kAmgAy/F&yAHyA

prboDAndsr-vtFEvrEctA

Edited. annotated, and translated

by
Neal Delmonico (Nitai Das)
April 26, 2009

aAdO bFAT ,
pcAlkArs\ykt\ bF\ t prmAdtm^
lkArA(pETvF AtA kkArA>ls\Bv,
IkArAdvEhnz(pnno nAdAdvAy, prAyt

EbdorAkAfs\B
EtErEt B
tA(mko mn, 1
ydvA
kkAr, p!q, k Z, sEccdAndEvg
}h,
IkAr, prktF rADA En(yA vdAvn
vrF
lcAndA(mk\ pr
msK(v
 pErkFEt tm^
cMbnAndmADy nAdo EbdsmFErtm^
kkAro nAyk, r
, IkAro nAEykA vrA
lkAro hlAd!pc EbdcMbnmQyt
 2

First the meaning of the seed (klm

. )
The seed, indeed,
joined with five ornaments,
is most amazing.
From the l comes earth;
from the k is born water;
from the is produced fire;
from the tone (nada, ie. nasal)1 is born air;
and from the dot is born space.
Thus is the mantra composed of the elements.2
Or,
The letter k is the supreme person, Kr.s.n.a,
whose form is being, consciousness, and bliss.
The letter is feminine nature, Radha,
the eternal mistress of Vr.ndavana.
The letter l is of the nature of bliss
praised by being the joys of divine love.
The tone [nasal] is the sweetness of their kiss,
uttered together with the dot [bindu].
The letter k is the leading male [nayaka];
the letter is the leading female [nayika];
the letter l is the very form of pleasure [hlada];
and the dot is said to be their kissing.3

1 This

is the semi-circle part of the moon-dot or candra-bindu symbol:

It does posit the basic relationship, however, of
reality (the five elements) to sound (the bIja or seed mantra). I guess we are to understand that as
we chant the kAma-bIja we are reinforcing or renewing the fundamental elements of the world. It
does call to mind that ancient mysterious hymn from the R
. g Veda called the Nasadya Hymn (10.129)
There we see desire, kama, posited as the root of creation. The text goes like this:
2 Well, not much rasik about that part of the text.

kAm-tdg

} smvt tAED mnso 
rt, prTm\ ydAsFt^ (Rv., 10.129.3)
Before that, desire existed, which was the first seed (retas) of the mind.
One can see from this how one would connect the kama-bja with the root or seed of all existence.
3 K=Krsna + l=pleasure + I=R
adha; the pleasure exists between them and is embodied in or res.. .
onates from their kissing (m
. or the nasal tone represented by the candrabindu). Ponder this as you
remember your kama-bjas! For me, though, klm
. has always reminded me of the sound of a bell,
like that bell that is wrung in a temple before the sacred images as one announces ones coming
into the divine presence. The last two verses of this section are also quite interesting. Invoking the
nayaka and nayika is placing the recitation of the bIja squarely in the rasa-experience and specifically the madhura-rasa experience. Thus, the kama-bja becomes the support or foundation of the
experience of madhura-rasa.

k
Ecd
v\ &yAHyAyt

glEfr - aA-y\ kkAr, c",kZ bAh
l kAr, !pnAEskAh-tmFkAr,
k"pkEVA nAd, AnpAdO c EbdErEt pcB
to m
Et mApzq,
3
kAdApo lA(pETvF Ito vEhnnA dAdvAy, EbdorAkAfs\B
t iEt lrspzqkAm, kkAr, pETvFgDprkEtm
Et l kAr, t
!pmhdADAr
IkAr, vAy-pf Fvo nAd, aAkAfsNdo_hkAro Ebd, iEt gopAltApnF v

d 4
rtnEpryA rEtklA BdA sOrBA kkAr, smKF klh\sF lkAr,
mdomdA cdAkAr, [ lkAr, ?] klAEpnF Ebd, 5
kkAr, kLyt
 kAmo lkAro m
Et zQyt

