvega means fear. There is no fear or suffering except for suffering from the heart, because there is a feeling of compassion for the endless suffering of saṁsāra of those who do not know about bhakti (anidaṁvidām). But that display of suffering, which arises in the hearts of the sānta-bhaktas in Lord Brahmā’s assembly in Satyaloka, for those caught in saṁsāra, also reveals deep bliss. Also Prahlāda, who mercifully wanted to remove the sufferings of others unconditionally, grieved for the suffering of those in saṁsāra and prayed to the Lord to relieve their suffering. prāyeṇa deva munayaḥ sva-vimukti-kāmā maunaṁ caranti vijane na parārtha-niṣṭhāḥ naitān vihāya kṛpaṇān vimumukṣa eko nānyaṁ tvad asya śaraṇaṁ bhramato ’nupaśye My dear Lord Nṛsiṁhadeva, I see that there are many saintly persons indeed, but they are interested only in their own deliverance. Not caring for the big cities and towns, they go to the Himalayas or the forest to meditate with vows of silence (mauna-vrata). They are not interested in delivering others. As for me, however, I do not wish to be liberated alone, leaving aside all these poor fools and rascals. I know that without Kṛṣṇa consciousness, without taking shelter of Your lotus feet, one cannot be happy. Therefore, I wish to bring them back to shelter at Your lotus feet. SB 7.9.44 svasty astu viśvasya khalaḥ prasīdatāṁ dhyāyantu bhūtāni śivaṁ mitho dhiyā manaś ca bhadraṁ bhajatād adhokṣaje āveśyatāṁ no matir apy ahaitukī May there be good fortune throughout the universe, and may all envious persons be pacified. May all living entities become calm by practicing bhakti-yoga, for by accepting devotional service they will think of each other’s welfare. Therefore let us all engage in the service of the supreme transcendence, Lord Śrī Kṛṣṇa, and always remain absorbed in thought of Him. SB 5.18.9 As well in the Ninth Canto, Rantideva is famous for his desire to deliver others from suffering. Therefore, the appearance of unhappiness in the hearts of these devotees is actually a form of the highest bliss, not a direct experience of suffering, because it is an established fact that the cause of material suffering is previous and present commission of sins. Where is the question of sin for these devotees, by remembrance of whom others become free of sin? yeṣāṁ saṁsmaraṇāt puṁsāṁ sadyaḥ śuddhyanti vai gṛhāḥ kiṁ punar darśana-sparśa-pāda-śaucāsanādibhiḥ Simply by our remembering you, our houses become instantly sanctified. And what to speak of seeing you, touching you, washing your holy feet and offering you a seat in our home? SB 1.19.33 Thus the devotee thinks “Whatever happens to me does not matter. Let me suffer eternally, but may my master be always happy with my service.” And when the present devotee sees the happiness of others, it gives rise to incomparable bliss in his heart.

The two verses 104 and 105 show another aspect of rati’s incomprehensibility. Taking into account the lack of distinction of self and others, when suffering of others appears, the devotee takes that as his own suffering, but when happiness of others appears, the devotee, acknowledging that it is others’ happiness, becomes intensely blissful because others are happy. The present verse explains how happiness arises from suffering: those experiencing suffering will attain incomparable bliss after the dissipation of the suffering (and the present devotee will consequently feel great bliss as well). When the devotee hears an incident from the mouth of the speaker in condensed form (such as the abduction of Śītā), he will enter into the incident while listening to it. If the above statements were not true, it would also not be appropriate to say: na vinā vipralambhena sambhogaḥ puṣṭim aśnute: without separation the bliss of meeting cannot be nourished.” [Note: This is quoted from Sāhitya-darpaṇa 241, which is quoting from somewhere else.]

Another power of rati is here described. If even a little of the vibhāva and other elements belonging to the associates of the Lord in His pastimes (sad-bhāvaḥ) manifest in the heart of the present devotee, who has favorable impressions from previous lives, immediately he achieves full satisfaction from the appearance of these four bhāvas.

