SRI UIIVALA NILAMANI KIRANA ‘A ray from the blazing sapphire" A summary of Stila Ripa Gosvanis “Ujjvala Nilamani" by Srila Visvanatha Cakravartipada athojjvala-rasas tatra ndyaka-ciidamanilt Sri krsualt. prathamara gokula-mathurid-derakasu kramena pitrnatamah parnatarah pirna iti trividhal. dhirodattah dhira-talital dhiroddhatalt dhira- Santaht iti pratyekarit catur-vidhah. tatra raghunathwoat gambhiro vinayi yatharha sarva jana sammiana-karityadi gunavin dhirodattah. kandarpavat preyast-vago niscinto nava tarunyo vidagdho dhire-lalitah. bhimasenavat uddhata atma-slagha-rosa-kaitavadi gua yukto dhiroddhatah yudhisthiravat dhirmiko jitendriyah Sastra-darsi dhira-antah. punas ca patyupapatitvena pratyekari sa dvi-vidhal. evar punas ca anukitlo daksinah sutho dhiysta ili pratyekari catur-vidhah. ekasydm eva ndyikayi anurdgi anukilah suroatra samo daksinah saksat priyast vyakli parokse apriyarit karoti yas sa Sathah, anya kanti sambhoga cilmadi yukto'pi nirbhayals mithyi-vadi yak sa dhrstalt. evvit sad- navati-vidhid nayaka bhedl (1) Sri Sri Kysnah Sarayam After describing Sa Bhakti irta Sindhu Bindu the ujjvala rasa is being described. In the ujjvala bhakci rasa Sri Krsna is the crownjewel of heroes. Division of heroes- In Gokula, Mathura and Dyaraka the crownjewel of heroes, Sri Krsna, is most perfect, more perfect and perfect, respectively. In these three classes is again the fourfold division of Dhirodatta, Dhira-lalita, Dhiroddhata and Dhira-Santa, A qualified man who is grave, humble and who gives proper respect to everyone is Dhirodatta. An example is Raghunatha (Lord Rama), A man who is subdued by his sweethearts like Kamadeva (Cupid), who is carefree, endowed with fresh youthfulness and clever is called Dhira-lalita. A man who is a proud boaster, angry and deceitful is called Dhiroddhata, An example is Bhimasena, And a man who is religious, in control of his senses and endowed with scriptural knowledge is called Dhira-Santa, An example is Yudhisthira Maharaja, Then all these heroes are again divided into two categories - husband and paramour, and these heroes are again divided into four categories - anukiila, daksina, Satha and dhrsta. A man who is attached to one heroine is called anukila, a man who treats many heroines equally is called daksina, a man who speaks sweet words to his darling in the open, but who harms her behind her back is called a Sa¢ha, and a man who fearlessly lies to his sweetheart while bearing the signs of lovemaking of another woman on his person is called a dhrsta ndyaka. In this way there are 96 different lovers. (1) athasrayalambana nayiki prathamait soiyah parakiya iti dvi-vidhah. katyayant vrata pardndris kanyindvit madhye ya gandharvena vivahitah tah sviyil. tad anyit dhanyidayal kanyalela Vigvanaitha Cakravartipada parakivi eon. rt radhadyas tu praudhalt parakiya eon. kiyantyalt gokule sviya api pitradi Sartkayt parakiya eva. doviraktyari rukminyadyah sviya eva. tatas ca mugdha madhya pragalbha iti trividhah. madhya mana samaye dhird-madhya adhiri-madhya dhirédhira-madhya iti trividhah. vakrokti pavitra -karint ya sa dhira madhya. rosatal kathora bhartsana-kirint ya st adhird-madhya. misrita vakya ya sa dhirddhira-madhya srt radha. tatra pragalbhapi dhira pragalbha adhira-pragalbha dhiradhira pragalbha ceti trividha. tatra nija rosa gopana para surate udasind ya sa dhira-pragalbha pilika candravalt bhadra ca. nisthura tarjanena karnotpalena padmena ya krsuarit tadayati sa adhira pragalblia syamala. rosa saritgopanait krtoa kificit tarjanarn karoti ya sa dhirtdhira pragalbha marigala. mugdhiti rosena mauna matrapara eka vidhaiva evar trividha madhya pragalbha trividha mugdha eka vidha iti saptadha. sviya parakiya bhedena caturdasa vidha. kanya ca mugdhaivaika vidha iti parica- dasa-vidha nayika bhavanti iti. athista-nayikaly - abhisdriki, vtsaka sajja, virahotkanthita, vipralabdha, khandita, kalahintarita, prosita-bhartrkt, svadhina bhartrka. abhisitrayati krona svayart vibhisarati ya sabhisarika. kutija mandire surata-Sayyasanarit malya-tambiladikarn madanotsuka karoti ya si visaka sajja. krsa vilambe sati tena virahenotkanthyate ya sa virahotkanthita, sartketari kytod yadi na yatyeva kysnas tada vipralabdha. pratar agatam anya kinta sambhioga cihina-yuktavit krsnarit rosena pagyati ya sd Khaydita. mandnte pagcat apart karoti ya sa kalahantarita. krsuasya mathuragamane sati ya dubkarta sa prosita-bhartrka. suratante vesadyarthart ya krsuam ajfiipayati sa soadhina bhartrka. evan paricadasanam