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Upaniṣads · Sarasvatīrahasya 4.30
॥
Devanāgarī
समाधिराद्यसन्मात्रान्नामरूपपृथक्कृतिः । स्तब्धीभावो रसास्वादात्तृतीयः पूर्ववन्मतः
Transliteración (IAST)
samādhirādyasanmātrānnāmarūpapṛthakkṛtiḥ | stabdhībhāvo rasāsvādāttṛtīyaḥ pūrvavanmataḥ
Palabra por palabra
SánscritoIASTSignificado
समाधिः आद्य-सत्-मात्रात्samādhiḥ ādya-sat-mātrātsamādhi, from the first, mere being
नाम-रूप-पृथक्-कृतिःnāma-rūpa-pṛthak-kṛtiḥthe separation of name and form
स्तब्धी-भावः रस-आस्वादात्stabdhī-bhāvaḥ rasa-āsvādātstiffening, from the savoring of taste
तृतीयः पूर्व-वत् मतःtṛtīyaḥ pūrva-vat mataḥthe third, considered as before
Traducción
Samādhi [comes] from the first, mere being — [through] the separation of name and form; and stiffening, from the savoring of taste, is the third, considered as before.
Versión
61c1de340fad · publicado 12 ago 2026, 5:00:00 UTC
Disponible enRUENPasa de verso en verso con
It is worth noting the word stabdhī-bhāva, "stiffening," from stambh, "to stiffen." It is technical and denotes a state in which a person freezes: does not move, does not speak, does not respond. And its cause is named: rasa-āsvādāt, "from the savoring of taste."
Let us add what the Vaiṣṇava side says of this word, for she has it too, and it stands at an important point. Stambha, "stiffening," is counted first among the eight sāttvika-vikāra, "pure transformations" — bodily signs of strong feeling, discussed when reading the Jābāla-darśana (5.11) and the Saubhāgyalakṣmī (2.5). The eight are: stiffening, perspiration, hair standing on end, a breaking voice, trembling, change of complexion, tears, and falling unconscious.
That is, one and the same word stands in two teachings, and in both denotes the same state. The difference lies only in the cause: here the stiffening comes from savoring one's own experience, there from what is heard about Him. Let us add what follows from this for discernment, for the question is a practical one.
Outwardly the two forms of stiffening are indistinguishable; they can be told apart only by what preceded them. And so her rule requires looking not at the state but at the occasion: one frozen in silence and one frozen at a word of the story have frozen differently, though from outside both stand motionless.