Raser Ahara Jini Tanra Citta Rasa Khani lyrics

rasera ādhāra jini tāṅra citte rasa-khani sei cittera abasthā biśeṣe śraddhā-niṣṭhā-rucy-āsakti krame hoya bhāba-byakti rati-nāme tāṅhāra nirdeśe

rasera adhara jini tanra citte rasa-khani sei cittera abastha bisese sraddha-nistha-rucy-asakti krame hoya bhaba-byakti rati-name tanhara nirdese

रसेर आधार जिनि ताङ्र चित्ते रसखनि सेइ चित्तेर अबस्था बिशेषे श्रद्धानिष्ठारुच्यासक्ति क्रमे होय भाबब्यक्ति रतिनामे ताङ्हार निर्देशे

The heart of one who is a receptacle for rasa is just like a holding tank which is filled with this liquid mellow. The specific symptoms of such a rasa laden heart is that it fosters the gradual manifestation of ecstatic emotion, which evolves gradually from the beginning as sraddha (faith), then nistha (steadiness), then ruci (taste), then finally bhava (firm attachment to Krsna). This is the definition of what is known as rati, or affection within the scope of the transcendental loving mellow.

biruddhābiruddha-bhāba sarbopari swa-prabhāba prokāśiyā loya nija-baśe sakalera ādi-pati haya śobhā pāya ati sthāyī bhāba nāma pāya rase

biruddhabiruddha-bhaba sarbopari swa-prabhaba prokasiya loya nija-base sakalera adi-pati haya sobha paya ati sthayi bhaba nama paya rase

बिरुद्धाबिरुद्धभाब सर्बोपरि स्wअप्रभाब प्रोकाशिया लोय निजबशे सकलेर आदिपति हय शोभा पाय अति स्थायी भाब नाम पाय रसे

The constantly flowing undercurrent and cause of all mellows is called "stayi-bhava" or basic permanent ecstasy. It is the primary root origin of all mellows, and it eternally exists in great beauty and splendor. As the fountainhead of rasa, it fuses all subordinate mellows and subjugates them all under its own control. Thus, it exhibits the topmost manifestation of its own supreme power, which contains all inconceivable, simultaneously favorable and opposing ecstasies.

mukhya-gauṇa-bhede tāra paricoya dwi-prakāra mukhya pañca gauṇa sapta-bidha santa dāsya sakhya āra bātsalya madhura sāra ei pañca rati mukhyābhidha

mukhya-gauna-bhede tara paricoya dwi-prakara mukhya panca gauna sapta-bidha santa dasya sakhya ara batsalya madhura sara ei panca rati mukhyabhidha

मुख्यगौणभेदे तार परिचोय द्wइप्रकार मुख्य पञ्च गौण सप्तबिध सन्त दास्य सख्य आर बात्सल्य मधुर सार एइ पञ्च रति मुख्याभिध

In considering the differences in the various ecstatic loving moods of this permanent ecstasy (sthayi bhava), we see that there are two divisions of subjects which fall into: 1) five direct or primary mellows, and 2) seven indirect or secondary mellows. The five principle types of affection are called santa, dasya, sakhya, vatsalya and madhura, or neutrality, servitude, friendship, parental affection and conjugal love, respectively.

hāsyādbhuta bīra āra koruṇa o raudrākara bhayānaka-bībhatsa-bibhede rati sapta gauṇī hoya saba kṛṣṇa-bhakti-moya śobhā pāya rasera prabhede

hasyadbhuta bira ara koruna o raudrakara bhayanaka-bibhatsa-bibhede rati sapta gauni hoya saba krsna-bhakti-moya sobha paya rasera prabhede

हास्याद्भुत बीर आर कोरुण ओ रौद्राकर भयानकबीभत्सबिभेदे रति सप्त गौणी होय सब कृष्णभक्तिमोय शोभा पाय रसेर प्रभेदे

The seven indirect affections are known as: 1) hasya (devotional laughing attachment), 2) adbhuta (devotional attachment fixed in wonder and astonishment), 3) vira (chivalrous attachment with charitable and merciful tendencies), 4) karuna (attachment in compassion with lamentation), 5) raudra (devotion mixed with anger), 6) bhayanaka (devotion mixed with fear), and 7) bibhatsa (attachment enjoyed by the devotee which develops in an abominable way). All of these mellows are found in great abundance within the realm of devotional service to Krsna, and all these different types of attachments exist eternally as beautiful decorations of the all-consistent sthayi bhava.