UJJVALA NILAMANI
1 NAYAKA (Hero)
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Dvaraka Mathura Goloka
purna purnatara purnatama
complete more complete most complete
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Grave Charming Strong Peaceful
dhirodatta dhira-lalita dhiroddhata dhira-santa
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Husband Paramour
Pati Upapati
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1 Heroine All Heroines Deceitful Cheater Bold Cheater
anukula darsina satha dhrsta
2 NAYIKA-VIBHAGA (Divisions of Heroines)
Conjugal affection is the permanent emotion (sthayi-bhava) of the ujjvala-nilamani (conjugal mellows).
Priyata-rati = conjugal attraction
visaya-alambana = object of love
asraya-alambana = shelter of love
addipana-vibhava = stimulant of love
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svakīya = married girl
parakīya = disregards marriage and surrenders to paramour
nakya = unmarried girl maintained by family
praudhā = married girl of Vraja who wants Krisna as husband * they have svakīya and parakīya
(they had a garland marriage with krisna but not manifest it socially = symptoms of parakīya)
Qualities of parakīya: (purport 3.16)
* prachhanna-kāmukalā = concealed desire
* hivāranatā = inhibition due to social censorship
* durlabhatva = rarely able to meet Kṛṣṇa
NAYIKA-VIBHAGA is divided into 360 characters according to 4 categories
1
svakīya parakīya
2
Abhisārikā Vāsaka-sajjā Virahotkaṇṭhitā Vripralabdhā
Khaṇḍitā Kalahāntaritā Proṣita-bhartṛkā Svādhima-bhartṛkā
3
Mugdhā Madhyā Pragalbhā
4
Uttama Madhyama Kanistha
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Besides they are perfect in 3 ways
1 – Nitya-siddha muni-caris
Yauhiki
2 – Sādhana-siddha śruti-caris
Ayauhiki ancient
3 – Devīs recent
3 NAYIKĀ-SVABHĀVA (The Nature of Heroines)
1
Prakhāra Madhyā Mṛdvi
harsh language medium soft language
2
Vāmā Darṣiṇā
left wing right wing
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Precise examples are given:
Radhika = vāmā madhyā (blue/red)
Lalita = vāmā prakharā (peacock)
Visakha = vāmā madhyā (star-studded)
Indulekha = vāmā prakharā (sunrise)
Campakalata =vāmā madhyā (blue)
Citra = darsina mṛdvi (blue)
Tungavidya = darsina prakharā (white)
Rangadevi = vāmā prakharā (scarlet)
Sudevi= vāmā prakharā (scarlet)
Syāmalā – vāmā/darsina prakharā
Bhadra - darsina mṛdvi
Candrāvali – darsina mṛdvi
Padma – darsina prakharā
Saibyā – darsina mṛdvi
4 DUTI-BHEDA (Different Types of Messengers)
They are of 2 types:
1 – Svayam-dūtī = heroine herself
2 – Āpta-dūtī = follower who delivers message
amitārtha-dūtī = comprehends message indirectly
nisrstārthā-dūtī = receives and follows comands
patra-hārini = gives letter and removes obstacles
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Besides they are:
Artisans = expert craftmanship and painters
Fortune-tellers = expert in making astrological calculations
Ascetics = those who wear renunciation cloth
Servants = manjaris
Forest goddesses = Vrinda devi
Girlfriends = sakhis
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Krisna has 3 friends:
1 – Vīrā = harsh speaker
2 – Vrinda = speaks swetly
3 – Vamsi = accomplishes everythingsu
5 SAKHĪ-BHEDA (Different Types of Sakhīs)
There are 5 types of Gopis:
1 – sakhīs affectionate to Krisna Vṛnda, Vidhyā, Dhanisthā...
2 – nitya-sakhī affectionate to Radhā Kasturī, Manojñā...
3 – prāna-sakhī prominent nitya-sakhīs Candralekhā, Priyambadā...
4 – priya-sakhī 10 million in number Candrikā, Madhāvi...
