Orissa Review * May-June - 2010

Jayadev : The Progenitor of Music

Kirtan Narayan Parhi

The traditional school of classical music presently Jati Astatala, & ekatali, which are included in popular as Odissi was referred to by Bharat navatalas, commonly used in Odissi till to-day. muni, Matanga muni, Saraangadev under an The repertoire used in Gitagovinda independent nomenclature Udramugudhi such as Malava, Gurjjari, Vasanta, Ramakiri, prabritti, which was once Malavagouda, Gundakiri, popular as Kaling music, Karnata, Desakhya, Utkal music or Jayadevi music Desavaradi, Bhairavi, Varadi in different periods. One does etc. are being recited in Lord not require to survey the history, temple as well as all delve deep into texts and the corners of Odissa since 12th characteristic features of Odissi century. Can we not claim system to understand its classy without oddity that these are style if he atleast reads and native of Odissa ? After listens to Gitagovinda of Sri around 100 years of Sri Jayadev. As this sacred piece Jayadev, Sri Sarangadev has of lyrical poem contains all the identified some of the aforesaid salient and distinguishing ragas as kriyangh or features of classical music, the adhunaprasidha raga¶s. By the reader or listener must 14th century the ragas of appreciate the uniqueness and Gitagovinda had become so wholesomeness of Odissi as the Ragaputra Kalinga Kangra, popular throughout India that third system of classical music Pahari, Circa AD 1790 Lochan kavi of Mithila in the domain of Indian music. distinguished these ragas as Sri Jayadev has composed this illustrious Jayadevi ragas because these were being recited, Gitagovindas as per the specifications of delineated and developed by Sri Jayadev with Udramagadthi prabritti, Ardha magadhi distinctive musical entity. Padasrita giti, Bhinna swarasrita giti and The characteristic features of navatalasrita giti. The songs of Gitagovinda are ardhamagadhi padashrita giti is clearly understood set to talas (rhythems) such as Rupaka Nisarah from the titles of the cantos such as Samoda-

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Damodara, Aklesha-Keshava, Mugdha path) and was well versed in charya gitika. From Madhusudana, Snigdha-Madhava, the Odiya daily, the Sambad dt. 20.8.03 we come Sakankhya-Pundari-kakhya, Sotkantha- across a news item that Prof. Satyakam Sangupta Vaikuntha, Nagara-Narayana, Bilakhya- (a scholar of West Bengal) has said ³Jayadev has Lakhmipati, Mugdha-Mukunda, Chatura- placed Buddhadev as an incarnation of Lord Chaturbhuja, Sananda-Damodara and Vishnu in his Dasavatara prabandha of Gita Suprita-Pitambara. Gobinda. Therefore, it is perspicuous that About characteristic features of Jayadev had knowledge about Charyagiti i.e. ardhamagadhi giti, Dattila has said - Buddhist music. One has to acknowledge that Gitagovinda was written in order to be sung before ³Ardhakala nibruttaistu varnadhya Lord Jagannath exclusively and since then (12th Charddhamagadhi.´ (Dattilam 2:238B) i.e. century) the recital is being continued as daily ritual Ardhamagadhi is rich in varnas and has repetitions in Srimandira to propitiate the Lord. We can not made in half that time. construe that the conventional rendition style of Sarangadev has also written in Sangit Gita Gobinda is completely lost. The rhetoric Ratnakara that - words, symphonic syntax set to rhymes, rhythms ³Purvayoh padayoaryodhai Charame and ragas of Gita Gobinda fascinate the hearts diryadodite.´ Sri Jayadev has composed and minds of each listener with rapture. Jayadev Gitagovinda according to this principles. has engirdled the transcendence hence with the transient in simple Sanskrit grandiloquence. He The recital of Gitagovinda follows the has elucidated with lucidity the supreme lose specifications of Bhinna-giti. According to between Lord Krishna (Parama) and Radha Mattanga muni, Bhinnagiti is said to be mobile, (Jiva) in earthly mood. This unparalleled and curved, subtle, spread out, attractive with cadence superb piece of lyrical literature and classical music and made to shine up wards. transgress all human hearts. ³Sukshmaischa prachalairvakrarullasita Gita means song and Govinda is a prasaritaih. / Lalitaistaramandraischa bhinna synonym for Lord Krishna. Go is the metonym gitirudahruta.´ (Brihaddesi 3:276) for cow, world, heaven, veda mata, gayatri, vak Prior to Jayadev (12th century AD), the (speech) and vani (voice). He who knows the tradition of music in Kalinga, Utkal was rich but theology of vak and vani is called Govinda. Sri the gities (style of recital) flourished during Jain Jayadev has composed Gitagovinda in conjuction period was almost lost. But the essence of with his musical skill and magical vocal genres. Buddhist music which had reached the zenith At the outset he has paid auspicious salutation to during 7th to 11th century maintained its identity the Goddess of learning, Sri Saraswati, who stays at-least till Jayadev¶s time. According to Madanlal in his heart. In comparison with Umapatidhar, Vyasa, Sri Jayadev was a smarta (ardent Sarana, Dhoi and Gobardhanacharya he has brahmin) means an erudite scholar in smruti shastra ranked himself as the best for his composition with and a devotee of five deities. Supporting the views sweet words, romantic and erotic sentiments, and statements of others, he has again said that amorous love story of Radha-Krishna and above Jayadev was a follower of Sahajajana (easier all aesthetic essence; the articulation of which

