Chapter Eight: Literature of the Rasika Tradition in Hindi

Nṛtya Rāghava Milana

Sri Ramsakhe Ji

Nṛtya Rāghava Milana, composed in dohā, caupāī, and kavitt, was written on the third day of the bright fortnight of Chaitra, Vikrama Samvat 1804, as the author himself records at the end:

In Vikrama eighteen hundred and four, on the sweet third lunar day of the bright spring fortnight,
Nṛtya Rāghava Milana came into being, the seed from which all rasa arises.

The work contains approximately 150 dohās, 146 caupāīs, and twenty kavitts. Two editions are known. A second impression of the first edition was produced at Munshi Naval Kishore’s press in Lucknow in December 1896. Another edition was printed at the Lucknow Printing Press and published by Chhotelal Lakshmichand of Bombay in April 1897.

The work is more strongly devoted to essential doctrine than to the rasa of līlā. In exceptionally simple, engaging, and lively language it discusses profound subjects including the nature of devotion; the discipline of surrender; the Name, form, qualities, and divine power; the sacred abode; transcendence and imperishability; Pramodavana; the līlā of sweetness; Rama’s enclosures and Awadh’s enclosures; the relation between the jīva and Ishvara; the mysteries of the intimate companions; the characteristics of rasika practitioners; and the rasikas’ exclusive way.

Taken as a whole, it must be regarded principally as one of the doctrinal works of Rama rasika worship. Scattered through it are a few songs of līlā, longing for the divine form, the sweetness of union, the Couple’s dance, and adornment performed by male and female companions, but these are comparatively rare. Its special focus is the description of the enclosures of divine Pramodavana and divine Awadh. The language is simple, unornamented, and clean; readers encounter no difficulty in reaching its meaning and feeling.

For example:

At dawn Sita and Lal awaken upon the flower-fashioned couch in the pleasure palace, still drowsy and languid.
Curls lie tangled, the turban’s folds disordered; their words are gentle and radiant, filled with rasa and feeling, and they smile softly.
Ornaments and garments have loosened, pearl garlands lie upon the breast, necklaces are entangled, and scattered hair appears lovely.
Their bodies remain relaxed in embrace, arms resting upon shoulders, while eyes drunk with Love’s intoxication sway and yawn.

At the centre a throne shines,
Fashioned of many kinds of enchanting gems.
Upon it rests a supremely magnificent lotus
Whose thousand petals are made of pearls.

Upon that lotus sit Sita and Raghunandan,
Adorned with flowers whose champak fragrance shames even Madana.