Chapter Seven: Literature of the Rasika Tradition

—the episode of jealous māna, followed by loving appeasement. Then comes the love play of Sita and Rama in the plantain forest.

In its discussion of the manifestation of Rama’s form, the text explicitly says that rasika devotees delight in Rama, who possesses divine qualities, and Rama himself delights in those devotees.¹ When subtle inward vision opens, the entire universe begins to appear as Ayodhya. In the beautiful ground of rasa within its Ashoka grove, one beholds Sita-Rama absorbed in eternal līlā.²

3. Śrī Lomaśa Saṃhitā

No complete copy of the Lomaśa Saṃhitā is available. The author obtained a fragment containing eight chapters, from chapter 15 through chapter 22. It is a dialogue between the eminent sages Pippalada and Lomasha.

The text describes Rama, embodiment of rasa and beautiful as ten million Love-gods, performing many kinds of rāsa and play with Sita and her numerous companions. Its sixteen principal group leaders are Chandrakala, Vimala, Subhaga, Madanakala, Charushila, Hema, Kshema, Padmagandha, Lakshmana, Shyamala, Hamsi, Sugama, Vamshadhvaja, Chitrarekha, Tejorupa, and Indiravali.

Chandrakala is foremost. Just as Bharata exercises independent authority over outward affairs, Chandrakala holds supreme authority in intimate līlā. She arranges the union of Sita and Rama. The magnificent musical description of the rāsa must be read to be appreciated; the sweetness of its metre and rhythm irresistibly draws attention:

Within the unbroken circle of the rāsa formed by hosts of companions,
the royal son shone, enchanting the three worlds.
Filled with the mantra of Love, consumed by limitless desire,
he played the vina in a streaming flood of nectar.

Now deep within the forest, now among the winding vines,
now entering the region of breasts, the royal son moved;
kindling love, displaying his graceful skill,
repeatedly revealing arts born of the fullest science of desire.³