asta-gunitatvena vinisatyuttara-saldni. punag cottama madhyama kanisthatvena sastyuttardyri trivi Satdni, nayika bhedandrh tasarit vraja-sundarinarit madhye kigcin nitya siddhah Sri radhi-candravalyadayah. kaécit sadhana siddhah. tatra kascit muni-paroah kascit Sruti-pitroah kagcid devyn iti jiteyah (2) Division of heroines- First of all there is a division between married heroines and extramarital heroines. ‘Those gopis who were married to Sri Krsna according to the Gandharva-rite after dedicating ani, are called sviya or wives. Apart from them there are extramarital gopis ya. The mature Sri i and other lovers of Sri Krsna are parakiyd. Apart from them there are some in Gokula that, although they are sviyd, they are factually parakiya out of fear of their parents. The Queens of Dvarakii, headed by Rukm After that there is again a division of these extramarital heroines in mugdha, madhya and pragalbhd. During mana (amorous pique) the madhyd-lovers are again divided in three classes - dhird-madhya, adhira-madhya and dhirddhira-madhya. A heroine who rebukes her lover with grave, yet crooked words, is called a dhira-madhya, a heroine who only uses only cruel words out of anger is called a adhird-madhya, and a heroine who rebukes with a medley of words is called a dhiradhira-madhya. This is Sri Radha. Amongst them the Pragalbhi-niyikas are again divided in three categories, namely dhira-pragalbha, adhira-pragalbha and dhiradhira pragalbha. ‘A heroine who conceals her own anger and still embraces Sri Krsna in an apathetic way is calied dhira-pragalbha. Examples in Vraja are Candravali, Paliki and Bhadra. The heroine who rebukes Sri Krsna with cruel words and beats Him with a lotusflower or with her ear-decorating lotus is called an adhira pragalbha. Examples in Vraja are Syamala. The heroine who conceals her anger and rebukes only slightly is called a dhiradhira pragalbha. Examples in Vraja are Maigala. There is only one kind of mugdhd. A mugdhd remains silent in great anger. In this way there are three kinds of madhyds, three kinds of pragalbhas and one kind of mugdha - a total of seven kinds. Dividing that into svakiya and parakiyd makes fourteen kinds. The kanyakds (virgins) are another single kind, like the mugdhas. This makes fifteen kinds of heroines. Division of eight heroinesUjjivata Nilamant Kirana 3 There are eight kinds of situations the heroines can end up in - abhisdrikd, vasaka Sajjad, virahotkanthita, vipralabdha, khandita, kalahantarita, prosita bhartrka and svadhina bhartrka. & heroine who sends Sti Krsna on a loye-journey and who herself also goes to meet a lover is called an abhisdrika. A heroine who desires union with her lover and thus makes a Jove-bed and a seat for him in a bower-house and prepares garlands, betelleaves and other articles for him is called a vdsaka sajja. A heroine who becomes filled with the anxiety of separation when Krsna is late for His appointment is called a virahotkanthitd. If Krsna does not show up for His appointment at all the heroine is called vipralabdhd. A heroine who becomes angry when Sri Krsna only shows up the next morning, with (he signs of love- making of another heroine on His person, is called khandita or manavati. A heroine who repents after being angry with Her lover is called a kalahdntaritd, a heroine who is overcome with grief because Krsna has left for Mathura is called a prosita-bharirkd and a heroine who orders Krsna to dress and ornament her after lovemaking is called a svadhina bhartrka. When multiplying these eight kinds of heroines with the fifteen aforementioned kinds, we arrive at 120 kinds of heroines. Then again all heroines are divided into three kinds - topmost, mediocre and inferior. Thus we come to 360 kinds of heroines. Of the different kinds of heroines in Vraja some, adha and Candravali, are nitya siddhd, and some are sadhana siddha, Of these again some were great sages in their previous births, some were Vedic scriptures personified and some were demigoddesses. (2) atha svabhdvali, kascit prakhardlt syauala maigaladayal. kiscin madhyal $i radhika pati prablirtayalt. kasein mydoiti Khyates candriealyidayal. atha sapaksaly suhirtpaksal tatastha-pakso vipaksa iti Dheda calustaynit syit. Set radhayal sea-paksal lalita-visakhadilt sulirt-puksah Syamala yitheseart tatastha-paksalt bhadra pratipaksas candrioali. tatra kascid aamah kascid daksinal syuh. Srimatt radhika ama madhya nila vastra rakta vastra ca lalita prakhara sikhi-pificha vasand. visakha wit madhya