Though rati produces rasa through the mind of the experiencers, someone may propose that dramatic presentations can also directly produce an experience of rasa. The author rejects this notion with an approving statement from others. Nāṭya-jñā here means literary experts, who are expert in material literature. According to them, there are three supporting factors in the production of rasa. In seeing a drama, these factors are the character impersonated (for instance Nala, famous character in saṁskṛt literature), the actor, and the spectator seeing the performance. In hearing a poetic work, these factors are the character described, the speaker and the hearer. These experts do not consider that rasa issues from the characters impersonated by acting or depicted by recitation, because these in themselves are just depictions of common characters (laukikatvādi), with limitations, possessing qualities such as fear. [Note: The characters represented or the literary works do not possess inherent emotions such as fear or joy, which are the components of rasa. These emotions are experienced only through the performance, in the presence of the audience.] As well the actor or reciter cannot really cause rasa because the actors and reciters are simply performers earning a living. Thus, the literary experts consider that rasa is caused by the spectator or audience. The spectators are able to experience in their hearts something above the common material ingredients (alaukika), something transcendental, due to the expertise of the literary work. [Note: Even the experience of secular rasa in secular literature can take place with the perceiver. The expertise of the work and actors helps this to take place, but ultimately rasa resides with the perceiver.] However, the spectators or audience must have the proper previous impressions or sympathy for this to take place. Old mīmāṁsakas (unsympathetic persons) could not experience the same rasa. The author agrees with this. This does not apply however to depicting characters such as Rāma and Śītā, who are full of unlimited qualities and who enter into the depicted characters. (Thus those depictions are a cause of rasa.) If the actors or reciters also have full sympathy with the portrayed character, they can also cause rasa.

This verse shows production of rasa in correctly acted dramas. The word alaukikī (unusual) is used because this rati is far superior to the bliss of liberation and because it is the cause of bliss even for the Lord Himself who is the root of all bliss. Rati is described as more astonishing than the astonishing because it is much superior to the rati experiencing in relation to all the avatāras. Uddhava the great devotee of Kṛṣṇa realized this. yan martya-līlaupayikaṁ sva-yoga- māyā-balaṁ darśayatā gṛhītam vismāpanaṁ svasya ca saubhagarddheḥ paraṁ padaṁ bhūṣaṇa-bhūṣaṇāṅgam The Lord appeared in the mortal world by His internal potency, yoga-māyā. He came in His eternal form, which is just suitable for His pastimes. This form is wonderful for everyone, including the Lord Himself in His form as the Lord of Vaikuṇṭha, because it is the highest perfection of beauty, enhancing the beauty of all ornaments. SB 3.2.12 The superiority of Kṛṣṇa’s rati was realized even by Nārāyaṇa Himself: dvijātmajā me yuvayor didṛkṣuṇā mayopanītā bhuvi dharma-guptaye kalāvatīrṇāv avaner bharāsurān hatveha bhūyas tvarayetam anti me Lord Mahā-Viṣṇu said: I brought the brāhmaṇa’s sons here because I wanted to see the two of you, who have appeared with Your saktis. Having killed the demons, the burden of the earth, make them quickly come to Me. SB 10.89.58 Hari-priye (dear to Hari) indicates the devotee experiencer, the participant in His pastimes, and the excellent shelter of rati.

However, with the proper characters, actors and spectators, rasa will manifest. Alaukikī here suggests that the rati is most blissful, since it belongs to Bhagavān, the source of all bliss. This bliss derides even the bliss of liberation. It is greater than the rati for the avatāras emanating from Bhagavān (sarvādbhutādbhutā). This is experienced by both Kṛṣṇa and His intimate devotee. yan martya-līlaupayikaṁ sva-yoga- māyā-balaṁ darśayatā gṛhītam vismāpanaṁ svasya ca saubhagarddheḥ paraṁ padaṁ bhūṣaṇa-bhūṣaṇāṅgam The Lord appeared in the mortal world by His internal potency, yoga-māyā. He came in His eternal form, which is just suitable for His pastimes. This form is wonderful for everyone, including the Lord Himself in His form as the Lord of Vaikuṇṭha, because it is the highest perfection of beauty, enhancing the beauty of all ornaments. SB 3.2.12 Hari-priye (dear to Hari) indicates the devotee experiencer, the participant in His pastimes, and the excellent shelter of rati.

