राधाया भवतश्च चित्तजतुनी स्वेदैर्विलाप्य क्रमा-
द्युञ्जन्नद्रिनिकुञ्जकुञ्जरपते निर्धूतभेदभ्रमम् ।
चित्राय स्वयमन्वरञ्जयदिह ब्रह्माण्डहर्म्योदरे
भूयोभिर्नवरागहिङ्गुलभरैः शृङ्गारकारुः कृती ॥
rādhāyā bhavataś ca citta-jatunī svedair vilāpya kramād
yuñjann adri-nikuñja-kuñjara-pate nirdhūta-bheda-bhramam |
citrāya svayam anvarañjayad iha brahmāṇḍa-harmyodare
bhūyobhir nava-rāga-hiṅgula-bharaiḥ śṛṅgāra-kāruḥ kṛtī ||
(Ujjvala-nīlamaṇi: 14.155; cited in Prīti Sandarbha: 81; Caitanya-caritāmṛta: 2.8.194)
[Vṛndā addresses Kṛṣṇa:] “O elephant king of the mountain arbors, after gradually melting and uniting the lac of the hearts of Rādhā and yourself with heat [i.e., with heat from the fire of the perspiration of you both in the course of your līlās] so that the appearance of separation [between the lac of your hearts] is removed, the expert artisan of amorous love personally dyed them with a rich abundance of the fresh vermillion of rāga [i.e., the metaphoric red dye of rāga] to paint a picture [and, alt., to create amazement] within the interior of the palace of the universe.”
Commentary
etat sarvānantaram asya bhāvayodāharaṇam āha—rādhāyā bhavataś ceti | svedais tad-ākhya-sāttvika-viśeṣa-vṛttibhiḥ, antar bahir dravībhāva-rūpābhiḥ, pakṣe muhur agni-tāpaiḥ | citrāyāś caryāya, pakṣe citra-lekhāya | atra parasparam abhinna-cittatvāt tatrānyasyāpraveśāt sva-saṁvedya-daśā darśitā | tad evam uttareṣv api |
(Locana-rocanī-ṭīkā)
“After all of this, the author states an illustration of this bhāva [i.e., mahābhāva]: Rādhāyā bhavataś ca … [i.e., he speaks this verse]. ‘With heat’ [alt., ‘with perspiration’] (svedaiḥ) refers to the action of the particular sāttvika [-bhāva] of that name [i.e., that is known as sveda] that appears in the form of internal and external meltedness, or alternately [in regard to the lac mentioned in the verse], [‘with heat’ (svedaiḥ) refers] to continuous heating by fire. [Citrāya means] To cause amazement (citra) or to paint a picture (citra). Because [their, i.e., Rādhā and Kṛṣṇa’s] mutually being of non-separated heart, ‘the state of being fully perceptible to its own’ (sva-saṁvedya-daśā) [defined in UN 14.1554] is shown here because of the non-entrance of anything else therein [i.e., in their hearts, since their hearts are combined and absorbed in one another]. In the latter [verses to be stated ahead] as well, this is such.”
Śrī Viśvanātha Carkavartīpāda’s commentary is as follows:
kvāpi nikuñje paraspara-mādhuryāsvāda-nimagnayor uddīpta-sāttvika-bhāvālaṅkṛtayoḥ śrī-rādhā-kṛṣṇayor mahābhāva-mādhurīm anumodayantī vṛndā śrī-kṛṣṇam āha | tatra svayaṁ bhagavati puruṣādy-avatārāṇāṁ sarveṣāṁ lakṣaṇam iva mahābhāve raty-ādi-bhāvānāṁ sarveṣāṁ cihnaṁ ca sūcayati—rādhāyā iti |
“Sympathetically delighting in the sweetness of Śrī Rādhā and Kṛṣṇa’s mahābhāva as they are absorbed in relishing the sweetness (mādhurya) of one another and ornamented with intensely blazing (uddīpta) sāttvika-bhāvas somewhere in an arbor, Vṛndā speaks to Śrī Kṛṣṇa. Therein, she indicates with this statement (rādhāyā … ) that the signs of all the bhāvas beginning with rati are also present in mahābhāva just as the characteristics of all the avatāras such as the Puruṣas are present in Svayaṁ Bhagavān.
