Sri Chaitanya Charitamrita, Madhya Lila Chapter 8 Text 193

রায় রামানন্দের স্বকৃত গান -গীত

ray ramanander swakrito gan git

The song composed by Rai Ramananda.

রায় রামানন্দের স্বকৃত গানগীত

“পহিলেহি রাগ নয়নভঙ্গে ভেল ।

অনুদিন বাঢ়ুল, অবধি না গেল ॥

না সো রমণ, না হাম রমণী ।

দুহু-মন মনোভব পেষল জানি” ॥

এ সখি, সে-সব প্রেমকাহিনী ।

কানুঠামে কহবি বিছুরল জানি? ॥

না খোঁজলুঁ দূতী, না খোজলু আন

দুঁহুকো মিলনে মধ্যে পাঁচবাণ ॥

অব্‌ সোহি বিরাগ, তুঁহু ভেলি দূতী !

সু-পুরুখ-প্রেমক এছন রীতি ॥” ১৯৩ ॥

ray ramanander svakrit gan gita

“pahilehi rag nayan-bhange bhel

anudin barhul, avadhi na gel

na so raman, na ham ramani

duhu-man manobhav peshal jani”

e sakhi, se-sab prem-kahini

kanu-thame kahabi bichhural jani?

na khojalu duti, na khojalu an

duhuko milane madhye panchaban

ab sohi virag, tuhu bheli duti!

su-purukh-premak echan riti” 193

In the very first glance when our eyes met, love was born.

Ah! In the early dawn of union, when our eyes first met, there arose a sentiment called raga—a deep attachment born of vision alone. That love swelled without boundaries, without any measure; it sprang not from the enjoyer (Krishna), nor from me, the enjoyed (Sri Radha), but from the innermost nature of our two hearts (which are one). That raga, ripening in the power of Madana, crushed our minds together and pressed them into a oneness.

Now, in this hour of separation, O sakhi, if Krishna has forgotten the moments of love, you may speak to Him, and say:

 “In the time of our meeting we sought no messenger, nor did we seek any intermediary. The five arrows of Ananga alone served as the silent go-between in our union. And now, in separation, that same raga has become viraga—a heightened, distinctive longing, the rapture of love in separation. Thus you yourself, O friend, have become the messenger nurturing our hearts. Such is always the way, of most noble love.”

The deeper meaning is this:  as raga, in the time of union, acts invisibly as the force of Ananga, so in separation it rises to an intensified state and becomes, as it were, a messenger—causing, within the mood of separation, a flash of remembrance of union. Therefore Srimati addresses that very mood as “sakhi.” The essential truth is that the joy tasted in loving union is also present in separation. Indeed, in separation, when service reaches its highest form and the heart becomes wholly absorbed in Krishna, a transformation occurs:  just as one mistakes a rope for a serpent, so one sees Krishna everywhere, seeing Him in the dark tamal trees and all other surroundings. In this exalted state of mahabhava, a mysterious form of union awakens within separation itself.

Anubhasya – the Commentary of Sri Bhaktisiddhanta Saraswati Goswami

১৯৩। পহিলেহি—প্রথমে।

রাগ—পূর্ব্বরাগ।

“রতির্যা সঙ্গমাৎ পূর্বাং দর্শনশ্রবণাদিজা।

তয়োরুন্মীলতি প্রাজ্ঞৈঃ পূর্বরাগঃ স উচ্যতে।।”

Pahilehi — at the very beginning.

Raga — preliminary attraction (purva-raga).

“That attraction which arises prior to physical union, born from seeing, hearing, and similar contacts, and which gradually awakens in both lovers — the learned call that state purva-raga.”