IkAr, fEkt!pA c nAdo EbdrFErtA iEt mny, 6
IkAro nAEykA mHyA lkAro lEltA prA
kkAro nAyko mHyo EbdcMbnmQyt

aAl
qo_=yd cdc bFAT prmAdtm^ iEt 7

Some explain it (klm

. ) it in this way:
The throat, head, and face are the letter k. The eyes, ears, and arms are the
letter l. The beauty, nose, and hands are the letter i. The chest, back, buttocks, and thighs are the [nasal] tone. The knees and feet are the dot. Such are
the five elements of the form of the supreme person. (3)
From k comes water. From l comes earth. From comes fire. From tone
comes air. From dot come space (ether). Thus, the k means water, flavor,
supreme person, and desire. The l means earth, fragrance, feminine nature,
image. The means fire, shape, intellect, support. The tone means air, touch,
living being. Dot means space, sound, ego. So says the Gopala-tapanI Upanis.ad.4
(4)
The letter k is Ratnapriya, Ratikala, Bhadra, and Saurabha. The letter l is
Sumukh and Kalaham
. s. The moon-shaped [and the l ?] is Madonmada.
And the dot is Kalapin.5 (5)
The letter k is said to be desire.
The l is figure.
The has the form of power.
And tone is said to be dot (?).
So say the sages. (6)
The is the chief heroine (Radha).
The l is Lalita the higher (or other).
The k is the chief hero (Kr.s.n.a).
And their embrace is the half-moon.
Such is the meaning of the seed mantra
which is most wonderful.6 (7)

4 Here we have most of the categories of S

ankhya, all packed into that little klm
. . It contains the
whole works!
5 These are eight feminine names. I am not sure what they refer to. They do not match the eight
chief sakhis or the eight types of heroine in love plays. Maybe they are eight types of women in
Kama-sa stra. More research needed here. Their names mean: Lover of Treasure, Sexual Artist,
Auspicious, Fragrant, Cute Face, Moaning Goose, Intoxicated by Love, and either Possessor of the
Arts or Lady in Menses. The letter is missing. The text must be corrupt here.
6 Such are the meanings of the k
ama-bja. Some are more coherent than the others. These are
obviously taken from a variety of works, though only one of them is specified, the Gopala-tapan
Upanis.ad. That work, too, seems to be citing some previous work. These meanings are meant
for us to contemplate while we recite the kama-bja. That seed is used for several of the mantra
and gayatrs that are typically received during initiation. It precedes for instance the Caitanya
mantra and Gauranga gayatr, the Nityananda mantra and gayatr, the Advaitacarya mantra and
gayatr, as well as the Gopala-mantra and Kama-gayatr, that is, it is the seed mantra for about
half of the initiation mantras. Thus, its importance. Obviously, there is a wide range of meanings
for contemplation. It is up to the individual, I suppose, to focus on the meaning most closely
connected with that individuals orientation towards the is.n.a-devata.

kAmd
vAy Evdmh
 p pbAZAy DFmEh tnno_ng, prcodyAt^
a-yAT , kAm
nAEBlAq
n -vEv , syprFEtdAy
 n dF&yEt FXEt Edv FXAyA\ En(yEvqy(vAtt-m
{ kAmd
vAy Evdmh
 EvdlAB
 Evd jAn

vA DFmEh @yAy
m, kAmd
vAy kTMB
tAy p pbAZAy p pm
v bAZo
y-y t-m
{ , tnno_ng, so_ng, kd p , no_-mAprcodyAt^ ( prkq
 Z )
prk!p
Z udyAt^ udy\ kyA Ed(yT , ckAr, smccyAT
 iEt
klF\ iEt pd
n m
Et mAn^ pzq, , kAmpd
n gXdvym^ , 
dvpd
nA/A-yBAl uQyt
 , aEBlAq
Z -vEvqyprFEtdAy
 n cdmXl
n dF&yEt
FXEt , ykAr
Z ad cd, BAl
 Etlkcd, sAd cdcty, i(yEp
EfEfrAEDp\ mA(m!p
Z Ev\f(y"r
Z Ev\fEtcdA uQyt

kAmo gXdvy
 sn
h
 EvlAs
 -pf t Zyo, iEt BA-vEd kkAr, kOfl

cd
 EvlAs
 srg
}sAlyo, iEt &yopAn, mkAro mD
r hA-y
 EvkAf
 CEvt Zyo, iEt qB, 
d iEt dA dAn
 aOZAEdk(vAd
kAr,
dAmA-mA>yo(snAyAEmEt ekArpr(yy, 
dcd
 EvlAs
 ann
_h Z
 mXl
_Ep c iEt 
dvdyoEt, 
dcdmXl
 hA-y
 hEvdAnEvlAsyo, iEt
&yAG
}B
Et,