tardoali vasand. indurekha vama prakhard aruna vastra. ravigadevt sudewyau ode prakhare rakta vastre ca. sarod evn gaura varndls. campakalatd vitma madhyit nila-vastra. citra daksina mrdot nila vasand. tuigavidya daksind prakhara Sukla-oastra ca. syamala vamya daksinya yukta prakhard rakta vastra. bhadra daksind mrdvt citra vasand. candravali daksind mydvt nila oastra. asyéle sak padma daksina prakhara. saibya daksind mrdvi. sarva eva rakta vastrah (3) ‘The disposition of the different heroines OF the different heroines some - like Syamala and Maigala - are harsh by nature, others, like Sri Radha and Pali, are mediate, and others - iike Candravali - are mild. After this there is a further di of Sri Krsna's sweethearts as the own party, the friendly party, the neutral party and the enemies’ party. Sri Radha's own party are Lalita, Yisakhd and others, Her friendly party are for instance Yithesvari (gopi-group-leader) Syamala, the neutral party consists of heroines like Bhadra and Her enemies! party consists of heroines like Candravali. In these four parties some are left-wing (opposed) heroines and some are right wing (submissive). Srimati Radhika is medium-left-wing, wears blue and red garments (a blue sdri and a red veil). Lalita is sharp and harsh and wears a peacockfeather dress, Visikha is medium-left-wing and wears a star-spangled sari, Indurekha is harsh and opposed and wears a red sari and Rangadevi and Sudevi are both harsh and opposed and wear red saris. All of them have golden complexions. Campakalata is medium-left-wing and wears a blue sari, Citra is right wing and mild and wears a blue sari, Tuigavidya is right wing, yet harsh and wears a white sari, Syamala is left-wing mixed with a submissive mood, is harsh and wears a red sari, Bhadra is right wing, mild and wears a variegated dress, Candravali is right wing and mild and wears a blue sdri, her sakhi Padma is right wing, yet harsh and Saibya is right wing and mild. These two both wear red saris. (3)4 Stila Visvanatha Cakravartipada atha dati dvi-vidha, svayarh diti dpta-dit ca. tatrapta ditt ca trividha, amitartha nisrstartha patra-harini ca. oakymit vind irigitenaiva ya dautyarit karoti sit amitartha. ya ajflaya samastara karyarh Karoti bhiravit vahati ca sa nisrstartha. ya patrena karyari karoti sadhayati ca si patra harint. tah silpa- karint daivajria liigint paricarika dhitreyt vanadevt sakit cetyidayah. vraje vird vrnda varinst ca Arsnasya dité-trayam. pragalbha-oacand vird vrndi ca priya vidint, sarva-karya-sadhika vast (4) Varieties of messengers In Srigara rasa there are two kinds of messengers - self-messengers and engaged messengers.' There are three kinds of engaged messengers - amitarthd, nisrstartha and patra- harini. A messenger who does not speak but relays the message through tions is called amitarthd, ‘1 messenger who performs all her activities on command and takes full responsibility for the meeting of loyer and beloved, is called nisrstarthd, and she who relays messages through letters and thus accomplishes meetings is called patra hdrini. All these messengers are very crafty, are soothsayers, practise celibacy and act as maidservants, nursemaids, forest-fairies and sakhis. In Vraja Srt Krsna has three diifis - Vira, Vrnda and Varigi. Vira uses bold words, Vidi speaks sweet words and Varhsi is expert in accomplishing everything, (4) atha sakhi paiica vidha. sakhtt, nitya-sakhi, prina-sakht, priya-sakhi, parama presthd sakhi esdrit madhye kicit sama sneha kacid asama sneha. ya krsue sneladhika sa sakhi. vrnda, kundalata, vidya, dhuanistha, kusumiki tathi kamada némitreyt sakhi-bhava vigesa-bhak, ya ridhikayarh snehiddhiktt si nitya-sakht, nitya sakhyas tu kastiirt manojiia mani mafjart sindiira candanavatt kawomudi madirddayal. tatra mukhya ya sakhi snehidhika sa prina-saklit ukta. jToita-sakhyas tu tulast keli kandalt kadambart- Saginukhi- candrarekha- priyamoada- madonmada -madhumati- visanti- kalabhisint -ratnivalt -malati karprira-latikadayal ct vrndavanesvaryinit praya saripyam agatih. malati candralatika gronaciida vardrigada madhavi candrika prema maijert tanu-madhyama kandarpa- sundarityadyal koli sarikhyit mrgi-drsak priya sakhyah. tatra muklya ya sa parama prestha-sakhi. lolita ca vigakha ca citré campakavallika. ravigadevt sudevt ca twigavidyendu-rekhika. yadyapyetah sama snehis tathapi Sri radhayirit paksapatarit kurvanti (5) There are five kinds of sakhis - sakhis, nitya-sakhis, prana-sakhis, priya sakhis and parama prestha-sakhis. Amongst