Now let us study the various ingredients of ras (such as vibhâv etc.) in the above situation. We remember that vibhâv comprises of sthâyi-bhâv, the subject of ras, the shelter of ras and what excites ras. They are as follows –

• sthâyi-bhâv – Madhur rati called ‘vipralambha’ (separation)
• the subject of ras – Sri Krishna Who is the dheer-lalit¹ lover.
• The shelter of love – Srimati Râdhârâni Who is in the stage of Purva-râg.
• Uddipan (What excites ras) – the sight of the Kadamba-trees.

Anubhâv (the visible reaction of the devotee in this ras) – coming in and out of the house repeatedly.

Sâtvik (not-so-visible reactions) – tears, turning pale.

Sanchâri (passing moods) – âveg, depression, stress.

The Mahâjan has drawn a very clear picture of madhur-ras during the separation called ‘pravâs’ –

“New flowers blossomed in the woods and the flower-groves, while the she-cuckoo sang on the top of her voice, oh my!

The sweet chandan-scented breeze is blowing while the frost has receded to the mountain tops; yet my Beloved has not returned home – oh dear!

The moon is scorching my chandan-like body more than sun ever does, while the honey bees sing in the garden. The spring has arrived, yet my sweetheart remains far – what can I do if fate has turned against me?

I gaze transfixed at Kânu’s face, yet my eyes are not quenched. My poor heart must indeed be like a rock – otherwise how can it continue to suffer like this when the time is so happy?

Day by day I am drying up like a fragile lotus-bud in the snow – I don’t know where it all will end. Poet Vidyâpati says – shame! Oh shame on such a life! Mâdhav’s conduct is the height of cruelty!”

The vibhâvs are as follows –

• Sthâyi-bhâv – madhur-rati called separation due to ‘pravâs’.
• The subject (vishay) of ras – Sri Krishna Who has gone to Mathurâ.
• The shelter of ras – Virahini Srimati Râdhârâni.
• Uddipan – the spring season, the song of the cuckoo, sweet-scented breeze, humming of the bees, moonlit night.

Anubhâv – crying loudly, not caring what others will think.

Sâtvik bhâv – tears, shivering, paleness, fainting.

Sanchâri bhâv – indifference, depression, humility, eagerness, lunacy, illusion.

Let us relish sambhog-ras in brief.

Sambhog-ras

He caught her hand, eager to make love. They locked hands, gazing into each other’s eyes with passion.

He was adamant and wanted to touch Her body – he was so full of desire. But râi shook Her head in refusal. She said, “No, no.” Râi was displaying a novel mood of passion², whereas Shyâm was advancing in the mood of an elephant-at-war. She was hesitating to return the kiss, and closed Her eyes, yet when He drank the nectar of Her lips, She moaned.

When His nails dug into Her, my Precious Râi gave a start, and a current ran across Her body just when He bit Her softly. She started prattling in a choked voice. She forgot Herself completely and craziness swept over Her. Just then She controlled Herself and stopped being generous. Says poet Gobinda dâs – this is the limit of ras!”

What are the ingredients of ras here?

The vibhâvs –

• Sthâyi-bhâv – madhur-rati called sambhog (union)
• The subject of ras – Sri Krishna Who is dheer-lalita lover, vidagdha and at the threshold of youth.
• The shelter of love – sweet, vidagdha, the crest-jewel of all experts at love-making – Srimati Râdhârâni, Who has come of age.
• Uddipan – the love-grove, humming of the bees etc.

Anubhâv – pulling the veil on the face, arching the body.

Sâtvik bhâv – choking of the voice, goose flesh etc.

Sanchâri – bashfulness, surge of emotion, fear (that someone will come to know).

Thus we see how the vibhâv, anubhâv, sâtvik and sanchâri bhâvs are like fragrant blossoms that have mingled with madhur-rati and formed sambhog-ras, like a sweet bouquet. When we, the sâdhak-devotees, relish such wonderful poems that contain the ras of a Vraja-bâlâ’s feelings, this sweetness is transmitted through us. Then we also feel blessed to relish the delectable sambhog–ras of Sri Sri Râdhâ -Mâdhav.

* Jay Sri RAdhe *