But how will these devotees experience rasa in the pain of separation, since rasa should be most blissful? This verse answers. It is a transformation of astonishing bliss because it is the essence of the highest bliss, and because it has its cause in Bhagavān who is the source of all bliss. It is called only an appearance of the greatest suffering because there is a superimposition of suffering on rati, caused by awareness of separation from the Lord. This suffering acts as a cause for further rati. As well, it disappears with the hope of attaining Kṛṣṇa permanently. Vivarta (transformation) here means that the rasa develops its full form. The cause of rati not giving up its nature is mentioned: it is ūrjitā (strong). Because the rati (attraction for the Lord) is strong, it does not give up hope of attaining Kṛṣṇa. It is not possible for it to do so. This is illustrated in Bhāgavatam. āśā hi paramaṁ duḥkhaṁ nairāśyaṁ paramaṁ sukham yathā sañchidya kāntāśāṁ sukhaṁ suṣvāpa piṅgalā Material desire is undoubtedly the cause of the greatest unhappiness, and freedom from such desire is the cause of the greatest happiness. Therefore, completely cutting off her desire to enjoy so-called lovers, Piṅgalā very happily went to sleep. SB 11.8.44 paraṁ saukhyaṁ hi nairāśyaṁ svairiṇy apy āha piṅgalā taj jānatīnāṁ naḥ kṛṣṇe tathāpy āśā duratyayā Indeed, the greatest happiness is to renounce all desires, as even the prostitute Piṅgalā has declared. Yet even though we know this, we cannot give up our hopes of attaining Kṛṣṇa. SB 10.47.47

Having spoken generally of the superiority of rati for Kṛṣṇa, now more specifically the rati of Kṛṣṇa in Vraja is described. Rameśa here refers to Kṛṣṇa when He takes the position as the husband of Rukmiṇī in Dvārakā. This has already been clearly explained previously in verses such as: hariḥ pūrṇatama (BRS 2.1.221) and tatrāpy ekāntināṁ śreṣṭhā (BRS 1.2.58).

Paramānanda here refers to the hlādinī śakti. Rati is non-different from it because its root is hlādinī śakti. [Note: The definition of rati or bhāva says it is śuddha-sattva-viśeṣātma, which means rati is composed of the hlādinī and saṁvit śaktis.] The form of Kṛṣṇa is the vibhāva. This form is non-different from the hlādinī śakti because the Lord, origin of the śakti, and His śakti are considered one. The form of the devotee (the āśraya element of vibhāva) is filled with rati (whose root is the hladinī śakti) and is therefore non-different from it. The anubhāvas and vyabhicāri-bhāvas arise from rati. Thus the hlādinī śakti is said to be non-different from rati and the other elements. Because they part of the hlādinī śakti, they produce the greatest bliss, which causes rejection of the bliss of liberation and brings the Lord under control (previously shown in 1.1.17). [Note: The two qualities of bhakti which manifest in bhāva or rati are mokṣa-laghutā-kṛt and sudurlabhā.] Because of this oneness between the hlādinī śakti (paramānanda-tādātmyāt) with rati and the other elements, when one considers rati’s essential features (vastutaḥ), rasa also should be accepted as self-revealing (sva-prakāśatvam). That means that rasa is not dependent on the mind or other factors to appear. That rasa is also considered to consist exclusively of rasa and nothing else (akhaṇḍatvam).

Anuttamāḥ here means inferior. The previous ones are progressively inferior.

The seven secondary rasas are considered in the Purāṇas to be vyabhicāri-bhāvas. [Note: This is also the authors view, mentioned in 4.7.14.]

In this verse the colors are assigned according to poetic conventions such as assigning the color white to fame. One can assign personalities (with colors) to the rasas just as personalities like Candra are assigned to personify the mind.

