Poetic Beauty Ofjayadeva's Gitagovinda

Orissa Review * May-June - 2010

Poetic Beauty of Jayadeva¶s Gitagovinda

Prof. Raghunath Panda

The Gitagovinda is a coherent Sanskrit Kavya meghaduta. It does not confirm to muktuka composed by Jayadeva in the 12th century in type, since it has got a connected subject matter Orissa.1 Poetry is the highest form of all arts.2 In throughout. The poet Jayadeva, himself calls it a Gitagovinda we not only come across refined prabandha. (etam karoti jayadeva kavi poetry but also excellent musical compositions in prabondham). So far as the division of sarga¶s different tunes (ragas) and talas (beating in terms or cantos are concerned, the design of a of time units). Regarding the poetic style of mahakavya is found in it. Gitagovinda critics and historians of literature Some commentators and critics have also are found confused. As such Hassen considered not hesitated to call it a mahakavya.8 It is divided the poem as a lyrical drama and Jones called it a into 12 cantos in which traditional verses in pastoral drama. Levi regarded it as an opera and traditional metres are found intermingled with Pischel placed it in the category between song songs having different popular ragas or tunes to and drama. Schroder regarded it as a refined be sung by specific talas, etc. The general yatra. Keith equates it with the festival plays in description are found in metres like Bengal3 which resembles the rasa of Mathura, vasantatilaka, Sragdhara, Sikharini, etc; where the short story of krishna lila is shown where as the portions depicting emotional and accompanied by song and music.4 subtle feelings of human heart are mostly presented Further, due to the division of Gita in popular ragas or tunes like Malavagauda, Govinda in to cantos (Sarga), Keith pointed out Gujjari, Ramakeri, Vasanta and so on.9 5 that it has belonging to the generic type of kavya. Conclusion on its Genre : S.K. De observes that ³as a creative work of art, it has a form of its own and it defined Considering the emotional factors relating conventional classifications.´6 to flowing human spirit studded with songs, we are inclined to put it at par with the modern The Present Observation : western lyric with an unique indegenous Indian Undoubtedly, the Gitagovinda is an musicological garb. Thus it can be said a original piece of small Sanskrit poem of unique Gitakavya or Gitikavya par excellence. character which defies the traditional settings of In Indian aesthetic tradition rasa, dhvani, Khandakavya or laghukavya of the genre of riti and Guna, Vakrokti, Awitya and above all

36 Orissa Review * May-June - 2010 ramaniyata or total attractiveness have been Yadiharismarane Sarasam mano estimated as the essence of poetry by different adivilasakatasukutuhalam /Madhura Komala- rhetoricians and their followers from time to time. kanta-padavalim Srnutada-jayadeva Among all of them rasa, dhvani and the sarasvatim // Gita Govinda 1/3 ramaniyata traditions hold good and are more It is also said as good saying srngaricet appreciated by the connoisseurs of literature. kavih kavyam yatam rasahmayamjagat. µRasah¶ has been derived as ³rasyate The whole kavya is replete with erotic asvadyate iti or asvadayanti manasa descriptions since the subject matter of the kavya tasmannatya resasmrta.´10, which is relished in the mind. The term rasah finds mention for the constitutes the slender plot of separation and union first time in the Taittiriyopanisad11 in connection of Radha and Krsna in Vrndavana occuring in with the interpretation of creation, the manifestation only less than two days time. Besides, the two of Sat and the principle which enjoins for blissful prayers offered to Lord Jagadisa, the plot begins conditions of the medicant. He should know Him, with the revelling of Krsna with the cowherd- realise Him in the self, which enables oneself for women in the mirthful spring season, which begins realisation of eternal happiness. By way of with the sloka : imitation the same term has been adopted in anekanariparirambha - sambhrama literature which quite befittingly has been described sphuranmanohari vilasalasam / as brahma & vadasuhodara.12 murarimaradupadarsayantayasau The western concept of Aesthetics not sakhi samaksam punuraha radhikam// 1/37 only includes the relish of rasah (though not said Then the whole fourth prabandha in that term) but also accepts any aspect of chandana charcitanila kalevara etc, is full of literature which pleases the mind of the Sanbhogasrngara or erotics in union where connoisseur with its living impact. It is just the Krsna freely mixes with these beautiful women other way round put by Magha as : dancing, singing and rejoicing in whatever pleasant Ksanam ksanam yannavatamupaiti tadeva manner he likes. For example - rupam ramaniyatayah / µSlisyati kamapi cumbti kamapi kamapi Hence, not only the amount of srngara ramayati ramam / pasyati sasmitacaru hasya or karuna displayed and relished in our paramaparamanu gachati vamam // haririha present work Gitagovinda attracts us for mugdhavadhunikare vilasini vilasati kalipare. examination but also the beauties of the depiction 1/44 of feminine charm, descriptions of the nature, dialogues with brevity and emotions enrich the The whole song has been summerised in aesthetic experience of the reader or audience the subsquent verse by the poet in the and critic as well. sardulavikridita metre - In Indian aesthetics Rasah enjoyes a visvesam anuranjanena jayayann anandam prominent place in literature. Here, in indivara sreni - syamala - momalair Gitagovinda as indicated by the poet propitiates upanayann angair arun - gotsavam / sva- the erotic understanding as well as the devotional cchandam varasa-sundaribhir abhitah fervour of the readers. pratya-ngam alingitah. - Srngarah sakhi

