Rupa Gosvami’s theory of bhaktirasa uses and reworks the theory of the Natyasastra on rasas towards a devotional and religious context in which aesthetic delight is used to achieve union with Krsna. In the present missive, I will compare Rupa Gosvami’s theory with the rasa theory of the Natyasastra and the model of and examine Radha’s role as a model for devotion, contrasting this model with the models set forth by Jayadeva’s Gitagovinda and, later, by Jiva Gosvami and others . I will also explore the duality set forth by Rupa Gosvami’s theory of krsna-rati as the supreme emotion in the quest to achieve the rasas he presents and the actual treatment of Radha and her role as an object of devotion within his plays.
Our examination must first begin with a brief summary of Rupa’s theory. “In his theory of bhaktirasa, Rupa delineates five primary modes (bhavas) through which the devotee may relate to Krishna: santa, contemplative adoration of the transcendent Lord; dasya, humble servitude to the divine master; sakhya, intima
. . .
Wulff, Drama as religious realization, pp. 36) true salvation is no longer achieved by moksa, or release from the subjugation of samsara, but rather, it is achieved by absorbing one’s consciousness and emotion into the Lord’s divine play, Krsna’s Lila. We will see that this very love sets Radha that sets Radha apart will contribute to our understanding of the duality of Radha’s role as both vessel and receiver of devotion. The ambiguity of her role as both vehicle for and object of devotion is what we are mainly concerned with. Wulff “proposes that it is the transcendental quality of Radha’s love that permits her this double role. This differs greatly from Jayadeva’s Gitagovinda, where memory binds Krsna and Radha together. This can extended to say that the bhakta becomes an integral part of this play. To follow Jayadeva’s path is to achieve salvation in the very union of Radha and Krsna; this contrasts with Rupa’s theory, where Radha would seem to be merely the perfect example of a devotee, with the focus and intensity of her love for Krsna. Haberman, Acting as a way of salvation, p.
If one were to take Rupa’s theory at face value, it would seem impossible to attribute the same rank to devotion to Radha as is granted to krsna-rati. 35-36) For Rupa and “for the Gaudiya Vaisnava, salvation comes to be defined as an eternal participation in this absolute drama,” (D. This is due to the lack of active participation in Krsna’s lilas, as it only involves realization of the Lord’s manifest form.
Several important notes must be made on this theory and its differences with previous rasa theories.
Approximate Word count =
694
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