4.9 · Rasābhāsa

The word rasa here means “that which suddenly appears to be rasa.” Vikalā means “deficient,” and vikalā rasa-lakṣaṇā means “with deficiency in the characteristics of rasa such as vibhāva, anubhāva, sthāyi-bhāva, vyabhicāri-bhāva and sāttvika-bhāvas.”

The para-brahma mentioned is Kṛṣṇa, who is the basis of the impersonal aspect (brahma-bhāva). This is explained in the Gītā verse brahmaṇo hi pratiṣṭḥāham: I am the basis of brahman. Thus, śāntoparasa can arise from appreciating exclusively the impersonal aspect (brahma-bhāvāt) of the Lord (para-brahmaṇi). Advaitādhikya-yogataḥ means “from considering the absolute non-difference of everything from the Lord since He is the cause of everything.” Bībhatsa-bhūmādeḥ means “from continual disgust with the body and other material factors.” Ādi indicates that śāntoparasa can also arise from absorption in discriminating cit from acit (matter and spirit). [Note: This is one of the activities of the jñānī.] From this point onwards, examples will be raised showing only some of these factors.

This person exaggerated his symptoms of lack of bodily control (vivaśatām prathayan), which were actually quite insignificant. Prabho (O lord) is an address to the deity form of the Lord.

Ekasmin means that the expression of friendship is not mutual.

“The king (sa nṛpaḥ)” refers to a father-in-law of one of Kṛṣṇa’s sons or daughters. [Note: Rukmiṇī had a daughter called Cārumatī. Śrīdhara Svāmī says that each queen of Kṛṣṇa had one daughter. SB 10.61.24]

Jāmi means “O sister!” [Note: One of the co-wives of Vasudeva speaks to Devakī in this verse.]

Vibhāvasyaiva vairūpyam means irregularity in the ālambana (viṣaya and āśraya). There may be some distortion of either the body or the antaḥkaraṇa (internal organ). That is because there can be no real distortion of the sthāyi-bhāva by its very nature. In the example of one-sided rati, there is irregularity in the bodies of the brāhmaṇas’ wives, since their bodies are from brāhmaṇa families. This causes irregularity in the rati (being one-sided): since it is improper, it does not invoke a similar rati in Kṛṣṇa. Thus it is said that one fault brings about another fault elsewhere, by transference. One party having more than one lover indicates irregularity in the antaḥkaraṇa, since there is no dedication to one object of love. This fault would be in reference to the women who love Kṛṣṇa. Another irregularity in female lovers arises when they do not distinguish between superior and inferior male lovers.

Atyanta abhāva rateḥ atra means that the rati of those women with brāhmaṇa bodies did not exist in all three stages of time (past, present and future).

Those knowledgeable of rasa (kecit) say that madhuroparasa arises where the male lover treats all types of women with differing types of prema (nāyikāsu anekāsu) in the same way.

Vaidagdhyaujjvalya-viraho (absence of cleverness and suitability) is not a complete list, being representative only, indicating the inappropriate qualities of elders and others for madhura-rati. The wives of the brāhmaṇas were considered irregular as vibhāvas for madhura-rasa because of being from superior brāhmaṇa families. The experience of bliss by the plants and creepers is only fancied to be madhura-rati. The devotees attribute madhura-rati to them, because they have very close association with the Lord. Elderly women are described as having madhura-rati just for joking. Therefore, because of the absence of actual madhura-rati, it is classed as rasābhāsa. The creepers do not have cleverness in loving affairs. The elderly women have the opposite of cleverness in loving affairs. Cleverness also does not manifest much in the Pulinda women. Thus absence of cleverness (vaidagdhya) has been singled out. Ujjvalyam refers to suitability by form or species. The absence of these qualities (sa) exists (vartate) in creepers, animals and old ladies.

There is another version. samukula-pulakā niśamya vaṁśīṁ nakha-likhitā ca harīm prasajya jātā tad iha navavayāḥ pratāninīyaṁ lasati yathā bhavatī tatha vārāṅgi In the forest, this creeper with new branches, hearing the flute, develops goose bumps with its buds. Clinging to the Lord, it has become engraved with His nails. O beautiful woman, it engages in loving affairs just as you do.

Another version of the last half of the verse is as follows: yāḥ keśavāṅgaṁ sakhi saṅgamaya svairād apāṅgaṁ bhavatīr jayati Touching the limbs of Kṛṣṇa, they cast glances at Him without restraint.

The points made in verse 18 are expanded on and summarized in this verse. Purity, appropriate form and species, cleverness and good dress are qualities which must be found in the ālambana for madhura-rasa to manifest properly. Vibhāvatvam, which is analyzed as viśeṣaḥ bhāvaḥ, means “special or excellent situation.” Thus the objects and experiencers of love (vibhāva) should have these excellent qualities inherent in them. Another version of the verse is: pāvitraujjvalyia-vaidigdhya-suveṣatvair vibhāvagaiḥ śṛṅgāraḥ puṣtām āgacched ābhāsatvam ato ’nyathā Madhura-rasa becomes nourished by the vibhāvas of purity, appropriate form and species, cleverness in love and proper dress. Without these conditions the madhura-rasa becomes ābhāsa.

Samaya means conduct.

The uparasa exemplified in the young girls living in Kāliya’s lake, like the example of the girls living on Mount Kailasa in verses 27 and 31, is according to descriptions from other Purāṇas. This uparasa involving anubhāvas is caused by describing Kṛṣṇa with disrespect. Puṣkara-sadām means those girls living in the waters of Kāliya’s lake. Though young in one sense, Kṛṣṇa had assumed the stage of kaiśora age because the sound of the flute is mentioned. Thus, using the word bāla (usually referring to His baby years) to describe Kṛṣṇa is a symptom of the girls’ lack of expertise in loving affairs (lack of vaidagdhya).

Bhaktādibhiḥ (by devotees etc.) means devotees of the five types (śānta, dāsya, sakhya, vatsala and madhura). Other scriptures on rasa consider śānta to be unsuitable for this list. [Note: Thus the four types of devotees are indicated by the word bhakta and the śānta-bhakta is indicated by ādi.]

Kakkhaṭī is the name of the female monkey.

Bhāṇḍīra-kakṣe means “in the tall creepers climbing up the Bhāṇḍira tree.” Viśva-kośa says saurabhye ca tṛne kaksaḥ śuṣka-kānanavīrudhor: kakṣa means fragrant grass, grass in general, a dry forest or a creeper. Another version has bhāṇḍīra-vṛkṣe which is easily understood.

Aśṭau means śānta-rasa and the seven secondary rasas.

The laughter of Jarāsandha is certainly aparasa. If one of Jarāsandha’s followers, with demonic nature laughs at Kṛṣṇa or the event, it is also aparasa. If one of the devotees laughs at the event, it is pure hāsya-rasa.

The meaning of the whole topic is presented in summary. vibhāvādyā mitho yogyāḥ sampadyante rasāya te vairasyāyānyathā sā tu yogyatā loka-viśrutā The mutual combinations of vibhāva and other elements should produce rasa, without producing distaste. The ability of that combination to do so is acknowledged by all.