them some are equal-minded and others are partial. Those who have more affection for Sti Krsna are called sakhis. Venda, Kundalat ya, Dhanistha, Kusumika, Kamada and Atreyi are endowed with sakhi-bhdva. Those who love Sri Radha more are called nitya sakhis. Kastiri, Manojiii, Mani Mafjari, Sindira, Candanavati, Kaumudi and Madira are examples of nitya sakhis. ‘The principal nitya sakhis are called prana-sakhis, Tulasi, Keli-kandali, Kidambari, Simukhi, Candrarekha, Priyamvada, Madonmada, Madhumati, Vasanti, Kalabhasi Ratnaval, Malati, Karpiira-latika and others are prdna-sakhis. They are all nearly as beautiful as Sri VrndavaneSvari. Malati, Candralatika, Gunacida, Varaigada, Madhavi, Candrika, Prema Mafjari, Tanu-madhyama, Kandarpa-sundari and others are amongst the ons of Vraja-sundaripriya-sakhi. The leaders amongst them are called parama prestha sakhis, Although Lalita, ViSikha, Citra, Campakalata, Rahgadevi, Sudevi, Tungavidya and Indu-rekha may be equal-minded and neutral (towards Radha-Govinda), still they are partial to Sri Radha. (5) When a heroine personally serves as her own messenger, she is called a svayam daft, or self-messenger, and if she makes one of her followers act as a messenger, this is ¢ alled an engaged messenger, or apta dit,Ujjvata Nitamani Kirana 5 athe vayalt. oayakt sandhile navya youcanain vyakta youranarit piirna yaucanuuin cvti kalavatyadayo vayal sandhau sthitah. dhanyddaye navya yauoane sthitah. sri radhadayas tw vyakta yauvane sthitdh canravalyadayal pirna yauvune sthitalt. padmidyah purna-yaucane sthita ityalambana vibhitoalt (6) Diy as of age The Vraja-gopis have four age-divisions - vayah sandhi, navya yauvana, vyakta Jauvana and piirna yauvana. Kalavati and other heroines are in vayaht sandhi (the margin between childhood and youth), Dhanyd and others are in navya yauvana (fresh youth), Sri Radhika and others are in vyakta yauvana (visible youth), Candravali and others, like Padina, are in piirua yauvand (full youth). (6) athoddipana vibhavalt gunua-nama-tandavn-venu-vaddya-godohana-vibliisana —gita-carana- cihnaiiga saurablya nirmalya barka guiijavatartsa krsua-megha candra-darsanadi bhedad bahu- @ Divisions of eestati ncitements Incitements of Krsna-consciousness are Krsna’s attributes and names, His Tand: + flute-playing, milking of the cows, decorations, songs, tootprints, bodily fragrances, lands, peacockfeathers, guiijd-necklaces and earrings, as well as black clouds, the view of the moon and many others. (7) athinubhivalt. bhaval hava hela obha kantily diplir madhuryare pragalbhatia audaryern dhairyan lla viliso viechitir vibhramalt kila kificitart mottayitain kuttamitair vivvokan lalitarit vikrtam iti vinisatyalakarah, tatra nirvikaratmake citte bhitwal prathama vikriya. tiryag griva bleri- netradi vikiga sticyo hival kuca sphurana pulakadi nivi edsa-skhalanddi siteya hela. rapa blogadyair aiiga viblitsanait Sobha. Sobhaiva yaucanodreke kantih. kiutir eva deéa kaladi visista diptih. urtyadi Srama janita-gitra-saithilyarn madhuryam, sambhoga vaiparityarin pragalbhata. rose‘pi vinaya vyaiijanan audaryam. dubkka sambhavandyam api premni nistha dhairyam. kinta-cestanukarayarit lil priya saiige sati mukhadindrin tat kilika praphullata vilasalt. alpa-matrakalpa-dharane’pi sobhit vicchittil. abhisiradavati sambhramena hara malyadi sthana viparyayo vibhramah. Sri radhi-krsnayor vartma rodhanddau garvabhilasa-rudita-smitasiiya-bhaya-krudhasaikari-karanavit harsad ucyate kila Kivicitam, kanta varta-sravane pillakadibhir abhilasasya prakalyarn mottayitam. adhara Khandana standkarsanidan dnande‘pi vyatha-prakatanarn kuttamitars. varichite’pi vastuni garvenanadaro vivvokalt. bhrit-bharigya ariga-bharigya ca hastena ca bhramara vidravaadi cestitari lalitan Injiadibhir yat nija Kiryarit nocyate kintu cestaya vyajyate tat vikrtam. iti viriSatyala Jidtasyapyajiiavat prasne maugdhim. priyasyagre bhramaradikarn drstoa bhayarit cakitam. iti dvayam adhikam (8) External symptoms There are many kinds of anubhavas (external symptoms of permanent emotions). Twenty of them haye been named alankdras (emotional ornaments), namely: Bhava, Hiva, Hel, Sobha, Kanti, Di i, Madhurya, Pragalbhata, Audarya, Dhairya, Lila, Vilisa, Vicchiti Vibhrama, Kila tayita, Kuttamita, Vivvoka, Lalita and Vikrta. The first al transformation noticed within an otherwise undisturbed mind is called bhava. The condition in which the neck is bent, the eyes expand and the eyebrows are raised is named ‘hava, When the breasts