yatreme sad-asad-rūpe pratiṣiddhe sva-saṁvidā |
avidyayātmani kṛte iti tad brahma-darśanam ||
(Śrīmad Bhāgavatam: 1.3.33; cited in Prīti Sandarbha: 3)
“That [vision] wherein the gross and subtle bodies are negated [i.e., understood to not be the self] through full knowledge of the self, such that they are [recognized to have been] superimposed upon the self by ignorance (avidyā) is vision (darśana) [i.e., direct experience (sākṣātkāra)] of Brahman.”
prītir yato yasya sukhaṁ ca yena
samyag bhavet tad-rasikasya tasya |
tat sādhanaṁ śreṣṭhatamaṁ susevyaṁ
sadbhir mataṁ pratyuta sādhya-rūpam ||
(Bṛhad Bhāgavatāmṛta: 2.3.152)
“The sādhana related to him [i.e., Śrī Bhagavān] of a relisher of him for which one’s complete affinity (__prīti__), and by which [one’s complete] satisfaction, shall come about is the best of all, [is] to be excellently performed, and [is] considered, rather, the goal and a form [of that goal] by the sat.”
anubhāvās tu citta-stha-bhāvānām avabodhakāḥ |
te bahir vikriyā prāyāḥ proktā udbhāsvarākhyayā ||
(Bhakti-rasāmṛta-sindhu: 2.2.1)
“Indicators of the bhāvas situated in the heart are [called] anubhāvas (effects) [e.g., smiling, dancing, and singing]. They are for the most part external transformations, and [thus] are referred to by the name udbhāsvaras (illuminations).”
ye kṛṣṇa-bhakta-muralī-nādādyā hetavo rateḥ |
kārya-bhūtāḥ smitādyāś ca tathāṣṭau stabdhatādayaḥ ||
nirvedādyāḥ sahāyāś ca te jñeyā rasa-bhāvane |
vibhāvā anubhāvāś ca sāttvikā vyabhicāriṇaḥ ||
(Bhakti-rasāmṛta-sindhu: 2.1.12–13)
“The causes of rati—Kṛṣṇa, the bhakta, the sound of the muralī, and so forth; the effects [of rati]—smiling and so forth, and the eight beginning with stupor; and the assistants [of rati]—self-disparagement and so on—these are to be known [respectively] in the production of rasa as the vibhāvas, anubhāvas, sāttvikas [i.e., sāttvika-bhāvas], and vyabhicāris [i.e., vyabhicāri-bhāvas].”
