In the past I have
blogged reviews of Śrī Viśvanātha Cakravartīpāda’s ‘Sārārtha Darśinī’-ṭīkās of Śrīmad Bhāgavata’s Cantos 3-12.
Canto 1 and 2 were never done so far. I made a small start with the first Canto
here. The ṭīkā on the first verse
takes more than half of the text of the ṭīkā
on the entire first chapter. Viśvanatha gives 5 different explanations of
it, the last one being the longest one. All of it is mighty interesting but it
is impossible to put it all in a small media like a blog, so here is an
anthology only (it is especially interesting for those who know each word of
this śloka well) –
Viśvanāth says: “Just as He
appears as Matsya among the fish, as Varāha among the animals, as Haṁsa among
the birds, as svayam bhagavān Kṛṣṇa
among humans, and as Upendra among the devatās,
so the Lord has now appeared as the crown jewel of the scriptures,
Śrīmad-bhāgavata, among the Vedas, for restoring dharma and delivering the devotees.”
He quotes SB 1.3.43, the
famous verse comparing the Bhāgavat to the sun, and then says: “It (the
Bhāgavata) has twelve forms (Cantos), just as the sun has twelve forms for each
of the months of the year.”
Later he comes with an important quote to
prove that even the devotees in Śvetadvīpa and Vaikuṇṭha have forms – “These
forms are not material, since the word atīndriya is used. “
atīndriyā nirāhārā
aniṣpannāḥ sugandhinaḥ
ekāntinas te puruṣāḥ
śveta-dvīpa-nivāsinaḥ
“The inhabitants living in Śvetadvīpa, devoted
completely to the Lord, are all fragrant, beyond the material senses, without
any need for material food and without material movement.” Mahābhārata 12.323.26
In the third explanation he explains the word ādi as follows -
“Let us meditate on Kṛṣṇa from whom appears
the highest rasa, śṛṅgāra-rasa
(janma ādyasya). ….. By meeting (anvayāt) and separation (itarataḥ)
this rasa with the gopīs is accomplished. Just as Bhīmasena is
represented by the word Bhīma, so the ādya-rasa is represented by the
word ādya.”
“Kṛṣṇa is knowledgeable of, or skilful in (abhijñaḥ),
all things suitable for rasa such as the sixty four arts. But unlike material heroes such as Nala who
are affected by time and karma, Kṛṣṇa,
the viṣaya of spiritual rasa, is independent and spiritual (svarāṭ). Rasa should not be accredited to other
persons. He alone conveyed the truth about ādi-rasa (brahma)
through His mind (hṛdā) unto Bharata Muni (ādi-kavaye), the
famous exponent of material rasa. This reveals that rasa originates
only from Kṛṣṇa.”
He then hits out at the sahajiyās –
“There is no rasa in material heroes whose temporary bodies end in ashes and
worm waste. Rather, on consideration, in this there is a contradiction to rasa — distaste or
disgust — because of the perversion of the object of love, vibhāva.
The unintelligent describe rasa in such persons.”
That there are three types of meaning in
Sanskrit writing does not mean they are ever false in relation to Kṛṣṇa.
Viśvanātha writes:
“In the Lord there is the creation of the
three meanings; literal, metaphorical and suggested, or creation of allusion (dhvani),
skill in composition (guṇa) and literary ornaments (alaṅkāra).
These are real (amṛṣā) and become amazing because of their extraordinary
nature in Kṛṣṇa.”
From the fourth
explanation:
“Without deceit, in
correct manner, aspiring for the highest goal, we meditate on Rādhā and Kṛṣṇa
from whom arises the height of madhura-rasa. By giving up the other gopīs
and following only Her, as dhīra-lalita He showed his expertise in
the chief aspects of rasa and She exhibited herself as an independent
lover. Kṛṣṇa imparted through the heart to Śukadeva, knower of this rasa from
birth, the Bhāgavatam, by which the devotees faint in ecstasy and
undergo transformation, just as fire, water and earth reverse their properties
and by whose influence the three śaktis remain eternally….”
…..
“Giving up all other gopī
lovers (itarataḥ), He followed Her alone and became obedient to Her
(anvayāt).”
………
“Because He gave up other
gopīs and followed Her alone (preyasī
vaśaḥ), He is known as a dhīra-lalita lover, favorable for
cultivating rasa. He is thus called “one who is fully knowledgeable of
the chief rasas filled with madhura-rasa (artheṣu abhijñaḥ).”
And because He is dhīra-lalita, She alone remains with Her lover (svarāṭ),
as a svādhīna-kāntā, a lady who controls Kṛṣṇa.“
………
“From hearing the Bhāgavatam
(yad) since it has rasa, the devotees faint in ecstasy from
tasting the rasa (yad sūrayaḥ muhyanti). Or because Rādhā and Kṛṣṇa
are the objects of their hearing and seeing, Their close associates (sūrayaḥ),
though most wise, become bewildered. This means that they take on qualities
opposite their normal qualities, out of ecstasy. And others are included in
this ecstasy also. This is illustrated through an example. Their ecstasy is
just like earth, water and fire reversing their attributes (tejo-vārī mṛdam yathā vinimaya). For
instance the moon, a form of fire, on seeing the rāsa-līlā of Rādhā and
Kṛṣṇa, gave up its quality of moving and became stunned like earth. Water, on
hearing the sound of the flute, became stunned like earth. Stones made of earth
became liquid like water.”
The fifth explanation is
again more grave and philosophical.
This is just an anthology
of the commentary of one of the ācāryas
on the first verse of the Bhāgavata – behold the depth and volume of this grantha!