The Kama-gayatr: kamadevaya vidmahe pus.paban.a ya dhmahi tanno nangaH

pracodayat
Here is its meaning: kamadeva means the one who shines or plays by means of
kama, which means desire or affection, or more specifically the intensification
of love with him as its object. The root div is taken in the sense of play because
he is the eternal object. Unto him, Kamadeva, we obtain (vidmahe). The root
vidl. means to obtain or it is the root vidu in the sense of knowledge. Let us
meditate (dhmahi) or may we meditate [unto or for him]. Kamadeva is of what
nature? His arrows are flowers. That bodiless one, the god of love (Kandarpa),
may he inspire us or may he appear to us in the most excellent way.7 The ca or
and [in pra ca udayat] is meant in the sense of conjunction.8
By the word klm
. is communicated the supreme person possessing figure or
form. By the word kama his two cheeks are meant. By the word deva his mouth
and forehead are meant. By longing, that is, by the strength of love directed at
him, he shines or sports through [or in] the circle of the moon. The ya syllable
is the half-moon, the tilaka moon on his forehead. Thus, we get four and a
half moons. The Lord of Coolness [the Moon] is described, gradually, in a
sequential form through the twenty letters [of the rest of the kama-gayatr, after
kamadevaya] as twenty moons.
The word kama means: the two cheeks, affection, sport, touch and thirst (desire)
according to Bhasvat. The ka means skillfulness, moon, sport, garland, and
mango tree according to Vyopana [Vopadeva?]. The ma means sweet, laughter,
appearance [display], picture and thirst according to R.s.abha. De [of devaya] is
da in the sense of giving. E replaces a because of grammatical rule aun.a di.
Roots da, bhas [?], and mA in the sense of light (jyotsna) take the suffix e. De
means moon, sport, food, honor, and circle (man.d.ala) according to Devadyoti.
De means circle of the moon, laughter, giving an offering, and sport according
9
to Vyaghrabhuti.

7 Interesting reinterpretation of pracoday

at. Prabodhananda takes it as pra ca udayAt: pra = in
the most excellent way (prakr.s..ta-rupen
. a), ca = and, and udayat = may he arise (udayam) for us (nah.,
asman). In other words, may he appear to us.
8 Conjunction is the usual sense of ca. What is conjoined here is not clear. Probably the meanings
of vidmahe (may we attain or know), dhmahi (we meditate) and pra ca udayat (may he appear to us
in his best possible form). It could also mean may he appear to the whole lot of us, all of us
conjoined.
9 My sense is that here Prabodh
ananda is supporting the claim that each of the syllables of the
mantra has the meaning moon, or something that can be related to moon like cheek (?). He
appears to be referring to authors of lexicons to provide support for the meanings of each syllable
of the mantras. He also invokes Pan.inis rules
to justify the change of da, to give, to de. Usually,

deva is regarded as coming from the root div , to shine or to play. Here he splits the word into
three: de, va or va, and ya (to make devaya which appears in the mantra).

v iEt vnB
to vnDAto, aOZAEdk(vAt^ pcMytAdAv

 u iEt upr(yy, vkAro lOSylAvy
 idAyDffFDr
 iEt BA-vEt, vkArAtykAr
Z ad cd, prkFEt t, l"ZAnroDAt^ y cdAd v
{Bvc
dAzZ\ By\ iEt &yAEX, EvfNdAEd, pcA"r
Z dE"ZAvt m
Z pc
cdA uQyt
 tdyTA Evdmh
 p p i(yAEd bAZAEdpcA"r
Z vAmAvtA Edm
Z pc cdA uQyt
 tdyTA bAZAy DFm [ Eh ] i(yAEd
t/ kO-tB-y mn
rD-tAt^ vAmdE"Z!p
Z dfA"r
Z df cd uQyt
 t/ dE"ZAEdm
Z EhfNdAEdpcA"r
Z pc cdA uQyt
 tdyTA
Eh tno_ng, iEt prfNdAEdpcA"r
Z pc cdA uQyt
 tdyTA
prcodyAt^ EvfNdo EvEvD
 prAj
 Ehgl
 c ffoDr
 iEt Evv, XDA^
DArZpoqZyoDA DAto, aOZAEdko mh^ pr(yy, EnpAtc
Et dm, dmkAro
EvEvD
 n(y
 t
orAfO ffDr
 iEt BA-vEt,

hfNdo 
htk
 Evj
 idO pn rsAlyo, iEt kAmt/, pfNdo rsnA>yo(snAn(ycdA\kf
_Mb
 iEt 
dvdyoEt, pkAro Evkl
 prAj
 EvDO
mOEktkdAmnFEt rtnhAs, bAfNdo EvqmADAr
 cd>yo(snApvdyo,
iEt vAmn prAZ
 ZkAro EvqmAEv
 n(ycdrsAyn
 iEt -vB
Et,
ykArcdEbMb
 c EvfAlA"
 rsAkr
 iEt &yAG
}B
Et,

