Chapter Seven: Literature of the Rasika Tradition

—and broad, making detailed discussion impossible. We shall nevertheless try not to omit anything of particular importance or utility.

1. Śrī Hanumat Saṃhitā

The Hanumat Saṃhitā has already been discussed. The author obtained a folio-format edition printed by Sri Lakshmi Narayan Press, Moradabad, in 1901. It takes the form of a dialogue between Hanuman and Agastya and gives a very extensive, supremely enchanting account of Rama’s rāsa-līlā and water sports.

Sita is the bodily expansion of all the companions: 18,108 companions arise from her body, and Rama assumes an equal number of forms to perform the rāsa with them. The work contains approximately six hundred verses. Its final portion treats rasa, briefly describing the subject-support, object-support, stimulants, expressive consequences, and other elements of the servile, friendly, parental, and sweet rasas. From the standpoint of aesthetic theory, the treatment is fully mature.

2. Śrī Śiva Saṃhitā

The Śiva Saṃhitā is a large work in twenty chapters, published by Siya Kishori Sahachari of the Shivahar Estate at the encouragement of Mahatma Ramkishore Sharan. It begins as a Shiva-Parvati dialogue, then shifts to Agastya and Hanuman. It describes the glory of saintly company; Rama’s many qualities and manifestations; meditation; vision of the forest; and forest play.

Its account of the rāsa is as magnificent and enchanting as the five rāsa chapters of the Śrīmad Bhāgavata. Rivers and streams become motionless and stop where they are. Animals, birds, insects, and moths lose all external awareness in the bliss of Brahman. The sky fills with the gods’ aerial vehicles as they gather to watch. Even Shiva’s heart is enchanted, and he forgets his tāṇḍava dance.¹ After the rāsa comes—