বাংলা পাঠ (পূর্ণ) ১৯৩। পহিলেহি-প্রথমে। রাগ-পূর্ব্বরাগ। “রতির্যা সঙ্গমাৎ পূর্বাং দর্শনশ্রবণাদিজা। তয়োরুম্মীলতি প্রাজ্ঞৈঃ পূর্বরাগঃ স উচ্যতে।।” নয়ন-ভঙ্গে পরস্পর দর্শন-বিনিময়ে, নয়ন-ভঙ্গীতে অর্থাৎ অপাঙ্গদর্শনে পরস্পরের চিত্তবৃত্তি-সংযোজক ইঙ্গিতে। অনুদিন বাড়ল দিন দিন বৃদ্ধি পাইতে লাগিল। অববি না গেল-সীমা রহিল না। শ্রৌঢ়া সমর্থী-রতিতে লালসা, উদ্বেগ, জাগৰ্য্যা, তানব, জড়তা, ব্যগ্রতা, ব্যাধি, উন্মাদ, মোহ, ও মৃত্যু অর্থাৎ চিন্তা, জাগর, উদ্বেগ, অমর, মলিনাঙ্গতা, প্রলাপ, ব্যাধি, উন্মাদ, মোহ ও মৃত্যু-এই দশ দশা। সমঞ্জস্য-রতিতে অভিলাষ, চিন্তা, স্মৃতি, গুণ-কীর্ত্তন, উদ্বেগ, সবিলাপ উন্মাদ, এই ছয়প্রকার দশা। সাধারণী-রতিতে যোলপ্রকার অর্থাৎ প্রৌঢ় ও সমঞ্জসার সবিলাপ পর্য্যন্ত। সো-সেই রমণ শ্রীকৃষ্ণ। হাম আমি শ্রীরাধিকা রমণী। আমরা উভয়েই উহার কারণ নাই বা আমাদের পার্থক্য-বুদ্ধি নাই। মনোভব (অর্থাৎ) কন্দর্প উহা জানিয়া, রমণ ও রমণী, উভয়ের মনকে (পেষল) পেষণ করিয়াছিল। প্রেম-কাহিনী-প্রেমবিলাসসমূহ। কানুঠামে কৃষ্ণের স্থানে বা নিকটে। কহবি বলিবে। বিছুরল-বিস্মরণ হইয়াছেন। জানি জানিয়া। খোঁজলু অন্বেষণ করিলাম। দূর্তী-যে মধ্যবর্তিনী হইয়া নায়ক ও নায়িকাকে একত্র অর্থাৎ মিলন করায় দূতী দুইপ্রকার স্বয়ং-সূতী ও আন্তদূতী। স্বয়ংদূর্তী-কটাক্ষ এবং বংশীধ্বনি, আগুদূতী-বীরা, বৃন্দা প্রভৃতি। সাধারণ-সূতী-শিল্পকারিণী, দৈবজ্ঞা, লিঙ্গিনী প্রভৃতি। না খোঁজলু আন্-অন্য কাহাকেও অনুরোধ বা অন্বেষণ করি নাই। দুঁহুকে-শ্রীরাধা ও কৃষ্ণ এই দুইজনের। মিলনে-উভয়ের সংহতিতে; মধ্যে পাঁচবাণ-রুপরস-গন্ধশব্দস্পর্শজ শরপঞ্চক। অব্‌-এক্ষণে। সোহি-সেই রাগ, বিরাগ-বিপ্রলন্তে অধিরূঢ় মহাভাব। তুঁহু-তুমি। ভেলি-হইলে। সু-পুরুখ-উত্তমনায়কের। প্রেমক-প্রেমের। এছন-এ প্রকার।

Definition of purva-raga

pahilehi—prothome.

rag—purvarag.

“ratir ya sangamat purvam darshana-shravanadija.

tayor ummilati prajnair purvaragah sa uchyate.”

“First comes raga—known as purva-raga. That awakening of rati which arises before union, produced through seeing, hearing, and similar means, is described by the learned as purva-raga.”

The means by which purva-raga arises

nayan-bhange paraspar darshan-binimaye, nayan-bhangite arthaat apangadarshane parasparer chittabritti-sanyojak ingite.

Through the exchange of mutual glances, through movements of the eyes—specifically side-long glances—by which the mental dispositions of each are silently connected.

The growth and limitlessness of purva-raga

anudin barlo, din din briddhi paite lagilo.

abodhi na gelo—sima rohilo na.