Va [from de-va-ya] is the forest. Because the verbal root of vana is an un.a di and
ends in the fifth case, the suffix u has the sense of abstract state or condition
[forest-ness ?]. [Moreover] The va is used in the sense of restlessness, beauty,
Indra, a weapon, and the moon according to Bhasvat. By the ya after a va
ending word is the half moon proclaimed out of consideration of implication
(laks.an.a , secondary meaning). The ya according to the Vyad.i means half-moon,
might, horror, and fear.10
The five syllables as one turns to the right evoke five moons. Those syllables
are vid-ma-he pus.-pa. The five syllables beginning with ban.a as one rotates to the
left evoke five moons. Those syllables are ba-n.a -ya dh-ma-[hi]. Then beneath
the Kaustubha jewel there are ten moons evoked on the left and on the right
with the next ten syllables.11
In this, by right and left succession, the five syllables beginning with hi describe
five moons. Those syllables are: hi tan no [nah.] nangah
. [anangah
. ]. The five
syllables beginning with pra describe five moons. Those are: pracodayat [praca-ud-ay-at ?]. The syllable vi means various, intelligent,
vermilion, and moon
according to the Visvakosa. One gets dma from the root dha in the senses of
holding up or nourishing after which comes the suffix ma [first person, plural

suffix of the present tense in the Atmanepada,

that is, reflexive, which doesnt
take a direct object] which is an un.a di suffix, and the stem is irregular [thus one
gets dma instead of dha + ma = dhama, in other words the stem is weakened
to dma]. The syllable dma means various, dance, light, heap or multitude, and
moon according to Bhasvati.
The he [of vidmahe] means cause, wisdom, moon, and place or bearer of rasa
according to the Kama-tantra. The pu [of pus.pa-ban.a ya] means tongue, light,
dance, moon, elephant goad, and lotus according to Devadyoti. The s.pa means
confused, intelligence, moon, and string of pearls according to Ratnahasa. The
ba means uneven support, moonlight, and diminished according to the Vamana
Puran.a. The n.a means entered into the uneven, dance, moon, and bearer of rasa

according to Svabhuti.
The ya means disk of the moon, large eye, and a rich
source of rasa according to Vyaghrabhti.12

10 This is a difficult passage. I am not sure I understand it. As I read this text I wonder about
whether it has become corrupted by careless copiers. The idea that va in the word de-va means
forest in interesting, but something of a stretch.
11 Everything is turning up moons. The five moons to the right and the five to the left are ap Kr.s.n.a where hangs the Kaustubha jewel. The next section
parently located above the chest of Sr
discusses the ten moons to the left and right that are located beneath the Kaustubha jewel. The hi
of dhmahi is counted with the next group of five.
12 They all mean moon. I think that is what this exercise is all about. We are almost done with
the syllable by syllable accounting. It gets more interesting after that.

DFfNdo bdO prAj

 c EvDO cdAEBvAdyo, iEt cdmOEl, mkAro
mAzt
 bdO prBAkrEnfAkr
 iEt -vB
Et, EhfNdo Eh rsAv
f
 Ehgl

cdmXl
 iEt rBs, t(sAd[y
 EvBAv
 c tkArcdmXl
 iEt
&yAG
}B
Et, nfNdo nOE-/yAnO vA nkArcdmXl
 it^ 
dvdyoEt,
ango mdn
 Evv
_ngcd
 EvBAvn
 iEt cdmOEl, prfNdo EvEvD

n(y
 prh
 cdmXl
 iEt &yAG
}B
Et, ckArcln
 cd
 ccl
 c
EvBAvn
 iEt -vB
Et, dkAro EvEvD
 n(y
 cdEbMb
_Dr
_Ep c iEt BA-vEt, y aAsn
 EvDAn
 c ykArcdmXl
 iEt cdmOEl,
-tv-to/EvkAf
q tkArcdmXl
 iEt 
dvdyoEt, 8
ytt(kAmo m/F Bv
t^ , m/F tdA kAm, aAb
}hm Bvn\ &yApt\ kroEt
kAm-y bAZA, pc
umAdn-tApnc foqZs^ -tMBn-tTA
sMmohnc kAm-y pcbAZA, prkFEt tA,
ay/ c
uccAVnc dAhc -tMB aAkq Z-tTA
sMmohnc kAm-y pcbAZA, prkFEt tA,
aT bAZAnA\ &yAEpt,
aAm
}-y mklc
{vA=yfok\ bkl\ tTA
mEllkA mADvF pc vAZAc prA=yt
 sdA
tApndAhnoccAVnsMmohnAkq ZA,
aAm
}mkl, kkAr, afokmklo lkAr, mADvF IkAr, mEllkA
ad cd, bklo Ebd, s ev\ mDrA, pc mDm
Et ,

