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Song Name: Raser Ahara Jini Tanra Citta Rasa Khani

Official Name: Rupanuga Bhajana Darpana Song 7

Author: Bhaktivinoda Thakura

Book Name: Gitamala

Language: Bengali

 

LYRICS:

(1)

rasera ādhāra jini       tāńra citte rasa-khani

sei cittera abasthā biśeṣe

śraddhā-niṣṭhā-rucy-āsakti         krame hoya bhāba-byakti

rati-nāme tāńhāra nirdeśe

 

(2)

biruddhābiruddha-bhāba        sarbopari swa-prabhāba

prokāśiyā loya nija-baśe

sakalera ādi-pati        haya śobhā pāya ati

sthāyī bhāba nāma pāya rase

 

(3)

mukhya-gauṇa-bhede tāra       paricoya dwi-prakāra

mukhya pańca gauṇa sapta-bidha

santa dāsya sakhya āra        bātsalya madhura sāra

ei pańca rati mukhyābhidha

 

(4)

hāsyādbhuta bīra āra          koruṇa o raudrākara

bhayānaka-bībhatsa-bibhede

rati sapta gauṇī hoya         saba kṛṣṇa-bhakti-moya

śobhā pāya rasera prabhede

 

TRANSLATION

1) The heart of one who is a receptacle for rasa is just like a holding tank which is filled with this liquid mellow. The specific symptoms of such a rasa laden heart is that it fosters the gradual manifestation of ecstatic emotion, which evolves gradually from the beginning as sraddha (faith), then nistha (steadiness), then ruci (taste), then finally bhava (firm attachment to Krsna). This is the definition of what is known as rati, or affection within the scope of the transcendental loving mellow.

 

2) The constantly flowing undercurrent and cause of all mellows is called "stayi-bhava" or basic permanent ecstasy. It is the primary root origin of all mellows, and it eternally exists in great beauty and splendor. As the fountainhead of rasa, it fuses all subordinate mellows and subjugates them all under its own control. Thus, it exhibits the topmost manifestation of its own supreme power, which contains all inconceivable, simultaneously favorable and opposing ecstasies.

 

3) In considering the differences in the various ecstatic loving moods of this permanent ecstasy (sthayi bhava), we see that there are two divisions of subjects which fall into: 1) five direct or primary mellows, and 2) seven indirect or secondary mellows. The five principle types of affection are called santa, dasya, sakhya, vatsalya and madhura, or neutrality, servitude, friendship, parental affection and conjugal love, respectively.

 

4) The seven indirect affections are known as: 1) hasya (devotional laughing attachment), 2) adbhuta (devotional attachment fixed in wonder and astonishment), 3) vira (chivalrous attachment with charitable and merciful tendencies), 4) karuna (attachment in compassion with lamentation), 5) raudra (devotion mixed with anger), 6) bhayanaka (devotion mixed with fear), and 7) bibhatsa (attachment enjoyed by the devotee which develops in an abominable way). All of these mellows are found in great abundance within the realm of devotional service to Krsna, and all these different types of attachments exist eternally as beautiful decorations of the all-consistent sthayi bhava.

 

REMARKS/EXTRA INFORMATION:

No Extra Information available for this song!

 

UPDATED: July 7, 2009