heave, goosepimples appear and upper- and under-garments loosen6 Stila Visvandtha Cakravartipada it is called hela. When the body is decorated with beauty and enjoyment it is called Sobhd. Beauty that arises from youthfulness is called kdnti and kanti that is increased by time, place and circumstances is called dipti. When the body becomes languid because of excessive dancing or so, it is called madhurya, reverse enjoyment is called pragalbhata (boldness of the heroine), symptoms of humility during a fit of anger is called auddrya and fixation in love even though it may bring distress is called dhairya. Imitation of the hero's activities is called ila. When the face is blossoming while being together with the beloved it is called vilasa, looking beautiful despite being scantily dressed and ornamented is called vicchitti. Putting lands and necklace in the wrong place out of enthusiasm to go on a love-journey is called vibhrama, The simultaneous display of joyful pride, desire, weeping, laughing, envy, fear and anger during $ri Radha-Krsna's Patha-rodha (Dina) fila is called kila kificita. Showing desire through goosebumps after hearing news about the lover is called moftayita, showing pain while actually enjoying the lover biting the lips and grabbing the breasts is called kutfamita, slighting the desired object out of haughty pride is called vivyoka, Activities like moving the eyebrows or other bodily limbs or driving away a bee with the hands are called Jalita. Denying having done something out of shame, after which it becomes evident through the activi is called vikrta. These are the twenty ornaments. Apart from that there are two more similar anubhdvas - inquiring in pretense of ignorance is called maugdhya and hecoming afraid while seeing a bee or so in front of the beloved is called cakita. (8) athanye anubli phullateais niseiisadys fh. uivyuttariya dhammillya sravtsanarit gatra-motanait jrmbhi ghriyasya ‘ate matalt (9) There are a few more anubhavas , such as slackening of undergarments, scarves and braids, stretching of the limbs, yawning, trembling of the nostrils and (heavy) breathing. (9) aatha sittvikah. sveda stambhadayo’sta dhiimayita jualita dipta sinddiptah (10) Sattvika bhavas Now sattvika bhavas (existential ecstasies): The regular eight sdttvika bhavas, like perspiring and becoming stunned are there, as well as the dhiimayita (smoking), when they are still easily controllable, 2) jvalita (kindling), when controlling them becomes difficult, 3) dipta (enflamed) when three, four or five of these symptoms awaken, making them impossible to control. 4) uddipta (raging) when five, six, seven or eight of these symptoms display to create incredible wonder. 5) siiddipta (super-enflamed) when all of the sditvika bhavas combine with mahd-bhava to reach a supreme pitch. (10) atha vyabhicarinah. nirveda vistidadya bhavah (11) Vyabhicari bhivas Vyabhicart bhavas (contrary ecstasies) are remorse, repentance and others. (11) atra bhavotpattih: bhava-sandhis bhiiva sibalyo bhiva-santir iti dasa catustayam. bhavotpatti spostartha, bhiva-deayasya milanart bhdea sandhit. pitroa piirva-bhiensya yal para para bhavenepamarddah sa eva bhava Sabalyarit bhat jntir bhavasyaintardhanam eva (12)Ujivala Nilamani Kirana 7 Emergence of Bhava and others. ‘Then the fourfold division of blidvotpatti, bhava-sandhi, bhdva-Sdbalya and bhava-Santi are manifest. The awakening of a bhdva within the heart is called bhavotpatti, the meeting of two bhavas is called bhava sandhi, the clashing of successive bhavas with their predecessors is called bhava $abalya and the termination of a bhava is called bhava Sauti. (12) athe sthayi-bhavah; madhuri ratih sd ca trividha; sadhavayt, samaiijast samartha iti. kubjayari sadharani sadharana manivat. patta mahisisu samanijasa cinttamanivat. vrajadevisu samartha kaustubha-manivat. samanya-bhiivena sva sukha tat parya ratih sadharani, krsyasya nijasya ca sukhia latparya-ratih patni-bhavamayi samafijasa. kevala krgua sukha-tatparya-ratik pardrigand-muyi samartha (13) Permanent, intrinsic ecstasies (Sthayi-bhava) In the ujjvala rasa the sthdyi bhava is madhurd rati, This madhura rati is ag: threefold - sddhdrant, samaijasa and samarthd. The love in Kubja is called sadhdrant or ordinary madhura rati. This is rarely attained and resembles an ordinary gem. The Queens in Dyaraka, headed by Rukmint, have samaijasd rati, which is compared to a Cintamani-gem. The Vraja-devis have samarthd rati, which is like the Kaustubha-gem. The