10

The syllable dh means intellect, intelligent, rule, moon, and greeting according
to Candramauli. The ma means wind, intellect, sun and moon according to
The hi means absorption in rasa, vermilion, and the circle of the moon
Svabhuti.
according to Rabhasa. Tat means similar to that, excitant (vibhava), and circle
The nas means boat, woman, or, circle
of the moon according to Vyaghrabhuti.
of the moon according to Devadyoti. (8)
The word ananga
is used in the sense of passion, the world. Ananga
is according
to Candramauli also used to mean moon and causing excitement. The word
pra means various dances, extreme joy, and the circle of the moon according to
The ca means moving, moon, unsteady and causing excitement
Vyaghrabhuti.

according to Svabhuti.
The da means various kinds of dance, the disk of the
moon, and the lips, too, according to Bhasvati. Ya means seat and regulation
as well as the circle of the moon according to Candramauli. The ta means
manifestation, prayers, and hymns as well as the circle of the moon according
to Devadyoti.13
Since desire (kama) for various things is a source of guidance, ones minister or
couselor is desire. It pervades the world all the way up to Brahma. Desire has
five arrows. The five arrows of desire are known as: the maddener, the overheater, the desiccator, the stunner, and the infatuater. In another text [they are]:
the uprooter, the burner, the stunner, the attractor, the infatuater. These are
said to be the five arrows of Desire.
Now about the pervasion of the [five] arrows:
In the buds of the mango, the buds of asoka tree, the bakula as well as the mallika
and madhav are always obtained the five arrows: the over-heater, the burner,
the uprooter, the infatuater, and the attractor.
The mango bud is the k. The asoka bud is the l. The madhav is the . The
mallika is the half-moon and bakula is the dot. That is the form of sweetness in
five sweetnesses.14

13 This ends the syllable by syllable analysis of the mantra in which each syllable is shown to
refer to the moon, in addition to whatever other meanings each syllable may possess. The next
section contains Prabodhanandas own reflections on the mantra.
14 Asoka tree = (a tree of moderate size belonging to the leguminous class with magnificent red
flowers). Bakula = Mimusops Elengi (said to put forth blossoms when sprinkled with nectar from
the mouths of lovely women). Mallika = Jasminum Zambac (ie., Jasmine, both the plant and the
flower). Madhav = spring-flower, Gaertnera Racemosa. We are back to considering the letters
of the Kama seed (klm
. ).

11

t/ gXEfrA-yc kkAr, c",kZ lkAr, !pnAEskAh-t\ IkAr,

v",pkEVA nAd aD cd, AnpAdO c Ebd,
fgAr, sEK m
Et mAEnv mDO m`Do hEr, FXtFEt ( gF
go 12 )
mDr\ mDr\ vpr-y EvBo m Dr\ mDr\ vdn\ mDrm^
mDgED mdE-mtm
tdho
mDr\ mDr\ mDr\ mDrEmEt ( k kZ  , 192 )
klF\ vdAvn-yAprAktmdn, pcbAZ-y nAm tdyTA EcttEvdyAsdAkAmrmZc prkAfk, EcttAndDr, EvdyAndDr, sdAndDr,
kAmAndDr, rmZAndDr, pc nAmnA eknAmEcttEvdyAsdAkAmrmZAndDrAy Evdmh
 EcttEvdyAsdAkAmrmZAndDrAy -vAhA iEt
k Zp", s ev pcmDrA, mDrm
Et vA aAm
}mklEcttkdp , afok, kAmAndprkAfk, bklo EvdyAndDr iEt nAmE/EBr
k\ nAm
Ecttkdp kAmAndEvdyAndDrAy -vAhA iEt k Z-y mADvF koEVcdmoEhnF mEllkA koEVpr
mmoEhnF nAm dvA<yAm
knAm koEVcdkoEVpr
mmoEhy
{ -vAhA tdyTA Ecttkdp rmZkAmAndprkAfk,
EvdyAndDrA nAm koEVpr
mmoEhnF koEVcdmoEhnF c pr(y
k\ pc
B
dk i(ykt\ gopAltApnF hytzkt\ c prc"t
 s ev -TAn-TAnFsMbD, prFEt-TAn\ vdAvn\ kml\ rFrAEDkA aEBjAvFt
 vsEt
sdA pr
msOrB\ B
}mr, rFk Zcclo B
(vA mDpAn
 EvBor, sdA kkAr, k Z uQyt
 IkAro rFrAEDk
(yAEd kAm-y pc bAZA, aAm
}-y
mklc
{vA=yfok\ mkl\ tT
(yAEd 9