For the rasas related to the Lord, avatāras of the Lord are given as the presiding deities, just as forms of the Lord such Aniruddha are assigned to the moon etc. Kiri means Varāha. Sometimes Buddha is substituted for Mīna, since Mīna has a form of eternity knowledge and bliss, and it would be distasteful to assign Him to the rasa of disgust. [Note: Buddha, a śakty-aveśāvatāra, showed disgust with the material world and then went searching for the Truth.]

Pañcasu here means the rasas from prīti to hāsya. Ugra here means raudra-rasa.

There are five types of people to consider: those who experience rasa (bhāvya-bhakta), those who experience the stage of bhāva (bhāvaka-bhaka), those who understand about rasa (prājña) intellectually, those who are mistaken about rasa (ajña), and those who know nothing about rasa (grāmya). Some persons have the following worry. “Bliss in rasa can be perceived in separation only to the extent that rasa has already been fixed in the person. When karuṇa, bhayānaka and bībhatsa rasas function by themselves, happiness cannot be perceived at all. Thus, for the devotees who are assistants in the Lord’s pastimes (bhāvya-bhaktas) (in whom rasa is fixed), grief is always dependent upon that rasa whose very nature is bliss. For instance, at the time of karuṇa-rasa or lamentation, sorrow is experienced because of separation from the Lord by obstacles to their hope of attaining the Lord. There is a feeling of sorrow in bhayānaka-rasa when one is afflicted by fear of obstacles to one’s aspirations to meet Him. There is feeling of sorrow in bībhatsa-rasa when one’s experience of the most charming Kṛṣṇa is obstructed by disgusting objects. However, for other devotees, those aspiring for rasa, these rasas of lamentation, fear and disgust can only be distasteful.” This verse answers the doubt. The ignorant (ajñaiḥ) are those who, though knowledgeable of other scriptures, are not conversant with the scriptures dealing with rasa. They are not able to understand the conclusion that is understood by the devotees whose hearts are inundated with rasa. Those who cannot be distinguished from animals are called grāmyaiḥ. These two types of people immediately conclude by superficial inspection (sapadi) that these rasas give sorrow. However, the rasas of karuṇa, bhayānaka and bībhatsa which are relished by both the bhāvya and bhāvaka devotees, are considered to be full of bliss by those knowledgeable of the conclusions of the scriptures (prājñaiḥ) dealing with rasa, even though those persons cannot directly taste them.

Having condemned the ignorant and the animalistic people, the author now shows the reason for the conclusion of the knowers of rasa (prājña) concerning the production of rasa. Tebhyaḥ, referring to the three rasas, is in the plural, but actually means each one individually will produce happiness in its own way. Karuṇa-rasa becomes outstanding in separation from Kṛṣṇa, in which there are worries about danger to Kṛṣṇa, as in the following example already given in the text: My heart did not become shattered on seeing Kṛṣṇa, dearer that a thousand lives, bound up by Kāliya. How hard my heart is! BRS 2.5.62 In separation from the Lord, the associates of the Lord experience sorrow filled with worries about danger to Kṛṣṇa, superimposed upon and arising from knowledge of separation. Though this condition exists, there is also the action of rati (rati-līlayā), whose very nature is the highest bliss. For the associates of the Lord (bhāvya-bhaktas) who are praised in poetic works, their rati is filled with hope arising from the possibility of meeting the Lord again as previously and from faith in hundreds of statements of the omniscient Lord. And for the aspiring devotees (bhāvaka-bhaktas) there are statements by devotee speakers (sad-uktyā), statements filled with auspiciousness, fully describing the befitting, original condition of union with the Lord. For the accomplished devotees, by the nature of rati filled with hope, and for the aspiring devotees, by statements of other devotees about the Lord, happiness will manifest in karuṇa-rasa, whose very nature is to manifest astonishing vibhāva and the other elements. This is the definition of rasa (sthitiḥ) given by the knowers of rasa. Similarly, in bhayānaka-rasa, happiness is produced for the bhāvya-bhaktas by the action of rati which is filled with the certain hope that the Lord will be saved from danger, and for the bhāvaka-bhaktas by the reassuring words of devotees. Even in bībhatsa-rasa, there will be happiness for the bhāvya-bhaktas by rati’s action which produces a manifestation of Kṛṣṇa to crush the disgusting objects which have manifested, and there will be happiness in bībhatsa-rasa for the bhāvaka-bhaktas by reassuring statements about the final outcome.

