(A Garland of Songs)
Śrī Śrī Rūpānuga-bhajana-darpaṇa – Song Twenty Six
(A Mirror Reflecting the Worship Which Follows Śrīla Rūpa Goswāmī)
darśana āśleṣanwita ānukūlya sebāśrīta
ullāse ārūḍha jei bhāba
juba-dwandwa hṛdi mājhe rasākāre su-birājye
sambhogākhya tāra hoya lābha
1) Sambhoga is defined as follows: it is that ecstatic mutual mood between the young couple Rādhā and Kṛṣṇa which is enhanced by looking at each other, by embracing, by worshipping and attending each other favorably, which surmounts the highest pinnacle of elated bliss, and which is present within both Their hearts as personified rasa. Such a mood of Theirs together is called sambhoga.
mukhya gauṇa dwi-prakāra sambhogera su-bistāra
tad ubhoya cāriṭi prakāra
saṅkhipta saṅkīrṇa jāna sampanna samṛddhimāna
pūrba bhābābasthā anusāra
2) Sambhoga expands nicely into two main headings, mukhya (primary), and gauṇa (secondary). Both of these headings can each have four varieties of contacts, namely 1) samksipst (very brief and simple meeting), 2) samkīrṇa (narrow – slightly hindered by fear, etc.), 3) sampanna (affluent – a warm loving meeting after a sojourn), and 4) samṭddhimāna sambhoga (fully enriched to the maximum). Each of these four types of union follows one of four types of separation as follows:
pūrba-rāgāntare jāhā saṅkhipta sambhoga tāhā
mānāntare saṅkīrṇa pramāṇe
khudra prabāsābasāne sampanna samṛddhimāne
su-dūra prabāsa abasāne
3) The systematic appearance of the four mukhya sambhogas are 1) samkṣipt sambhoga, occurs after pūrva-rāga (simple union after preliminary affection), 2) sankīrṇa sambhoga occurs after mana (narrow union after pouting), 3) sampanna sambhoga occurs after a brief pravāsa (affluent union after a short sojourn), and 4) samṛddhimana sambhoga occurs after a long pravāsa (fully enriched union after a long sojourn).
sampanna dwi-bidha bhāba āgati o prādurbhāba
manohara sambhoga tāhāya
swapne āi saba bhāba jahe hoya ābirbhāba
tabe gauṇa sambhoga jānāya
4) The sampanna sambhoga has two variations which produce very enchanting unions. They are two types of arrivals: 1) āgati (formal or pre-arranged arrival) and 2) prādurbhāva (sudden appearance among those who are eager). Also there are meetings and pastimes together in dreams. These factual dream-līlās come under the second heading as gauṇa sambhoga (secondary category of union).
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.
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.
anurakta dam-patira abhiṣṭa biśleṣa sthira
darśana birodhi bhāba māna
sa-hetu nirhetu māna praṇayera pariṇāma
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.
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.
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).