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In Gitagovinda Sri Jayadev has not only embellished his lyrical poems with music and melodious versifications but also with philosophy, metaphysics, ontology and mysticism. His music is meant not only for the purpose to please but to enlighten through entertainment creating aesthetic emotions, a sense of spiritual love, supreme beauty and perpetual peace. Therefore Gitagovinda has maintained ascendancy since it is written. A palm-leaf manuscript of Gitagovinda written in Odiya script in 18th century is preserved in National Museum, New Delhi. In which, the icons of Lord Jagannath, Balabhadra and are drawn in letters. In Ragamala painting, we find Ragaputra Kalinga (Kangra, pahari, circa AD 1790) which is analogical with a stanza in the 12th canto of Gitagovinda. ³Paryankikrutanaganayak aphanasrani maninagane A folio of Gitagovinda, palm leaf, 18th century A.D. Sankranta pratibimba sanklanayabibrat bibhubikriyam. imbues ecstasy and alacrity in each heart. Shri Padambhoruhadharibaridhi sutam Jayadev has again confirmed in the 12th canto kshyanam didrukshyuh sataih. that let the dilettantes know the theme of gandharva (art of music), skill of recital, essence Kayabyuhamiba charannu pachitakuto harih pata bah.´ of romantic sentiments, the art of writing lyrical poems and clandestine love affairs of Radha- The above stanza written in sanskrit by Krishna from Gita Gobinda. Sri Jayadev has been translated by Adwin Arnold as under - ³Jat gandharvakalasu kousala manudhyana cha jat vaishnavam ³Hari keep you ! He whose might, On the king of Serpents seated, Jachhrungaravivekatattwamapi jat kavyesu Flashes forth in dazzling light lilayitam. From the great snake¶s gems repeated. Tatsarbam Jayadev pandita kaveh Hari keep you ! He whose graces, Krushnaikatanatmanah. Manifold in majesty, - Sanandah Parisodhayantu Sudhiyah Sri Multiplied in heavenly places - Gitagovindatah.´ Multiply on earth to see

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Better with a hundred eyes belongs to the number of India¶s lyrical songsters Her bright charms who by him lies.´ connected with bhakti revival. Though each song Sri Jayadev¶s Hari means Srikrushna is has the name of the raga and tala to which it was seated on the hood of the king of serpents with a sung these are not intelligible to-day to Indian and lotus. Through the dazzling flashes of musicians.´ gems in the hoods, Hari wants to see Lakshmi in By the time (1921) Mr. Popley wrote the his uncounted eyes. Probably for that he took said text, probably no modern Odiya scholars multiplied shapes. ³Let him save you.´ A stone have protested the dubious information about birth made serpent with seven hoods is found in the place of Sri Jayadev although he belongs to village Kendubilow, Khurda district (erstwhile Odissa. However now many researchers, ), the birth place of Sri Jayadev. This indicates scholars, poets, pandits and musicians of Odissa that Ragaputra Kalinga is a native raga of the then as well as West Bengal have clarified with Kalinga music, now known as Odissi. supporting evidences that the real birth place of The quintessence of Odissi music is Jayadev is Kendubilow of Khurda district discerned in the intrinsic vision of the learners and (erstwhile Puri), Odissa. listeners, who repose in Gitagovinda, for its traits like composition, improvisation, raga repertoire, As per version of Mr. Popley if Jayadev treatment of rhythms and rhymes, usage and is the first north Indian musician, then why he is genre. Sri Jayadev has not only originated a not recognized as the progenitor of Hindustani specific music tradition, systematic form and system ? Yes, it is a fact that Gitagovinda is recited definite melodic pattern, raga-tala repertoires but in all parts of India including the north and south. also built a socio-cultural community. The purity, It may be said that music of ancient India is not sanctity and characteristic features of Odissi music intelligible to many extents, but not ¶s have been enriched, refined and pervaded its music, which is regularly being recited in the horizon through Gitagovinda of Sri Jayadev. We temple of Lord Jagannath as a daily ritual as well have the first evidence of Odissi music in an as in all corners of Odissa. If there is doubt every articulated and systematic form from the body is free to make further research and study versifications of Gitagovinda. This sent and seer, to accentuate the truth. When Sri Jayadev is an poet and musician, Sri Jayadev was born at Odiya and his Gitagovinda is set to native ragas, Kendubillow of Odissa. We adore him as the talas and sung according to Ardhamagadhi progenitor of Odissi system of classical music. padasrita giti, Bhinna swarashrita giti, Odissi vocal Mr. HA Popley said in his work, µThe Music of which follows it¶s traits and tradition is also India¶ (1st edition 1921) that ³The first north classical. Truly Odissi vocal is classical and it is a Indian musician whom we can definitely locate different system from Hindustani and Carnatic. both in time and place is Jayadeva, who lived at Therefore, Sri Jayadev is the progenitor of Odissi the end of twelfth century. He was born at music. Kendula, near Bolpur, where lives today the poet Laureate of Bengal and modern India. Kendula still celebrates an annual fair at which the best musical pieces are regularly performed. Jayadev wrote and sang Gitagovinda, a series of songs Narayan Parhi lives at HIG-85, Phase-I, Kanan descriptive of the amours of Krishna, and so Vihar, - 751 031.

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