This verse is added from scripture to counter the objections that the above statements are only the opinion of the author.

Here the author’s opinion is stated by supposing the opposite condition. Because of dealing with (upapādanāt) karuṇa-rasa in many places of each volume of the work (sarvatra), it would be a cause of distress for the aspiring devotees, bhāvaka-bhaktas.

In this verse the author proves that there must be present a primary rasa in the bhāvaka-bhaktas by showing the impossibility of its absence. If it were absent, then there would only be grief. If it is a cause of grief (tathātve), why should Hanumān constantly hear the Rāmāyaṇa with pleasure?

Api ca indicates that the chapter is finished, but now some additional information will be given. The meaning of the verse is as follows. Suhṛd-ratiḥ (rati directed to one’s friends) indicates, for instance, the rati of principal associates of Rādhā such as Lalitā, who have similar emotional sentiments as Rādhā, directed to that particular devotee who is the shelter of one’s cherished rasa with Kṛṣṇa, in this case Rādhā. If that rati directed to Rādhā or another ideal devotee is equal or less than their rati directed to Kṛṣṇa, that rati directed to Rādhā is called a sañcāri-bhāva (assistant) of the rati directed to Kṛṣṇa. If that rati directed to Rādhā is greater than the person’s rati directed to Kṛṣṇa, constantly increasing with affection (puṣyamāṇā), it is called bhāvollāsā to indicate its special nature, though that rati directed to Rādhā is still a sañcāri-bhāva. This statement has been written here as it is remembered at this point, though it should be included at the end of the topic of sañcāri-bhāvas or vyabhicāri-bhāvas, since it belongs to the same topic.

This verse elaborates on the ignorant persons previously mentioned (verse 123), who are not qualified for understanding rasa. Phalgu-vairāgya means those practicing renunciation with indifference to bhakti. Śuṣka-jñānāḥ means those practicing knowledge which is indifferent to bhakti. Haitukāḥ refers to those who are absorbed only in logic. Mīmāṁsakāḥ refers to those absorbed in pūrva-mīmāṁsa (karma) or some of those involved with uttara-mīmāṁsa (Vedānta), who insist that duality is illusory. [Note: Some followers of Vedānta are Vaiṣṇavas. They are not included among these condemned Mīmāṁsakas.] Those mentioned later in the list are more thoroughly excluded from tasting bhakti. Some of the logicians, who have studied with zeal subjects like poetic techniques, will be able to understand a little about rasa in a general way. Thus they are placed before the mīmāṁsakas. Those who are called materialistic (grāmyaiḥ) in verse 123 are equated with the false renunciates (vairāgya-nirdagdhāḥ). The dried up jñānīs, the logicians and mīmāṁsakas are equated with the ignorant (ajñāiḥ) (since they have mistaken knowledge about rasa).

Since all the mīmāṁsakas are particularly devoid of tasting bhakti (indicated by the word iti), kṛṣṇa-bhakti-rasa is especially hidden from them. The verse also means that, to varying degrees, bhakti-rasa is also hidden by the devotees from the false renunciates, the dried up jñānīs and logicians. These persons are compared to thieves in order to indicate that they are excluded from bhakti-rasa just as one avoids thieves, and not to indicate that they have greed for stealing bhakti-rasa. Instead of caurād iva (from thieves) sometimes vahner iva (from fire) is seen.

Bhakti-rasa can be tasted by the bhāvya and bhāvaka devotees and not by the previously mentioned knowers of rasa who have no taste (prājñas).