12

In that, his cheeks and head are the letter k. His eyes and the ears are the
letter l. His beauty, nose and hands are the . his chest, buttocks, and thighs
are the sound as the half-moon and his knees and feet are the dot.
O friend, erotic love (sr.ng
ara) is as if embodied as charming Hari
plays in the Spring.15
Sweet, so sweet is the body of this Lord and sweet, so sweet his
face; again sweet, so sweet is his fragrance and alas this soft smile
is indeed sweet, sweet, sweet, and sweet.16
Klm
. is the non-material cupid of Vr.ndavana. He is the manifestor of the five
arrows which are as follows: mind, knowledge, continuity, desire, and intercourse. They are the bearers of the bliss of the mind, of the bliss of knowledge, of the bliss of continuity, of the bliss of desire, and of the bliss of intercourse. The five names are one name: may we know the bearers of mind,
knowledge, continuity, desire, and intercourse (citta-vidya-sada-kama-raman.adharaya vidmahe), offerings onto the bearers of the mind, knowledge, continuity, desire, and intercourse (citta-vidya-sada-kama-raman.a-dharaya svaha). This
is the Kr.s.n.a interpretation. He is the five sweetnesses or possesses five sweet
forms. The mango bud is love in the mind. The asoka flower manifests the
bliss of desire. The bakula flower supports the bliss of knowledge. These
three names form a single name: offerings unto the supporter of the bliss
of knowledge, the bliss of desire, and the bliss of love in the mind (cittakandarpakamanandavidyanandadharaya svaha), which belongs to Kr.s.n.a. The madhav
flower is the enchantress of millions of moons. The mallika flower is the enchantress of millions of loves. With these two names a single name is formed:
offerings to the enchantress of millions of loves and millions of moons (kot.icandrakot.ipremamohinyai svaha) and it is the revealer of the bliss of desire, of
intercourse, and of love in the mind. The supporter of the bliss of knowledge
is named enchantress of millions of loves and enchantress of millions of
moons. And it is said that each of these has five varieties. And the Gopalatapan describes him. He is related to a place as its occupier. The place of his
Radhika and so forth. Beyond intellect
affection is Vr.ndavana. The lotus is Sr
resides the fragrant of divine love. Kr.s.n.a, like a bumblebee, becomes restless
and is always intoxicated drinking honey. The letter k is said to be Kr.s.n.a.
Radhika. Desires five arrows are: the mango bud, the asoka
The letter is Sr
bud and so forth.

15 Jayadeva,

Gta-govinda, 12.
Kr.s.n.a-karn.a mr.ta, 1.92.

16 Bilvamangala,

13

rs-pfO c !p\ c fNdgDO prB

dt, B
dAEdgZ!pAdyA, pcDA pErkFEt tA, fAt\ dA-y\ c sHyc vA(sSy\ mD
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14

From the distinctions of flavor, touch, color/shape, sound, and fragrance the
differences, qualities, and the form-colors [of the five arrows] are said to be
fivefold. [The five rasas are] the placid, the serving, the friendly, the filial
and the sweet and [those are associated respectively with the stable emotions
(sthayi-bhavas)] peace, the servants respect, friendly love, parental affection,
and erotic dearness. [And in those respectively is found] firmness (nis..tha), service (seva), absence of fear (nih.sanka),

affection (sneha), and sweetness (madhurata). (10)

The qualities of the five arrows
are indeed the five supreme rasas.
Their forms means colors, shapes and the rest;
there are said to be five colors. (11)
In the Tantras it is said:
[It17 is] born of the lotus, escaped from his18 mouth,
situated above Indra, beyond19 stream, drop, and peak,
the first, which bestows all desires. (12)
Kama-gayatr been explained by me (13)
Thus, has the Sr
Complete is the commentary on the Kama-gayatr written by Prabodhananda
Sarasvat.

17 The

kama-gayatr?
?
19 or free from ...
18 Brahm
as

15