Chapter Eight: Literature of the Rasika Tradition in Hindi

For students of ornament, metre, rasa, and prosody, Nabhadas’s work is also exceptionally important. It is virtually a marketplace of such figures as hyperbolic metaphor, simile, poetic supposition, and the assertion that no comparison exists. From the standpoint of rasa, his Aṣṭayāma is a foundational source book.

Neha-prakāśa

Mahatma Bal Ali

The Neha-prakāśa contains 148 couplets, every one of them precious. Its language is exceptionally clear and polished, while its feelings are profound and filled with rasa. It opens with an account of the nature of the Āhlādinī Power that is both spiritually well grounded and complete from the standpoint of practice.

Next comes a catalogue of the companions and their distinctive services, developed upon the doctrinal foundation of rasa-upāsanā and supported throughout by scripture and experience. Rama then declares his love to Sita, followed by the sections on the play of rasa, the play of love, and the play of beauty. The companions next address Jānaki and then Rama. At the end comes a magnificent vision of Sita’s beauty, uniting the glory of her form and her power. This small work naturally possesses a special distinction within Rasika worship.¹

The Siddhānta-tattva-dīpikā explains the supreme principle through a narrative allegory employing compact metaphor and extended personification. It begins with Prabhavati, daughter of King Vishvakaya, describing her form, virtues, youth, character, and beauty:

Prabhavati is her incomparable name; her supramundane form cannot be described.
Shachi, Urvashi, Love’s own beloved, gods, kinnaras, serpent beings, men, and women—
all are coloured by the radiance of her beauty, and wherever they dwell the world shines.

Shachi, Urvashi, Rati, and other beautiful, radiant women derive their beauty and radiance from Prabhavati’s ever-new form and world-enchanting lustre. The first prakāśa thus defines her nature.

Vishvakaya naturally becomes concerned to find her a worthy husband. He seeks the supremely worshipful one—the one whom Brahma, Vishnu, and Shiva themselves worship. The second prakāśa treats this choosing of the bridegroom.

A dancing woman named Samshrama then enters and entangles Prabhavati in the enchantment of the phenomenal universe. Her spell spreads through Prabhavati with immense force; the fourth prakāśa describes it. Yet because Prabhavati has once inwardly chosen the supremely worshipful Lord, she encounters Kripavati, who gently seeks to lead her onto the path of love. This is described in the fifth prakāśa. Kripavati speaks of Rama’s beauty, youth, sweetness, massed bliss, embodiment of happiness, captivating power, and other qualities, and proclaims the greatness of Rama-bhakti—