The difference between bhāva (sthāyi-bhāva) and rasa is now described in two verses, though they are the same in one sense, since they exist as cause and effect. Sattva here refers to śuddha-sattva-viśeṣa previously described as the cause of bhāva (rati). The difference is like that between samādhi (realization) and dhyāna (meditation, by which one achieves realization).

First a person attains bhāva by vibhāva and other elements manifesting. Then the svarūpa of bhāva appears. Then by those vibhāvas and other elements, rasa appears. This is the order. Two verses describe the difference between rati and rasa by describing their particular natures. That which surpasses the stage of distinguishing vibhāva, vyabhicāri-bhāvas and other elements and attains astonishing taste is called rasa. What is the nature of that rasa? It produces more amazement than rati. Bhāva or rati is experienced in the heart which ascertains (bhāvanāyāḥ pade citte) the vibhāvas, vyabhicāri-bhāvas and other elements. At the time of directly realizing rasa however, there is no awareness of the vibhāvas, vyabhicāri-bhāvas and other elements as separate entities. However, at the time of realizing rati, there is awareness of the vibhāvas and other elements as separate entities. It should be understood that the difference between rasa and rati is the depth of relishing the rasa.

May Sanātana Gosvāmī, nourisher of the glory of Gopāla-bhaṭṭa Gosvāmī and Rūpa Gosvāmī, and distributor of the prema of Raghunātha dāsa Gosvāmī, be pleased with this southern section of the ocean of nectar! Thus ends the Fifth Wave concerning sthāyi-bhāva in the Southern Section of Bhakti-rasāmṛta-sindhu. Here ends the Southern Section. Table of Contents Foreword The Western Section: Primary Bhakti rasas The First Wave: Śānta-rasa The Second Wave: Prīti-rasa (Dāsya-rasa) The Third Wave: Preyo-rasa (Sakhya-rasa) The Fourth Wave: Vatsala-rasa The Fifth Wave: Madhura rasa The Northern Section: Secondary Bhakti rasas The First Wave: Hāsya-rasa The Second Wave: Adbhuta-rasa The Third Wave: Vīra-rasa The Fourth Wave: Karuṇa-rasa The Fifth Wave: Raudra-rasa The Sixth Wave: Bhayānaka-rasa The Seventh Wave: Bībhatsa-rasa The Eigth Wave: Maitrī-vairī-sthiti The Ninth Wave: Rasābhāsa Foreword Bhakti-rasāmṛta-sindhu is one of the major works of Śrīla Rūpa Gosvāmī, and a mainstay of the Gauḍiya Vaiṣṇava sampradāya. Śrīla Jīva Gosvāmī has admitted that it may be difficult for readers to understand portions of the text, and therefore wrote a commentary to elucidate certain points. Śrīla Viśvanātha Cakravartī has written an additional commentary. In the Eastern Section, Jīva’s complete commentary has been translated, and Viśvanātha’s commentary has been fully translated with the exception of portions which are identical to Jīva’s commentary. The other Sections in general have less extensive commentaries. For these portions Jīva’s commentary has been fully translated and Viśvanātha’s has been translated where additional points are made. In some cases he explains the meaning of the verses quoted and these have simply been incorporated in the translation of the verse without translating the commentary. 3 The Western Section Defining the Five Principal Bhakti-rasas 3.1 The First Wave Concerning Śānta-bhakti-rasa In the Western Section of Bhakti-rasāmṛta-sindhu Outline of Śānta-rasa I. Definition II. Ālambana: A. Viṣaya: form of Viṣṇu B. Śānta-bhakta 1. Ātmārāmas 2. Tapasvīs III. Uddīpanas IV. Anubhāvas V. Sāttvika-bhāvas: all except fainting VI. Vyabhicāri-bhāvas VII. Sthāyi-bhāva: Śānta-rati A. Sama: Ordinary B. Sāndra: Intense VIII. Types: A. Pārokṣya: in absence of the Lord B. Sākṣāt: on seeing the Lord IX. Elevation of Śānta-bhaktas to higher rasa X. Śānta as Rasa A. Sama fixed on the Lord becomes rasa