ordinary bhava, which centers around desires for personal happiness, is sadharani rati, the bhava of a married woman, which centers around the happiness of both herself and Krsna, is called samaijasa and the bhava which centers solely around Krsna's happiness and is felt by another man's wife, is called samartha rati. (13) atha samartha. prathana dasayarit ratir bijacat, prema ikswoat, sneho rasavat, tato manain gudavat, tatah pranayal khandaoat tato ragalt sarkaravat, tato'nuragah sittoat, tato mahabhaval sitopalaoat. atha prem. tatra pizrca saviskrato v& Sravana darsanadibhyo va kysne pritya manolagnata ratil. vighna-sambhave'pi hrasdbhavah prema. cittasya dravibhdva nidanam snehalt. tatra candravalyadau tadiyata-bhavena ghrta-snehas ca adaramayo bhdvantara muigrita eoa suraso yatha ghrtany; rt radhadau madiyata bhavena madhu-sneha adara-sinyah svata eva suraso yatha madhu. atha minah. snehidhikyena bhadrabhadra hetund va roseua va hetund vinaiva va kautilyarh mana. candravalyadau daksinyodattah koacid vamya gandhodatiah Sri radhadau tu lalitak. atha pranayah. mano dehendriyair aikya bhivanamayo visrambhah pranayah sakhyar maitrarn ca. atha ragah candrtvalyadyau nila ragah soa lagna bhawavaranah. tatraiva Syma rago'pi priyo bhadridau cira sidhya ripah. éri radhadau tu maiijistha-rago'nanyapekso bhivdvarana-sunyah. tathaiva syamatidau kusumbha ragah sukha sadhyatoat kificid anyapeksah. patrasydd gunyat sthitih. athanurdgal Arsualt sadanubhityate athaca nava navaparoa iva buddhir yato bhavati sali anuragal. capraninyapi janma-lalasa prena-vaicittyait vicchede‘pi sphurtir ityadi kriyah. atha mahabhavel sa eon radha adhiridha iti doividhah. krsuasya sukhe‘pi pidasaikaya Khinnatoah nimisasy asahisnutadikart yatra sa ridho mahabhavah, kofi bralmanda-gatani samasta sukharh yasya sukhasye lego'pi na bhavali samasta vpscika sarpadi dantsa-krta dulkam api yasya dulkasya leso na blavati eoumbhite kysua sartyoga viyogayoh sukha duhke yato bhavatah so‘dhiridho mahabhavah adhiridhasyaica modano madana iti doau ripau bhavatah. yasya udaye krsuasya tat preyasinarh mahd-ksobhas camatkiro bhavet, sildipta sittvika vikara darsandt sa modanah. sa tu radhika yutha eva bhavati ndnyatra. modano'yait pravislesa-dasayash mohano bhavel. yasya udaye —sati pattamahisigandlingitasyapi sri krguuasya marcha bhavati radi viraha tapena, bralnanda- Ksobhektritoarit tirascam api rodanarh ca. prityo vrnddcanesoaryarh mohano'yam udaficati. mohanasye eva oriti-bhedo divyomadals. yatra udghirya citra-jalpadayat premamayo'vasthah santi. yatrananta tatra8 Stila Viévanatha Cakravartipaida bhavedgamal vanamalayam api irsa pulindesvapi Slagha, tamala sparsinya mélatya bhagya varnanarie ca. esa eva madanali sarva sresthal Sri radhayam eva ndnyatra. (14) After this the culmination of samarthd rati is described. The first stage of samarthd is like the seed of rati. prema is like sugarcane, the next stage, sneha, is like sugarcane-juice, the next stage, mana, is like brown sugar, the next ¢, pranaya, is like khanda, the next stage, raga, is like refined sugar, the next stage, anuraga, is like sifd, and the final stage, mahabhava, is like sitopata.2 After this comes prema - loving absorption of the mind in Sti Krsna, either as a result of previous cuitivation or as a result of following the process of hearing and chanting, etc., is called rati.. When this rati does not diminish, even though all kinds of obstacles arise, it is called prema. prema that causes the heart to melt is called sneha. Of these, the tadiyatd-bhava- maya sneha of Candravali and others is called ghrta sneha. This love is mixed with reverence and is therefore tasty like ght (ghrta). (tadiyata-bhaya is the feeling of 'I belong to Sri Krsna’). Vraja-gopis like Sri Radha are endowed with the madiyata-bhava-maya madhu sneha. Just as honey (madhu) remains naturally relishable, and nothing needs to be added to it, similarly the sneha of Radha and others does not depend on other bhdvas to remain most relishable. That is why it is renowned as madhu sneha? After this comes mdna - crookedness arising from an increase of affection, either justified or unjustified, out of loving anger or for no reason at all, is called mana, Candravalt and others are sometimes endowed with a submissive, right-wing mana and sometimes with a whiff of left-wing mana, but in Sri Radha and others the lalita mana is manifest. After this comes pranaya - When mana reaches a high stage one beliefs that one's own body, mind and senses become identical