Sad-sandarbhas

BY: HAREKRSNA.COM


With yesterday's completion of the Sri Paramatma-sandarbha, we now conclude our serial presentation of Jiva goswami's Sandarbhas, which includes the Bhagavat, Bhakti, Krsna, Tattva, and Paramatma Sandarbhas. Unfortunately, we do not have a translated manuscript of the sixth and final Sandarbha, Sri Priti-sandarbha for inclusion here. Instead, we refer our readers to a public edition, Sri Priti Sandarbha (Volume Two), published by Rasbihari Lal & Sons in 2007, and available from the the Bhaktivedanta Library Services. The volume is describes as follows:

"In this second volume of Priti sandarbha, the author first describes four features of the Lord's personality, called dhirodatta, dhiralalita, dhira-prasanta and dhiroddhata. Then, he describes how the pastimes of the Lord are considered in two divisions: those of opulence and power (aisvarya), and those of sweetness (madhurya). Examples are given of devotees who appreciate the opulence of the Lord, and devotees do not consider the opulence of the Lord due to being absorbed in appreciting His transcendental sweetness.

While discussing the various relationships that devotees have with the Lord, the uddipanas (impetuses for ecstatic love) are described in detail, as well as the vyabhicaris (disturbing symptoms of ecstatic love), and other forms of ecstasy. The five primary relationships are discussed in this volume, as are the seven secondary relationships. Then, there is a details discussion of rasabhasa (the incompatible mixture of rasa). It is very interesting how, in the discussion of rasabhasa, Srila Jiva Gosvami gives many examples of how learned scholars sometimes point out what they feel to be rasabhasa in the verses of the Srimad-Bhagavatam. He cites the supposed existence of rasabhasa and then carefully explains how these are not actually incompatible mixtures of rasas. The author concludes that in the entire Srimad-Bhagavatam, there is no example of rasabhasa.

Transliterated text and translation, translation/editing by Kusakratha and Purnaprajna prabhus.

Contents:

Introduction

Anucchedas 150 In different situations, the Lord manifests different features of His character. He has four primary features.

Anucchedas 151-154 Because His devotees love Him so much, the Lord manifests His great sweetness before them.

Anucchedas 155-158 Now will be considered the various objects (dravya) included amongst the uddipanas (impetuses for ecstatic love). Secondary Rasas

Anucchedas 159-160 Examples of utprasa (mocking and satire)

Anucchedas 161 Vira-rasa (rasa of chivalry) and its four divisions.

Anucchedas 162-164 Dana-vira rasa (rasa of giving charity) and its two divisions

Anuccheda 165-166 A description of Yuddha-vira rasa

Anucchedas 167-168 Raudra-rasa (anger) when object (visaya) of loving anger is Lord Krsna, and the person who feels the anger (adhara) is the dear devotee.

Anucchedas 169-171 Now bhayanaka-rasa (fear) will be considered. Here, the alambana is fear of pain or injury in relation to Lord Krsna.

Anucchedas 172 Bhibhatsa-rasa (horror) in relation to the Supreme Personality of Godhead

Anucchedas 173 Karuna-rasa when devotees feel compassion for the condition of those who have not yet attained Lord Krsna's mercy.

Anucchedas 174 Adbhuta-rasa and other rasas are manifest with the devotees as their object. Primary Rasas

Anucchedas 175 Maharaja Prthu's true rasa is dasya-rasa

Anucchedas 176 Now we will consider the vatsalya-rasa enjoyed by the Lord's father, Maharaja Vasudeva, and by others.

Anucchedas 177 Srngara-rasa as seen by Queen Rukmini

Anucchedas 178 Even the vraja-gopis, who think only of Lord Krsna's sweetness, are sometimes aware of His power and opulence.

Anucchedas 179-182 What is and what is not rasabhasa, including various examples.

Anucchedas 195-198 The Supreme Personality of Godhead comes to the material world is to show to His devotees the sweetness of His pastimes.

Anucchedas 199-204 Examples of what is not rasabhasa, and explainations on rasa.

Anucchedas 205 Asraya-rasa is of two kinds

Anucchedas 206-207 An example of utpreksa, the fanciful kind of metaphor where one thing is imagined to have become another

Anucchedas 208-211 Dasya-rasa(servitorship) Madhurya Rasa

Anucchedas 212-217 Anticipation of meeting with the Lord, meeting and separation from Him

Anucchedas 218-224 Prasraya-rasa (filial love)

Anucchedas 225-248 Vatsalya-rasa (parental love)

Anucchedas 249-274 Sakhya-rasa (conjugal love)

Anucchedas 275-288 Madhurya-rasa (conjugal love)

Anucchedas 289-298 Uddipanas of srngara-rasa

Anucchedas 290-303 Lord Krsna's quality of making the gopis fall in love with Him.

Anucchedas 304-305 The Lord's activities are of two kinds: 1. bhava-sambandhini (activities of love), and 2. svabhavika-vinodamaya (pastimes that come from His own nature).

Anucchedas 306-314 Lord's paraphernalia (dravya).

Anucchedas 315-320 The anubhavas of the Lord's beloveds are of four kinds: 1. udbhasvara (bodily luster), 2. sattvika (nature), 3. alankara (ornaments), and 4. vacika (speech).

Anucchedas 321-367 The natures and moods of those in of Madhurya-rasa

Anucchedas 371-374 The purva-raga of the vraja gopis

Anucchedas 375-383 After purva-raga comes sambhoga, which has four divisions

Anucchedas 384-386 Jealous anger (mana)

Anucchedas 387-388 Prema-vaicittyam (when out of intense love, the lover is aggrieved with fears of separation in the future, even in the beloved's presence)

Anucchedas 389-390 Pravasa (separation when the beloved has gone to a faraway place).

Anucchedas 391-392 Pralapa (abundant talking)

Anucchedas 394-400 Kincid-dura-pravasa, where the beloved is a shrot distance away and dura-pravasa, separation when the beloved is far away.

Anucchedas 401-413 How Sri Radha and the other gopis act and talk about Lord Krsna when His messangers come to console them.

Anucchedas 414-423 After reciving the message of Lord Balarama, the gopis enjoyed sambhoga pastimes with Lord Krsna, directly seeing Him at Kuruksetra.

Anucchedas 424-429 The conclusion of the description of Lord Krsna's amorous pastiems is the rasa dance.

Epilogue.



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