Śrī Śrī Rūpānuga-bhajana-darpaṇa – Song Twenty Five – ‘śrī ujjwala rasa sāra’

(1)
śrī ujjwala rasa sāra    swabhābataḥ dwi-prakāra
bipralambha sambhoga ākhyāna
binā bipralambhāśroya   sambhogera puṣṭi noya
tāi bipralambhera bidhāna

 1) The most brilliant mellow of conjugal love has two natural divisions: vipralambha (separation) and sambhoga (enjoyment together). The pleasure felt in union cannot be properly appreciated without the experience of suffering in separation. That is the function of vipralambha.

(2)
pūrba-rāga tathā māna   prabāsa baicttya-jñāna
bipralambha cāri to’ prakāra
saṅgamera pūrba-rīti  labhe pūrba-rāga khyāti
darśane śrabaṇe janma tāra

 2) There are four types of vipralambha, namely 1) pūrva-rāga (preliminary affection), 2) mana (pouting), 3) pravāsa (distant sojourn), 4) prema–vaicittya (feeling separation even in the presence of the lover). The pūrva-rāga is the infatuated condition that arises prior to union as a result of either seeing or hearing about the lover.

(3)
anurakta dam-patira  abhiṣṭa biśleṣa sthira
darśana birodhi bhāba māna
sa-hetu nirhetu māna    praṇayera pariṇāma
praṇayera bilāsapramāṇa

 3) Mana arises when one of the attached couple starts pouting and becomes firmly determined to stay aloof from the other, being averse even to looking at the other. This particular state of affection has two sides to it, namely sahetu mana (pouting for a good reason), and nirhetu mana (pouting for no reason at all). These are standard twists which commonly occur during the course of transcendental loving affairs.

(4)
sāma-bheda kriyā dāne   natyupekhā su-bidhāne
sahetu mānera upaśama
deśa kāla beṇu-rabe  nirhetuka mānotsabe
kore ati śīghra uparama

 4) Sahetu mana can be pacified by: 1) sāma (pleasing words of consolation). 2) bheda (witty remarks), 3) kriyā (worship), 4) dāna (giving presents), 5) nati (falling down at the feet), 6) upekṣā (indifference). When a pouting festival is created by nirhetu mana, it can be mitigated very quickly by being in a beautiful place, or by the passing of time, or simply by the sound of flute-music.

(5)
biccheda āśaṅkā hoite   premera baicittya citte
premera swabhābe upajoya
deśa grāma banāntare  priyā je prabāsa kore
prabāsākhya bipralambha hoya

5) Prema-vaicitya comes about even in the presence of the lover by an intense fear of impending separation, thus causing an unusual transformation of the heart. This is a natural characteristic of pure prema. The symptom known as pravāsa comes about when one’s beloved has traveled to another forest, town or country. Thus there are four stages of vipralambha (love-in-separation).