with the body, mind and senses of the beloved. This is called pranaya. This comes in two kinds - sakhya and maitrya. After this comes raga - When, out of increased pranaya, one experiences distress in connection with Krsna to be happiness, then that is called rdga. raga is divided into two - nilima and raktima, Candriiyali and othe 1. The rdga (attachment) that covers cover one’s self-centered feelings is called nifa raga, and when that nilardga is again ever- accomplished, it is called {yama-raga, Bhadra and others are endowed with this fama raga. In Sri Radh ers dwells the maiijistha raga. This is independent and does not cover hidden feelings. Syamala and others haye the Kusumbha raga. This is blissfully accomplished and only slightly dependent on outside influences. The position of this raga must be understood according to the attributes of the person who possesses such attachment . ‘Then comes anurdga - when Sri Krsna is experienced as wonderful and ever-fresh at every moment this is called anurdga. During anurdga there is a desire even to take birth as a life-less object in order to attain Krsna, there is prema vaicittya, in which one feels separation from Krspa even in His presence, or one might experience Krsna's presence even in separation. These are the activities of anurdga. Then mahabhava is described. There are two kinds of mahabhdva - ritdha and adhiriidha. The symptoms of ridha mahabhava are that one becomes distressed out of anxiety that Krsna might suffer in some way, even though He is happy, and that one cannot tolerate not seeing Sri Krsna for even a moment. When one is under the influence of adhiridha mahabhava even a fraction of the happiness of union with Sri Krsna cannot be compared with the happiness experienced in all the millions of universes, and even a fraction of the misery of separation from Sri Krsna cannot be compared with agonies like being bitten by a 2 The above mentioned names of sugar candy cannot be translated into English. They are successive stages of refined sugar candy, that is the gist of the above comparison. Ed. * Madiyara-bhava maya sneha meaus Uiat the heroine considers: “The beloved is mine! in a loving possessive mood, This is a greater love than the tadfyara-bhavamava sneha, Ed.Ujjvala Nitamani Kirana 9 scorpion or a snake. Such is the intensity of happiness and distress in that state. Adhiriidha mahabhava is again divided in two kinds - médana and modana. modana causes great wonder id agitation in both Krsna and His sweethearts when they see it, due to the fully enflamed sitddipta sattvika bhavas that are then manifest. This modana is only manifest in Sri Radhika’s party, nowhere else. In times of separation this modana is known as mohana, When this bhava awakens Sri Krsna faints out of separation from Sri Radha, even when He is embraced by the Queens of Dvaraka. Mohana is a bhdva that agitates the whole universe even the animals to weep. This mohana usually appears only in Vendavanesvari kind of mohana is divyonmada, and divyonmdda again reveals loving conditions such as udghiirnd and citra-jalpa. Madana mahdbhava is the source of innumerable emotions and causes one even to envy a flowergarland, praise untouchable Pulinda-people and glorify the fortune of a Malati-vi tree. This is the zenith of priti and is only vine that touches a Tam: present in Sri Radha and in no one else. (14) athaisdm asraya nirnayalt. kubjayars sadharaut ratih prema paryantd. pata mahisisu samaiijasi ratili anuraga paryauta. tatra satyabhdma radhikanusarint laksmand ca, rukmini tu candritoalt bhiwanusirint; anyas ca. vrajastha priya narma sakhandit ca anuriga paryanta, vraja- sundartayn tu samartha ratilt mahabhitva paryanta, subaladinarit ca. tatrapi adhiriidhal radhiki-yatha eva nanyatra. tatrapi mohanah Sri radhayam eva, lalita visakhayor api. mddanas tu radhayam eu. (15) Now we will ascertain the shelters of all these bhavas. In Kubj which extends up to prema. In the Queens of Dyaraka is the samaiijasd rati, which extends up to anurdga. Of them, Satyabhama and Laksmana haye the bhava of Sri Radhika and Rukmini and other Queens have the bhava of Candravali.t The course of the prema of the cowherdboyfriends in Vraja extends up to anuraga. The samarthd rati'of the Vraja-sundaris extends up to mahdbhava. The prema of Krsna's dear friends like Subala also extends up to mahabhava, Of them, adhiridha mahabhaya is found in no other party than in Sri Radha's, Of them, mohana is found in Sri Radha, Lalita