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murtimaniva madhau mugdho harih kridati likhati sapulakam mrgamiva rajanikare/ / Gita Govinda, 1/46 ramate yamunapulinavane vijayi It has been translated by B.S. Miller in murariradhana. 6/22 the following way : Further, excellence in union can be When the quickens all things marked in the advice of the companion to Radha To create bliss in the world, while she impells her for rendezevous with Krsna His soft black sinuous lotus limbs, in Song No. eleven for example : Begin the festival of love. Urasi murarerupahitahare ghana iva And beautiful cowherd girl¶s wildly taralavatake/ tadidiva pite rativiparite wind him in their bodies rajase sukrtavipake// vigalitavasanam Friend, in spring young Hari plays parihrtarasanam ghatala jaghana Like erotic mood incarnate. mapidhanam / kisalayasayane pankajanayane nidhimiva harsanidanam // Again Sambhoga-srngara occurs in the remembrance of Radha of the past amorous 5/12 activities in the sixth song where she requests her The climax of erotic union occurs in the companion to do the needful for her union with 22nd and 23rd songs and subsequent verses. For Krsna. According to the poet - example : nibhrta-nikunja-grham gataya nise rahasi- Maranke ratikelisamkularanarambhe taya niliya vasantam/ cakita-vilokita-sakala- sahasa prayam kantajayaya kincidupari disarati-rabhasa-bharena hasantam // Sakhi prarambhi yatsambhramat / nispanda he kesi - Mathanam udaram. jaghanasthali sithilita dorvallirutkampitam sakhi he kesi-mathannum udaram. vaksyo militamaksi paurusarasah strinam ramayamaya saha madhuna-manoratha- kutahsidhyati // 12/10 bhavitaya savikaram/ 2/11 Erotic in separation or vipralambha is The next situation where erotic union gets the real life force of the erotic sentiment without highlighted in a hypothetic union of Krsna with a which depiction of erotics never attains its full youthful woman to whom Radha thinks to be growth (na vina vipralambhena srngara more attractive than her due to her envy in the pustima-snute) song No.14 sung in tune of Vasanta and reads Vipralambha in Gita Govinda begins like :- with the remorse of Radha when she returns to smarasamarocitaviracitavesa her bower after finding Krsna revelling with other galitakusumadaravilulitakesa kapi cowherd women. This is reflected from the madhuripuna vilasati yuvatiradhikaguna 6/13 beginning of the second canto, in song five and The same context continues in the the subsequent verse. They are the verse subsequent 15th song in Gurjjari tune. The text viharativane-radha and so on. The song of the first line is - ³sancaradadharasudha-madhuradhvani´ and Ganayatiguna-gramam etc. reflect the typical Samuditamadane ramanivadane mood of Radh. The feeling of vipralambha on cumbanavalitadhare Mrgamadetilakam