5 – parama-preṣṭa-sakhī astā-gopis Citra, Campakalatā, Tungavidyā...
Some are:
equal to Radhā and Kṛṣṇa sama-sneha
partial to eitheir Radhā or Kṛṣṇa viṣama-sneha
6 VAYO-BHEDA (Different Age Groups)
Vraja Gopis fall into 3 age categories:
1 – vayaḥ-sandhi = edge of childhood (Kalavati)
2 – navya-yauvana = newly blossomed youth (Dhanya)
3 - vyakta-yauvana = ripening youth (Srimate Radhika)
4 – purna-yauvana = fully blossomed youth (Candravali)
7 UDDĪPANA-VIBHĀVA (Stiulants of Love for Śrī Kṛṣṇa)
List of stimulants (uddīpana):
energetic dancing
flute playing
milking cows
the Yamuna
the kadamba forest and
the sound of the cuckoo birds
This Uddīpanas increase the intensity of loving exchanges between Kṛṣṇa and His beloved.
8 ANUBHĀVA (Signs of Ecstasy)
Anubhāva = actions that display the emotions in the heart
They are 20:
bhava - occurs in the mind before transformation
hava - revealed by bending the neck and side glances
hela - the garments become lose...
śobha - love sports and ornamentation of the limbs
kanti - beauty at the end of youth
dipti - intensified kanti
madhurya - there’s negligence due to the fact of being tired (from dancing)
pragalbhata - the female loved plays a dominant role
audarya - humility at the time of anger
dhairya - determination even if resultant in unhappiness
lila - imatating the activities of one’s hero
vilasa - blossoming of one’s face upon meeting the beloved
vicchitti - minimal ornamentation enhance one’s beauty
vibhrama - due to bewilderment the heroine places a flower or ornament in the wrong place
kila-kincita - pride, fear, jealousy arise simoultaneously
mottayita - when the heroines desire is revealed by her hair standing on end
kuttamita - pretended expression of anguish, while being inwardly very content
vivvoka - disrespect due to excessive pride
lalita - endeavour to drive away a bumblebee
vikṛta - because of shyness the heroine does not reveal her heart by words, but by action
maugdhya - to inquire about events while pretending not to know about them
cakita - to be afraid of bumblebees while in the presence of one’s hero
9 SĀTTVIKA (Bodily Transformations of Ecstasy)
There are 8 symptos of existencial love asta-sattvika-bhavas:
1 – stambha - becoming stunned
2 – sveda - perspiring
3 – romañca - horripilating
4 – svara-bhaṅga – choking of the voice
5 – kampa - quivering ofthe body
6 – vaivarna - change of complexion color
7 – aśru - shedding tears
8 – pralaya - losing external consciousness
This asta-sattvika-bhavas happen in 4 gradual intensities:
smouldering burning blazing fully blazing
dhumayita jvalita dipta suddipta
10 VYABHICĀRĪ-BHĀVA (Transitory Ecstasies)
The 33 VYABHICĀRĪ-BHĀVĀS are the moods that gradually take to STHAYI-BHAVA.
Ex are indiferrence (nirveda) despair (viṣada).
11 BHĀVOTPATTI (The awakening of Bhāva)
The stage of BHĀVA there are 4 different conditions:
BHAVOTPATTI – awakening of Bhāva
BHAVA-SANDHI – when different Bhavās meet together
BHAVA-ŚABALYA – when previous Bhāvas are surpressed by later Bhāvas
BHAVA-ŚANTI – cessation of Bhāva
12 RATI-BHEDA (Different Types of Amorous Attraction)
When MADHURA-RATI is the STHAYI-BHĀVA is is divided into 3:
SADHARANI – This is caracterized by one’s personal desire for happiness, and it comes with a ordinary
sentiment – the example of this is Kubja
SAMAÑJASA – Caracterized by a desire for MUTUAL happiness “I am His wife and He is my husband.
This is the example of the queens of Dvarāka
SAMARTHA – When one desires only for the happiness of one’s beloved
This is caracterized by the Gopis of Vrindavan!
Objctive
qualification
trait de caracter