śṛṅgāra-rasa eva kāruḥ śilpī kṛtī svīya-karmaṇi paṇḍita iti ratir dhvanitā | rādhāyā bhavataś ceti sūcitenaupapatyena loka-dvaya-nindānapekṣaṇāt premā vyañjitaḥ | citte eva jatunī lākṣe karma-bhūte svedaiḥ premoṣmabhiḥ, pakṣe agni-santāpair vilāpya dravīkṛtya iti snehaḥ | yuñjann ekībhāvena melayann iti praṇayaḥ | kramāt śanaiḥ śanair iti vāmyasya sūcitatvān mānaḥ |
“‘The artisan’ (kāruḥ), that is, artist, ‘of amorous love’ (śṛṅgāra-rasa), who is ‘expert’ (kṛtī), that is, adept in his own works—hereby [i.e., by this description] rati is implied. By, ‘of Rādhā and yourself’ (Rādhāyā bhavataś ca), prema is suggested because of [Rādhā and Kṛṣṇa’s evident] disregard for defamation and the two worlds [i.e., the prospect of good fortune and happiness in this world and the next] suggested by the affair with a paramour (aupapatya) [that Rādhā and Kṛṣṇa have electively engaged themselves in and become deeply bonded to one another by]. ‘Melting (vilāpya) with heat (svedaiḥ),’ that is, with the heat of prema, or alternately, with the heat of a fire, the object of ‘the lac (jātunī) of the hearts (citta)’ [of Rādhā and Kṛṣṇa] indicates sneha. ‘Uniting’ (yuñjann), that is, combining as one, indicates praṇaya. ’Gradually’ (kramāt), that is, little by little, because of obstinacy (vāmya) being intimated [thereby], indicates māna [since the melting and uniting of their hearts would have happened quickly instead of gradually if māna where absent].
nirdhūta-bheda-bhramaṁ yathā syāt tathā yuñjann iti susakhyaṁ dyotitam | he adrīṇāṁ govardhanādīnāṁ nikuñjeṣu kuñjara-pate mahāmatta-gajendra-līleti sukumāra-caraṇayor adri-gahvara-kuñjādiṣu paraspara-milanārthaṁ rātriṁ-divam abhisarator yūnoḥ kaṣṭam api sukham eveti rāgaḥ | navo nitya-navatvena bhāsamāno rāga eva hiṅgula-bharas tair ity anurāgaḥ | bhūyobhis taiś ca bahutarair iti mahābhāvaḥ | navo rāgo raktimā yeṣāṁ tair hiṅgula-bharair iti viśleṣaś ca |
“‘Uniting’ (yuñjann) [their hearts] so that ‘the appearance of separation [between them] is removed’ illustrates susakhya [i.e., a sub-type of praṇaya wherein lalita, that is, madhu-sneha imbued with crookedness and joking, becomes thoroughly combined with sakhya, that is, fearless intimacy]. ‘O elephant king of the mountain arbors’ (adri-nikuñja-kuñjara-pate), that is, ‘O you engaged in līlā like a greatly maddened king of elephants in the arbors of Govardhana and so forth,’ hereby that even the hardship of the Young Couple, who are possessed of the most tender feet, [that occurs by their] sneaking out (abhisaraṇa) night and day to meet one another in mountain caves, arbors, and so forth is [felt by them to be] only happiness indicates rāga. ‘With an abundance of the vermillion (hiṅgula-bharaiḥ) of rāga that is fresh (nava), meaning, that appears to be ever-new,’ indicates anurāga. ‘With a rich’ (bhūyobhir) [abundance of rāga as aforementioned], that is, with a very great amount of that [i.e., such rāga], indicates mahābhāva. ‘With a [rich] abundance (bhara) of fresh (nava) vermillion (hiṅgula) red dye (rāga)’—this alternate double meaning is also indicated [i.e., the word rāga is intended to be taken to mean rāga in its technically defined sense of an advance state of prema, and to mean red dye].
citta-jatunī anvarañjayad iti hiṅgulāraktasya jatuno’ntar-bahir-hiṅgulākāratvam evety ubhaya-cittayor mahābhāvākāratvam anurāgotkarṣasya sva-saṁvedyatvaṁ ca, brahmāṇḍa-harmyodare citrāya citraṁ kartuṁ, pakṣe brahmāṇḍādiṣu yāni harmyāṇi dhanināṁ vāsās tad-udare tad-varti-dhani-jana-hṛdaye’tiśayoktyā bhakta-janāntaḥ-karaṇeṣu citrāya citraṁ vismayaṁ prāpayituṁ mahābhāva-kriyā-kṣobham anubhāvyeti bhāvaḥ | etena yāvad-āśraya-vṛttitvam uktam | evam uttaratrāpy udāharaṇeṣu mahābhāva-cihnāni kvacid vyastāni kvacit samastāni gamyamānāni ca jñeyāni ||
“‘Dyed the lac of their hearts’ (citta-jatunī anvarañjayad) means the lac became reddish like vermillion, that is, it assumed the appearance of vermillion internally and externally. By this, both of their hearts are to be perceived as being forms of mahābhāvas, as being the height of anurāga’s being ‘fully perceptible by itself’ (sva-saṁvedya-daśāṁ), and as the excitement of the activity of mahābhāva to paint, that is, to make a painting, in the interior of the palace of the universe, or alternately, to amaze, that is, to cause attainment of amazement, meaning, astonishment, in the hearts of wealthy persons dwelling in the interiors of the palaces, that is, the residences of wealthy persons, throughout the universe and elsewhere, meaning, on account of [such a statement] being a hyperbole, [to cause amazement] in the minds (antaḥkaraṇas) of bhaktas. By this [its] being ‘a function to the extent of its vessels’ (yāvad-āśraya-vṛttiḥ) is stated. In this way, in the forthcoming illustrations as well, the signs of mahābhāva are to be understood to be perceptible sometimes individually and sometimes collectively.”