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Krsna is well expressed in the whole third canto Hence, the allegation regarding sensuality which is evident from the verses like : does not stand valid. On the other hand the itastatastam anusrtya radhikam enormous popularity of the text tells a different story rather in contrast to the said allegation. ananga bana vranakhinna manasatra The Popularity of the Gitagovinda : krtanutapah sa kalinda-nandini Due to the popularity of the Gita tatanta-kunje visasada madhavah // 3/2 Govinda more than ninety commentaries and 132 The following mamiyamcalita vilokya imitations on this Kavya have been recorded.13 vrttam vadhunicayena reveals the same feeling Moreover, the songs of Gita Govinda in a vivid manner. are enacted in many classical dance forms like The best expression of Krsna¶s feelings the odisi, the Manipuri, the Bharatnatyam and in separation is expressed in the subsequent five so on. verses beginning from hrdivisalata haro to the In the worship of Lord Jagannath a verse bhrupallavam dhanurpangatarangitani. specially hand-cooven silken cloth named To cite just one example through virodhabhasa Gitagovinda Khandua is offered to the deities alamkara shall be captivating for the readers : in the great temple at Puri. The prayer songs of Gitagovinda are charted every night of ritual just bhrucape nihitah kataksa-visikho nirmatu before the deities go for asleep and attired in marmavyatham syamatma badasimhara vesa. Regarding the chanting of the syamatma kutilah karotu kabari-bharopi songs of the Gita Govinda in the daily service of marodyamam the deities, there is a definite proclaimation of king moham tavaayam ca tanvi tanutam Prataparudradeva in the form of an inscription on the left side of the jayavijaya door-way, written bimbadharoragavan in Oriya language and script in A.D. 1499.14 sad-vrttah stana-mandalas-tava katham Riti pranair mama kridati // 3/3 Ritis are usually of four kinds in Sanskrit Some people often blame Jayadeva literature, they are vaidarbhi Gaudi pancali and under the charges of depiction of sensuality for Lati. In Gita Govinda Jayadeva makes use of the lines like ³pinapayodhara-parisara- Vaidarbhi and the Gaudi styles. Verses like mardana - conca lakarayugasali etc. In answer ³Ganayati guna-gramam bhamam to which it can be said that srngara really bhramadapi nehate´ or ³recaya kucayo patram generates the highest pleasure among the relish citram kurusva kapolayor´ can be cited as of all the sentiments, according to examples of vaidarbhi style, whereas Anandavardhana - ³unmilanmadhugundha lubdhamadhupa- Srngara eva madhurah parah prahlladano vyadhutacutan kura´ etc. can be put-forth as rasah / tanmayan kavyamasritya madhuryam example of Gaudi. pratitisthati // srngare vipralambhakse karune But one thing more regarding style of ca prakarsavat / madhuryamardratam yati Jayadeva is striking that besides these verses in yattatradhikam manah Dhvanyaloka, 2/7-8. traditional metres he has added twenty-four

39 Orissa Review * May-June - 2010 beautiful and melodious songs in different tunes / malayajarojao nedam bhasma priyarahite or ragas which can be cast in classical odisi mayi prahara na harabhrantyananga krdha music. These ragas are Malava, Gursijari, kimudhavasi // 3/11 Vasanta, Karnata and so on keeping in view the Musical Niceities - sonorous and sweet dictions, the poet himself calls his composition as ³madhura komala Jayadeva at the introduction of his kavya kantapadavati´. For example - ³candana- Gita Govinda informs his readers that he was carcita-nilakalevara-pitavasana vanamali / going to compose a prabandha kavya, etam Kelicalanmanikundalamanditaganda karotiJayadeva kavih prabandham). 1/2 yugasmita sali / haririha mugdhabadhunikare Prabandha is a veriety of Khandakavya vilasini vilastic kelipare´/ 1/38 at the same time prabandha is also a veriety of Riti depends on the qualities of words or musical piece. Since Jayadeva¶s Gita Govinda Guna (both sabda guna and Arthaguna). Hence abounds in a large number of songs and every obviously for generating vaidarbhi style all the song is titled as Prabandhas, viz -prabandha-I, Gunas required to be present according to the Prabandha-II etc. it is nearer to the prabandha ancient rhetoricians believe only madhurya type song type of kavya, rather than a prabandha in ofGuna alongwith softer use of words give rise contrast to the muktaka variety. Prabandha has to the Vaidarbhi style. From the beginning to the been defined in Sangita cuamani as : end Jayadeva stands faithful to his declaration of caturbhidhatubhih sadbhi¶scangair yasmat composing the ³madhura-komata-kanta- prabadhyate / tasmat prabandhah padavali´.. kathito ....// 16 The Alankaras The prabandha songs have several As regards the use of alankaras details and due to its importance sarngadeva has Jayadeva is a superb artist. There is almost in every devoted a full chapter on the prabandha songs verse and song the dancing effect of Anuprasa in his sangita-ratnakara, an ex-haustive treatise touches the sense of the ears. May it be µca¶kara on musicology. The musicological texts written in in ³vagdevata caritacitritacittasadma´ or µMa¶ Orissa like the sangitakalpalata, kara and µdha¶ kara in ³unmilanmadhu- sangitarnavacandrika, Gitaprakasa etc. - all gandalubdha´ etc.15 of them have cited examples from the Gita Govinda in appreciation of its musical value. Among the Arthalankaras Upama, Rupaka, Utpraksa, Kavyalinga, Visesokti, Its influence on the regional Sanskrit and Vyatireka, Dipaka, Arthantaranyasa, Oriya Litarature Samuccaya, Anumana, Bhrantiman, etc. are Gitagovinda, has widely excercised its introduced. influence on the later literature to such an extent To cite just one example of Bhrantiman that it can be felt from the Sanskrit authors like shall be quite heartening to test one for the relish Purusottama Deva, Divakara Mishra, Raya of the connoisseurs : Ramananda Sitikanthakavi and Oriya writers like Abhimanyu Samanta Singhara, Upendra Bhanja, hrdibisalataharo nayam bhusangamanyakal Dinakrsna Das, Kavi Surya Baladeva Rath : One kuvalayadala¶sreni kanthe na sa garaladyutih and all have been sufficiently influenced by the

