NOD-2(rev.120729)

Table of ContentsINTRODUCTION..............................................................................1MEETING DETAILS..........................................................................4ESSAY REQUIREMENTS..................................................................8

INTRODUCTIONHare Krsna! Please accept our sincere respects. Srila Prabhupada has so kindly given us the Nectar of Devotion, a summary study of the Bhakti-rasamrta-sindhu. In ISKCON academics, the first diploma is Bhakti-sastri which has a focus on the first part of this Nectar of Devotion, the Eastern part. This especially deals with Sadhana-bhakti. In this NOD-2 we are focusing on the second part of the NOD, the Southern part, Bhava-bhakti. This is important because even though we are still situated in Sadhana-bhakti we should see where we are going. It will give strength and

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determination to go ahead. Furthermore, we should actually be progressing toward Bhava-bhakti and practically realizing the things described in the Southern Part. Otherwise it is offensive to Srila Prabhupada!

CalendarThis NOD-2 is based on the course that we, Hanumatpresaka Swami, have been teaching at the Bhaktivedanta College (Belgium) for many years. That course is taught in five days, Monday through Friday. We and the Students meet each day from 10AM-1PM and discuss the material and then in the later hours of the day the Students have time for reading and writing.

ContentThe five areas of discussion during the five days are:

1. Introduction to the Course, and Introduction to David Haberman’s Introduction to Bhakti-rasamrta-sindhu (BRS).

2. Overview of the entire Nectar of Devotion (NOD) and specific Review of the Western part.

3. Overview of the Southern part of NOD, Bhava-bhakti.4. Detailed look at Vibhava, the first aspect of Bhava-bhakti.5. Modern Theater and NOD-2.

CalendarAs a calendar for NOD-2, Nila-madhava Dhama,Houston, Texas,10-21 July 2012, we suggest:

Wed/11th Evening – Area One: Introduction to the Course, and Introduction to first reading assignment from D. Haberman’s Introduction.

Fri/ 13th Evening – Area One: Review of Haberman part one and introduction of Haberman part two.

Sat/14th Morning – Area Two in two Sessions. Mon/16th Evening – Area Three Wed/18th Evening – Area Three and Four Fri/20th Evening – Area Four Sat/21st Morning – Area Five in two Sessions.

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All meetings will be in the Nila-madhava Temple room at 7.00PM on Monday-Friday and on Saturday 9.30AM-11.30AM.After these meetings and discussions registered Students will have one month to write an essay that will be used to assign their score for the course.

Reading MaterialsNectar of Devotion by Srila Prabhupada

http://vedabase.com/en/nod

Waves of Devotion by Danurdhara Swamihttp://www.jayarama.us/archives/brs/waves-of-devotion.pdf

(1.5MB)

Bhakti-rasamrta-sindhu (Introduction) by David Habermanhttp://www.jayarama.us/archives/brs/intro_haberman.pdf

(5MB)

Caitanya-caritamrta (Madhya 19.114-135) by Srila Prabhupadahttp://vedabase.com/en/cc/madhya/19/114

Improvisation for the Theater by Viola Spolin(Beginning of the book to “The Creative Experience”, 4 MB)http://www.jayarama.us/archives/brs/improv-nod-2.pdf (Whole book, old edition, 25 MB)http://www.jayarama.us/archives/brs/improvisation for the

theater.pdf

Biography of Peter Brook (From the Encyclopedia Britannica)http://www.britannica.com/EBchecked/topic/81172/Peter-Brook

Biography of Konstantin Stanislavsky (From the Encyclopedia Britannica)http://www.britannica.com/EBchecked/topic/563160/Konstantin-Sergeyevich-Stanislavsky

Dramatic Literature (From the Encyclopedia Britannica)

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http://www.britannica.com/EBchecked/topic/692967/dramatic-literature

In this short time we do not hope to cover all these reading materials to full depth, but we can get a practical grasp of the subject matter and an understanding of how to continue our study of the books and articles.

MEETING DETAILSWed/11th Evening – Area One: Introduction to the Course, and Introduction to first reading assignment from D. Haberman’s Introduction.

The Course reviews the Bhakti-sastri materials and then progresses in the manner described above: Overview of the whole NOD/BRS, discussion of the Southern Part and the five aspects of Bhava, detailed focus on Vibhava, the first aspect, and introduction to modern Rasa/Drama theory and how we can do Sankirtan in the area of Theater.The reading assignment will be David Haberman’s Introduction to BRS pages xxix (29) - xlix (49) which are pages 1-5 on our PDF file.

This is divided into, The Yoga of Divine Emotions, which includes an excellent introduction to the Introduction. First he talks about the value of emotions amongst Indian philosophies. Then he describes how his Introduction is orangized. How many parts does it have? What does each one deal with?

Then, Rupa Goswami and His Times, which includes a Bio of Rupa Goswami, History and Character of the ruling Muslims, the Gaudiya and other Vaisnavas participating, BRS amidst all this.Some questions just to keep you focused. Who defeated the Lodis? Was Sikhander Lodi a Hindu killer? How did Humayun die? Who was his son? What temple did Swami Hari Das establish?

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In general, we can become quite familiar with Dr. Haberman’s Introduction for our advancement and also as a great too for preaching. He is an accepted professor and in talking with academic people his words have full weight. It is like Lord Caitanya taking Sannyasa from Kesava-bharati.

