Post by niscala on Aug 22, 2014 23:21:47 GMT -5
I found this section of BRS really fascinating. It seems that the soul's natural tendency to identify with the characters in even a mundane book or drama, which is something we have all experienced, plays a big role in the development of our rati:
BRS 2.5.101: "The various ratis and other elemnets create a complete identity between the emotions of the contemporary devotee with previous devotees depicted in sastra"
Commentary by JG: This type of rati brings about an identity of the present day devotee with the devotees of previous times. By the attainment of this identity with the previous devotee's bhavas, the condition of rasa will be similar...The actions of the elements such as vibhava create total identity of the present devotee with the previous devotee. By that identification, the devotee plunges into the ocean experienced by the previous devotee and there is an awakening of utsaha and other bhavas with an experience identical to that of the ancient devotees. No man at all is condemned for entering that ocean. Rati and and other elements appear identical to those of previous devotees...The example of plunging in the ocean is given to show, from the normal perspective, that there should be no fear or shame at accruing for oneself, rati and the other elements.
BRS 2.5.103: In the matter of identification, there is an indescribable power in vibhava and the other elements, by which an audience becomes non-different from the characters depicted on the stage.
JG' commentary: According to BM's statement, there is naturally a difference, but there develops non-difference between oneself and the previous devotees by the sakti of vibhava and other elements.
BRS 2.5.104: Though previous devotee's sufferings appear in the heart of the present devotee as his own suffering, those sufferings also produce an astonishing taste of intense bliss.
BRS: 2.5.105 This is because when the devotee perceives the happiness of others it gives rise to incomparable bliss in his heart.
(This is why soft-heartedness is so stressed in bhakti, and anything thwarting it, such as separate vairagya, condemned. Indeed the ensuing commentary by VCT stresses this natural quality of the devotee, and it is this quality which provokes in him identfication and experience of bhavas felt by previous devotees.)
BRS 2.5.106: If just a little of vibhava and the other elements related to the associates of the Lord appear in the devotee, immediately he achieves completeness from the appearance of the vibhavas, anubhavas, sattvika bhavas and vyabhicari-bhavas.
(In the ensuing commentary JG's explains that to the extent that the drama predicts mundane characters, or to the extent that the spectators are unqualified, or the actors are professional men, those with previous experience of the emotions depicted will identify with them, naturally, but it will not produce rasa)
BRS 2.5.108: Rati for Krsna is most uncommon, more blissful than the most blissful rati for the avatars, and attains the highest rasa in combination with His devotee.
JG's commentary: However, with proper characters, actors and spectators, rasa will manifest. Alaukiki here suggests that the rati is most blissful, since it belongs to Bhagavan, the source of all bliss.
All of these verses and commentaries stress the importance of drama and so it appears that Rupa Goswami wrote all those plays not just to be read, but acted out. I think, however, that almost the same effect could be gained by reading- as the same thing, exactly, happens- whether in a drama or by reading- one identifies with the character, and when the character is transcendental and experiencing various bhavas, that can be experienced also by the sympathetic devotee.
Commentary to 2.5.107: (after explaining how professional actors cannot the the cause of rasa, JG's explains how nevertheless, the audience can experience it, if the literary work is not mundane...)Thus the literary experts consider that rasa is caused by the spectator or audience. The spectators are able to experience something in their hearts above the common material ingredients, something transcendental, due to the expertise of the literary work.. However, the sepctators must have the proper previous experience or sympathy for this o take place...If the actors also have full sympathy with the portrayed character, they can also cause rasa.
Reading this made me appreciate further the contribution of Rupa Goswami and the others that wrote transcendental plays that we can at least act out in our minds, and get experience of what its like being in the mood of these great devotees. What an incredible gift!
BRS 2.5.101: "The various ratis and other elemnets create a complete identity between the emotions of the contemporary devotee with previous devotees depicted in sastra"
Commentary by JG: This type of rati brings about an identity of the present day devotee with the devotees of previous times. By the attainment of this identity with the previous devotee's bhavas, the condition of rasa will be similar...The actions of the elements such as vibhava create total identity of the present devotee with the previous devotee. By that identification, the devotee plunges into the ocean experienced by the previous devotee and there is an awakening of utsaha and other bhavas with an experience identical to that of the ancient devotees. No man at all is condemned for entering that ocean. Rati and and other elements appear identical to those of previous devotees...The example of plunging in the ocean is given to show, from the normal perspective, that there should be no fear or shame at accruing for oneself, rati and the other elements.
BRS 2.5.103: In the matter of identification, there is an indescribable power in vibhava and the other elements, by which an audience becomes non-different from the characters depicted on the stage.
JG' commentary: According to BM's statement, there is naturally a difference, but there develops non-difference between oneself and the previous devotees by the sakti of vibhava and other elements.
BRS 2.5.104: Though previous devotee's sufferings appear in the heart of the present devotee as his own suffering, those sufferings also produce an astonishing taste of intense bliss.
BRS: 2.5.105 This is because when the devotee perceives the happiness of others it gives rise to incomparable bliss in his heart.
(This is why soft-heartedness is so stressed in bhakti, and anything thwarting it, such as separate vairagya, condemned. Indeed the ensuing commentary by VCT stresses this natural quality of the devotee, and it is this quality which provokes in him identfication and experience of bhavas felt by previous devotees.)
BRS 2.5.106: If just a little of vibhava and the other elements related to the associates of the Lord appear in the devotee, immediately he achieves completeness from the appearance of the vibhavas, anubhavas, sattvika bhavas and vyabhicari-bhavas.
(In the ensuing commentary JG's explains that to the extent that the drama predicts mundane characters, or to the extent that the spectators are unqualified, or the actors are professional men, those with previous experience of the emotions depicted will identify with them, naturally, but it will not produce rasa)
BRS 2.5.108: Rati for Krsna is most uncommon, more blissful than the most blissful rati for the avatars, and attains the highest rasa in combination with His devotee.
JG's commentary: However, with proper characters, actors and spectators, rasa will manifest. Alaukiki here suggests that the rati is most blissful, since it belongs to Bhagavan, the source of all bliss.
All of these verses and commentaries stress the importance of drama and so it appears that Rupa Goswami wrote all those plays not just to be read, but acted out. I think, however, that almost the same effect could be gained by reading- as the same thing, exactly, happens- whether in a drama or by reading- one identifies with the character, and when the character is transcendental and experiencing various bhavas, that can be experienced also by the sympathetic devotee.
Commentary to 2.5.107: (after explaining how professional actors cannot the the cause of rasa, JG's explains how nevertheless, the audience can experience it, if the literary work is not mundane...)Thus the literary experts consider that rasa is caused by the spectator or audience. The spectators are able to experience something in their hearts above the common material ingredients, something transcendental, due to the expertise of the literary work.. However, the sepctators must have the proper previous experience or sympathy for this o take place...If the actors also have full sympathy with the portrayed character, they can also cause rasa.
Reading this made me appreciate further the contribution of Rupa Goswami and the others that wrote transcendental plays that we can at least act out in our minds, and get experience of what its like being in the mood of these great devotees. What an incredible gift!