and Visakha, and mddana only in $ri Radha. (1s) the sddharant-rati sthayi bhivalt. sa eval vipralambhah sambhogas ceti dvi-vidhah. tatra vipralambhas catur- vidhah pitrea ragah manah prema oaicittyarh pravasas ca. miga saigat pirvark ya utkanthamayt ratihe sah pitroa-rigah. tatra dasa dasa, lalasodvega jagarya tanavaiis jadimiitra tu. vaiyagryarh vyadhir unmdado moko mrtyur dasa dasa. ménah dvi-vidhah. sahetur nirhetus ca. tatra nirhetukalt svayam eva Sdmyati. sahetukasya manasya santih sima-bheda kriya dana natyupeksa rasdntarail priya vakyaia sama. nijaisvaryarit Sravayitva fasya ayogyatoa jridpanarit bhedah. vayasyadi dvara bhaya pradarganarit ca Kriya. vastra-malyadinari pradanarit danam. natir namaskarah. upeks@ audasinya-prakatanam. rasintarmit bhaya-kastadi pradanadi prastdoah. maua-sauti-cilmani asru-smitddayah. atha prema vaicittyam. krswa-nikafe‘pi anuragadhikyat viraho yatra bhavati tad eva tat. atha pravasah. sa doividhah kiticid diira-nistha sudiira nisthas ca. nityam eva gocaranadyanurodhat kijicid dure ‘mathurari gate sati sudiire. tatra ca dasa dasa ati prabala bhavanti. atha sambhogah. sa ca catur- vidhah. pitroa-ragante cadhara-nakha-ksatadinam alpatve sarksipto manante astiya matsaryadi rosabhisa misritak saikiryali kificid daira pravisante sampirnah spastah sudiira pravdsante samyddhimin ati spastah. atha sambhoga prapaitcal. darsana-sparsana-kathana-vartmurodha-vana- vihira-jala-keli-varhsi-caurya-nauka-Khela-dana-lila-lukkiyana-tila-madhupanadayal ananti eva. (16) anadhita vyakaranas carana pravano harer jano yah syat ujjvala nilamayi kiranas tad alokaya bhavatu iti maha mahopadhyaya sri visvandtha cakravarti-viracital ujjoala uttamani kirayalt samaptah In quality, not in quantity. Ed10 Srila ViSvanatha Cakravartipada Sthayi-bhava is divided in two: separation and enjoyment (union). Of them, separation is of four kinds - piirva raga, mana (pique), prema vaiciftya and pravasa. The eager love that is felt before bodily union is called parva raga, and ten phases appear in it - ldlasa (desire), udvega (anxiety), jagarana (wakefulness), krfatd (emaciation), jadata (numbness) »yagrata (eagerness), vyadhi (disease), unidda (inebriation), moha (delusion) and mrtyu (death), Mana is of two kinds - with a cause and without a cause. Of them, the causeless pique is pacified by itself. Pique with a cause is pacified through sama, bheda, kriyd, dana, nati, upeksd and rasantara, Using sweet words is called sdma, showing one’s own prowess to proclaim the heroine's unworthiness is called bheda, to frighten the heroine through one's friends is called kriyd, giving presents such as garments or garlands is called dana, offering obeisances is called nati, showing indifference is called upeksd, and proposing future dread and suffering (threatening) is called rasantara. Signs that mana is pacified are smiles and tears and so. Then prema vaicittya is mentioned. This is an increase of passionate love that makes one feel of separation from Krsna even in His presence. After that comes pravdsa, and this comes again in two ways - when the lover has gone away in close vicinity and when the lover has gone far away, The close vicinity is when Krgna has gone out into the meadows to tend His cows and so, and the distant separation is felt when Krsna leaves Vraja to go to Mathura. In this situation the ten aforementioned conditions appear in a very powerful way. Enjoyment also comes in four kinds. Enjoyment that takes place after piirva raga and which slight in terms of biting the lips and scratching with the nails is called sastksipta (brief), enjoyment that takes place after mana and that is mixed with a semblance of anger, envy and sarcasm is called sartkirna (narrow), enjoyment that takes place after the lover has gone away in close vicinity, and which is tangible, is called pirna (complete), and enjoyment that takes place after the lover has gone far away, and which is very evident is called samrddhiman (affluent). Apart from that, there are innumerable other kinds of enjoyment, such as seeing, touching, talking, blocking the way, sporting in the forest, playing in the water, stealing Krsna's flute, playing in the boat, hide-and-seek, drinking honey-wine ete., ete. (16) May this Ujjvala Nilamani Kirana show the way to those who have not studied Sanskrit grammar, yet are still dedicated to bhajana of Sri Hari’s lotusfeet. a Thus ends Maha-mahopadhyaya Sri igvanatha Cakrayartipada's Ujjvala Nilamani Kirana Translated in © 1996 by Advaita dasa