Fri/ 13th Evening – Area One: Review of Haberman part one and introduction of Haberman part two, which is a super excellent history of Rasa-sastras leading up to the production of BRS. This has its beginnings with Bharata Muni and then passes through Abhinava Gupta, Emperor Bhoja and comes to Srila Rupa Goswami.Assigned reading starts on page xxvi (page 5 in the pdf) with the title: The Essence of Rasa: A Brief Discussion of Rasa Theory. First Dr. Haberman looks for the most ancient sources of the word “Rasa” which is in the Upanishads, but then focuses on how it was used in the context of theater.This leads immediately to Bharata Muni and his Natyasastra (2BC x 4AD). This was basic to other later ideas. Bharata’s idea of drama is contrasted very significantly with Aristotles which may be said to hold the same prominence in the West.According to Bharata, what is Rasa? Is it only for theater? How is it produced? What are vaibhava, anubhava, vyabhicari bhava and sthaya Bhava?Then Dr. Haberman goes to Abhinava Gupta (Kasmir 10AD). Is he the undisputed authority that Rapa Goswami and all others would have followed? You can read this lightly to get the rough concepts. On pdf-page10 then will be summarized in great clarity. Can the actor experience Rasa? What is the role of Vasanas in Rasa? He introduces a ninth Sthayi-bhava, Santa, which he says is the goal. His view of Rasa very much depends on destruction of the ego and achieving an impersonal peace.Pdf-8 top left Dr. H. introduces the ideas of Bhatta Nayak and how these preceded Abhinava. These are very interesting to read, but you can skip to Pdf-8 right, “Abhinava’s theory has been summarized in this way…” and the following paragraphs which also gives clear idea of Abhinava’s concept of application of Rasa theory in daily or spiritual life.

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One thing we see is that Dr. Haberman holds the thesis that these different ideas were maybe in evolution and Srila Rupa Goswami inherited them and matured them. Our idea might be that Sri Rupa Goswami understood the history of ambient Rasa-theory very well and used to explain the eternal Bhakti-rasa to his contemporaries and later students.Pdf-9 Left Dr. Haberman looks at pre-Abhinava scholar Bhatta Lolla, and then continues this with a look at Dandin.Pdf-9 Right introduces to Maharaja Bhoja. He was an 11th century Rajasthani emperor. You can read this lightly because on pdf-10 Left bottom, “We are now ready to compare…” there is an excellent, excellent, excellent comparison of the schools of Abhinava and Bhoja continuing to a conclusion that Srila Rupa Goswami is far more aligned with Bhoja than Abhinava.There is a Wikipedia article on Emperor Bhoja at: http://en.wikipedia.org/wiki/Bhoja

Pdf10-R concludes that Srila Rupa Goswami is more aligned with Sri Bhoja.Finally, Dr. Haberman gives us a summary of Bhakti as Rasa Prior to Rupa. This includes discussion of Mammata and Vopadeva whom Srila Prabhupada mentions in the first verses of Srimad Bhagavatam. He appears to us to be a nice person but he was wrongly indicated as the person who later wrote Srimad Bhagavatam by less informed scholars. Vopadeva was expanded by Hemadri who specifically talks about Visnu bhakti.Pdf-11 Dr. Haberman finishes with illuminating Srila Rupa Goswami’s position amidst all this Rasa history.

Sat/14th Morning – Area Two in two Sessions: Overview of the entire Nectar of Devotion (NOD) and specific Review of the Western part. Reading assignment will be CC Madhya 19.114-135, Lord Caitanya’s Instructions to Rupa Goswami at Allahabad. These became the basis of BRS. As a supplement, the third part of David Haberman’s Introduction, “The Ocean: Structure and Content”, can also be read.

Mon/16th Evening – Area Three: Overview of the Southern part of NOD, Bhava-bhakti. Reading, Waves of Devotion pdf120-127,

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and NOD corresponding chapters, and Prof. Haberman’s Introduction, pages lvi-lviii (56-58)

Wed/18th Evening – Area Three and Four and Fri/20th Evening – Area Four: Detailed look at Vibhava, the first aspect of Bhava-bhakti. This is the stimulation for the other aspects of Bhava. The sound of Krsna’s flute would be Vibhava. Reading is Waves of Devotion pages 127-143 and related NOD chapters.

Sat/21st Morning – Area Five in two Sessions: Modern Theater and NOD-2.Here we will look at historical persons in Western drama theory such as Constantin Stanislavskii, Viola Spolin and Peter Brooks. We will experience some of the techniques and see some of their dramatic works. Read Biographies of Stanislavsky, Peter Brooks, indicated portions of the Britannica article on Dramatic Literature and the beginning of Viola Spolins theater technique classic, Improvisation for the Theater.

ESSAY REQUIREMENTSThe Essay for the Certificate must be about 4,000 words. It should discuss the five areas that we covered in the Seminar:

1. Bio-data and political history of Rupa Goswami and his times, and history of Rasa concept in theater up to Rupa Goswami.

2. General overview of BRS with emphasis on Eastern part.3. General overview of Bhava-bhakti.4. Pick one of the five aspects of Bhava excluding Vibhava and

explain it.5. Explain how Rupa Goswami’s ideas are related to modern

drama theory.You can write even one sentence on each of these different topics and then focus more on other topics that interest you. As per the Radha-desa standard the essays are graded for clarity of expression, proper citation of sources, logical organization of content and of course the actual description of the five areas above, which is the most important. Write the essay so you can use it later.We have posted a sample essay at:

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www.jayarama.us/archives/brs/sample-essay.doc

Thank you so much for your association! Please expand the ocean of Lord Caitanya’s mery!Hanumatpresaka Swami / ASA

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