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Rupa Gosvami's theory of bhakti rasa uses and reworks the theory of the Natyasastra on rasa's 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 Jayadevas Gitagovinda and, later, by Jiva Gosvamis and others. I will also explore the duality set forth by Rupa Gosvami's theory of krsna-rate as the supreme emotion in the quest to achieve the rasa's 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 bhakti rasa, Rupa delineates five primary modes (bhava's) through which the devotee may relate to Krishna: santa, contemplative adoration of the transcendent Lord; day, humble servitude to the divine master; sasha, intimate companionship with the beloved friend; vatsalya, parental affection for the adorable child; and madura, passionate love for the supreme lover. (D.
M. Wulff, A Sanskrit Portrait, Divine Consort, p. 28) This theory departs sharply from the Sanskrit theory of aesthetic enjoyment and moods evoked by drama, as presented in the Natyasastra. Several important notes must be made on this theory and its differences with previous rasa theories. The emphasis for Rupa is not on the ability of generic drama to lift one out of everyday experience; rather, he is deeply concerned with the means by which one may participate in the one Real Drama. (D. Haberman, Acting as a way of salvation, pp. 35 - 36) For Rupa and for the Gaudiya Vaisnava, salvation comes to be defined as an eternal participation in this absolute drama, (D. Haberman, Acting as a way of salvation, p. 36) true salvation is no longer achieved by most, or release from the subjugation of samsara, but rather, it is achieved by absorbing ones consciousness and emotion into the Lords divine play, Krsna's Lila.
This can extended to say that the bhakti becomes an integral part of this play. What means is the devotee to use to enter into this divine play? Rupa considers santa, the rasa resulting from the sthayibhava santirati, to be the least important of the bhaktirasa's. This is due to the lack of active participation in Krsna's lila's, as it only involves realization of the Lords manifest form. Sakhya, day and vatsalya rank above santa, but all defer to the highest of the sthayibhavas: madura (D. M.
Wulff, Drama as religious realization, pp. 26 - 28) It is devotion through this bhava and its resultant rasa, madura, that is the main concern of this paper, as Radha is Krsna's most intimate lover and devotee in the plays of Rupa Gosvamis. The ambiguity of her role as both vehicle for and object of devotion is what we are mainly concerned with. 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-rate. This differs greatly from Jayadevas Gitagovinda, where memory binds Krsna and Radha together. Jayadevas portrays Radha and Krsna as a dual divinity. (JS Hawley, Preface, Divine Consort) Krsna is as equally bound in devotion to Radha, his exclusive mate in a secret passion, as she is to him. This is contrasted by the communal relations with the goods in the rasa-lila dance, where Krsna is with all at once, without particular attention to any.
To follow Jayadevas 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. 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. D. M. Wulff proposes that it is the transcendental quality of Radha's love that permits her this double role. (JS Hawley, Preface, Divine Consort) Bibliography:
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