365bet娱乐

202
century B.C.E.
vernacular K峁涐梗峁嘺 plays were popular in ancient Mathur膩, the
traditional birthplace of the deity, as early as the second
And drama--in practice as well as concept--
continued to be a central element of K峁涐梗峁嘺ite spirituality.6
The bhakta was, on one level, an avid spectator of
the reenactments of the Lord's lilas that took place in the
community, as well as a devoted hearer of the accounts of
K峁涐梗峁嘺's life read in communal gatherings. Such literary-
dramatic experiences served as an effective devotional
s膩dhana. In this connection, Wulff (whose work on the plays
of R奴pa Gosv膩min vividly illustrates this phase of Vai峁ａ箛ava
spirituality) notes that even today the popular K峁涐梗峁嘺 dramas
have "the power to awaken profound religious emotions in the
devotees who witness them, and to sustain and deepen those
emotions not only during the period of a single performance,
but through repeated performances over the course of a
devotee's entire lifetime."7 The serious bhakta was not,
however, confined to role of a mere spectator or auditor.
Another, more profound, level of participation was available
for the more serious aspirants. The BP describes the gopis
as miming K峁涐梗峁嘺's gestures and sports, and recommends that
the devotee do the same. 8 Accordingly, the Vai峁ａ箛avas
developed a theory of devotional practice which allowed the
devotee to become an actor, not only in the stage play, but
ultimately in the divine drama itself.