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Vipralambha In Indian Classical Dance

Vipralambha is a feeling or sentiment of love in separation in Indian classical dance. It is one of the two main kinds of sringara (love). It happens because of longing, parting with the lover due to jealousy, journey or a curse. It stands in apposition to sambhoga (carnal or sexual union). Union in separation is the highest realization, so vipralambha is the highest kind of attainment. Without vipralambha, nothing can be attained. Krishna-vihara, Krishna-milana (meeting with Krishna) and vipralambha to Krishna consciousness. The safest and the most fearless position, however, is vipralambha.

It is mentioned in Ujjvala-Nilamani that on the embankment of separation, the relishing of this mellow Viraha-rasa (flavor of separation) is of four types – purva raga, mana, prema-vaicchitya, and pravasa. Similarly four types of relishing are there on the embankment of union – sankshipta, samkirna, sampanya and samriddhimana. First, samkshipta is relished after the first type of viraha tattva, purva raga. First viraha and then milana (sambhoga); similarly samkirna is relished after mana-viraha. Then sampanya is relished after prem-vaicchitya-viraha. And Samriddhimana is relished after pravasa-viraha.

In the lilas (amorous sports) of Krishna in Vraja, there is mention of vipralambha: on the embankment of vipralambha, there is acute pain, the pangs of separation. Intense heat and vilapa (crying) is also there. And these two separate things are eternally there in Vraja. On the embankment of separation, both Radha and Krishna relish the mellow of separation.