40 Orissa Review * May-June - 2010 memorable lines and songs of the model Gita pravisan pradose maladharo malavaragaraja Govinda. That is why Orissa has developed a // Gg, Manamohan Press, Cuttack, no date, p.81. rich, profound and highly entertaining lyrical, 10. Natyasastram, Ch. VI. 38. musical as well as lyrico-dramatic literature of 11. rasam hyevayam labdhavanandibhavati / significantly commendable dimensions. Taittiriyopanisad, Ramakrishna math, madras, 1965, p.116. Covering all the aesthetic aspects of Gita 12. Sahitya-Darpana, Ch.III, 2. Govinda shall constitute a voluminous work, therefore lack of scope in a single paper forbids 13. See, Raghunatha Panda, Orissa¶s Contribution us to delve deep and discuss extensively here at in Sanskrit Lyrics, Abhijeet publications, Delhi- 94, pp.82-123; Suryamani Ratha, Gitagovindam this insant. (ed) with Rasikarangada commentary; References : introduction; Banamali Rath, Iminations of the Gitagovinda, Kalyani Prakasana, Berhampur. 1. Panda R.N. & Nanda G.C. Contribution of Orissa to Sanskrit literature, Bhubaneswar; 1994, 14. Manmohan Chakravarti, ³Uriya inscriptions of pp.29-45. the 15th and 16th centuries.´ Journal of the Asiatic Society of Bengal, 62, pt.I (1894), 2. K.C. Pande; comparative Aesthetics, Vol.I, p-1. 88-104; see, K.C. Misra, Cult of Jagannath, 3. Obviously based on the errorneous belief that pp.54-55. Jayadeva belonged to Bengal. 15. Chekanuprasa; 1.2, 5, 6, 10, 26, 27 etc.; 4. A.B. Keith, A History of Sanskrit Literature, vrttyanuprasa, 1.1, 2, 9, 12, 13, 15 etc; p.191. Antyanuprasa; 1.5, 8, 39, 42 etc. 5. Ibid. 16. R.N. Panda; Orissa¶s Contribution in Sanskrit Lyrics, p.105. 6. S.K. De; Indian studies past and present, p.647. 7. Gita Govinda, I.2. 8. Ref. Gita Govinda with Sarvangasundari and Srutiranjani, commentaries ed.B. Panda, Deptt. of Culture, Govt. of Orissa, Bhubaneswar, 1985. 9. In some editions of Gita Govinda the forms or svarupa of different ragas are also described. For, example, malava-raga is depicted as nitambini-cumbita-vaktrapadma The author works as a Professor of Sanskrit, in Utkal sukadyutikundalavan pramatta/ sangitasatam University, Vanivihar, Bhubaneswar-4.

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