It increased day by day, growing continuously. It did not come to an end—there remained no limit to it.

The ten conditions of shroudha rati

shroudha samarthi—ratite lalasa, udveg, jagarya, tanav, jarata, byagrata, byadhi, unmad, moh, o mrityu; arthaat chinta, jagar, udveg, amar, malinangata, pralap, byadhi, unmad, moh o mrityu—ei dosh dosha.

In the mature stage of rati there are ten conditions:

 desire, agitation, wakefulness, tension, inertia, restlessness, illness, madness, bewilderment, and death.

That is to say:

 anxiety, sleeplessness, agitation, weakness, loss of bodily luster, incoherent speech, disease, madness, delusion, and death—these are the ten states.

The six conditions of samanjasa rati

samanjasya—ratite abhilash, chinta, smriti, gun-kirtan, udveg, sabilap-unmad—ei choy-prakar dosha.

In harmonious rati there are six conditions:

 longing, reflection, remembrance, glorification of qualities of the sweetheart, agitation, and madness accompanied by lamentation.

The scope of sadharani rati

sadharani—ratite shol-prakar; arthaat shroudha o samanjasar sabilap paryanta.

In ordinary rati there are sixteen conditions— that is, extending up to the lamentation found in both mature and harmonious rati.

Identification of the lovers

so—sei raman sri krishna.

ham—ami sri radhika ramani.

“He” is that beloved—Sri Krishna. “I” am Sri Radhika, the beloved woman.

Non-duality of cause and identity

amra ubhoyei uhar karan nai, ba amader parthakya-buddhi nai.

There is no separate cause between us, nor is there any sense of difference between us.

The role of Manobhava (Cupid)

manobhav (arthaat) kandarpa uha janiya, raman o ramani, ubhoyer man-ke (peshal) peshan kariyachhilo.

Manobhava—that is, Cupid—knowing this, ground down the hearts of both the lover and the beloved.

The nature of the narrative

prem-kahini—prem-bilas-samuh.

This is a love narrative— the various pastimes of love.

Location and speech

kanuthame—krishner sthane ba nikate.

kahobi—bolibe.

At Kanuthama—at or near Krishna’s place.

“You will speak.”

Separation and searching

bichhural—bismaran hoiyachhen.

jani—janiya.

khojlum—anveshan korilam.

There has been separation—there is forgetfulness.

Knowing this, “I searched.”

The role of the messenger (dyuti)

dyurti—je madhyabartini hoiya nayak o nayikake ekatra arthaat milan koray, duti dui-prakar—swayam-duti o antarduti.

A dyuti is one who stands in between and brings the hero and heroine together. There are two kinds of dyuti:

 the direct messenger and the internal messenger.

Types of messengers

swayam-duti—kataksha o bansi-dhvani.

antarduti—vira, brinda prabhriti.

sadharan duti—shilpakarini, daibagya, lingini prabhriti.

Direct messengers are side-long glances and the sound of the flute. Internal messengers include Vira, Brinda, and others. Ordinary messengers include craftswomen, fortune-tellers, and female ascetics.

Exclusive searching

na khojlum anyo—anyo kahakeo anurodh ba anveshan kori nai. nai.

I did not seek anyone else—

I did not request or search for someone else.

The two and their union

duhuke—sri radha o krishna ei duijoner.

milane—ubhoyer sanghatite.

The two are Sri Radha and Krishna.

In their union—

The five arrows of desire

madhye panchaban—rupa rasa gandha shabda sparshaja shar-panchak.

Between them are the five swiftly moving arrows—

form, taste, scent, sound, and touch.

Intensification into vipralambha

ab—ekkhone.

sohi—sei rag.

birag—vipralambe adhirudha-mahabhav.

Now—at this moment— that same raga transformed becomes separation, rising into adhirudha mahabhava in separation.

Address and characterization

tunhu—tumi.

bheli—hoile.

su-purukh—uttam-nayaker.

premak—premer.

echan—ei prakar.

“You”—when You become the supreme hero, of love— it is You who is all-in-all; the meaning is understood in this manner.