10. Plot Contents of the Gitagovinda

The theory of the Gitagovinda explained by Jayadeva was based on the sahaja theory of later Buddhism. In this theory it is written that the worshipper should choose a lady partner for his worship. This sahaja tradition has entered in the Vaisnavism from the vajrajana and sahajajana of the Buddhists. Jayadeva is regarded as a sahajavaisnava among the supporters of this theory." Another 101 opinion is there which encouraged Jayadeva to write the Gitagovinda is like this - Some copper plate inscriptions show that to serve the worshipped Lord by dance and song a class of artist were engaged by the king. From the ancient period, the kings of Odisha were placed the dancers in their courts who were expert in song, music and dance. An inscription found near the Vamsadhara river now An' in 102 comes under the Andhra region prove that the king Codagangadeva of Odisha has arranged the performance of dance, song and music for the Madhukesvara temple during the time of an offering of food named trikalingadeva. 10 103 99. Miller, B. S., Ed. The Gitagovinda of Jayadeva, p.7 100. Chakravarti, Debasis, Bhakti, Priti o Gitimayatara triveni-Gitagovinda, Jayadeva Lahari, A collection of Articles, p.35 101. Samal, Vaisnava Charana, Gitagovindare Sriradha (Odia), Utkalara Kavi Jayadeva, A Collection of Articles, P. 167 102. Rajaguru, Satyanarayana, Mahakavi Jayadeva o Gitagovinda, p.19 103. Panda, B., Ed. Sri Gitagovindamahakavyam, Introduction, p.39 32

Jayadeva knew that his poem and lyric will be sang in the temples and different festivals without any doubt. He has strung the poem with lyric, story, description, dialogue cleverly having a particular intention. 104 Jayadeva wanted that his wife will dance and he himself will sing to please his god. It might be said that his beloved wife Padmavati was the temple dancer and both were 105 engaged in the service of God. Therefore he wrote the Gitagovinda It belongs to the 106 prabandha category of poetics. Poet Jayadeva has followed the Brahmavaivarta purana for the plot of his Gitagovinda He began his poem with the help of a legend described in that text and changed the language of expression as 107 per his poetic talent. It is also proved that Jayadeva sang this Gitagovinda in front of Lord Jagannatha at Puri, Odisha. At that time his wife Padmavati was dancing with the rhythm of various music and the dancing hall of the temple was full 108 with crowd. The poet has started his poem with four verses. The first classical verse starts indicating the subject of the poet meghairmeduramambaram vanabhuvah syamastamaladrmaih . naktam bhirurayam tvameva tadimam radhe grham prapaya . . it'tham nandanidesatascalitayo: pratyadhvakunjadrumam . radhamadhavayorjayanti yamunakule raha : kelaya: .. (Gitagovinda 1.1) The place, the time, the characters and their relationship in the Gitagovinda are superficially clear in this verse. B.S. Miller translates it as, "clouds thicken the 104. Macdonell, A. A., A History of Sanskrit literature, p.230 105. Sri Gitagovindamahakavyam, Introduction, p.28 106. Panda, R.N., Odisha's contribution in Sanskrit lyrics, p.104 107. Rajaguru, S. N., Mahakavi Jayadeva o Gitagovinda, p.34 108. De, S.K., A History of Sanskrit literature, p.336 33

sky, Tamala trees darken the forest. The night frightens him, Radha, you take him home, they leave at Nanda's order, passing trees in thickets on the way, until secret passions of Radha and Madhava triumph on the Yamuna riverbank."109 Then starts the first song in the Malavaraga, which is a prayer to the ten incarnations of Visnu, the Lord of the universe. The same is immediately followed by the second song in Gujjari raga where the glorious deeds of the Lord are extolled. The canto wise subject presentation of the Gitagovinda is like this: • The main theme begins with the advice of a companion to love-stricken Radha to follow Krsna's path who rejoices amidst the cow-herdesses in the charming spring season in the bowers on the bank of the Yamuna river. At this moment, the lady companion again incites desire in Radha by pointing to the amorous activities of Krsna in the circle of cowherd ladies, who is compared with eroticism incarnate. Here ends the first canto, which is designated as Samodadamodara. • At the beginning of the second canto the poet narrates how the jealous Radha leaves the place and retires into a bower. In a subsequent song, she complains before her confidante regarding utter faithlessness of Krsna. However, after a short while, a distinct change in Radha's attitude is marked, while she expresses her ardent longings and deep wishes for a pleasant embrace of Krsna. There after the longings of Radha for union with Krsna are 109. Miller, B.S., Ed. The Gitagovinda of Jayadeva, p.16 110. Panda, R.N.,, Contribution of Odisha to Sanskrit literature, p.45 34

told before the companion with a request to her to do the needful. second canto entitled Aklesakesava comes to an end here. The • The third canto begins with Krsna leaving the cowherd women repenting for his negligence to Radha. During Radha's separation, he remorsefully rests in a bower on the bank of Yamuna. Song 7 in Gujjari tune 112 gives vent to the feelings of Krsna. This repentance is followed by five verses where the god of love Kama is addressed not to turture him, since his mind is attached to Radha, who herself is the solace and healing source of cupidity. The third canto, mugdhamadhusudana thus comes to an end. • Canto four is introduced with the request of the confidante of Radha to Krsna to be pleased on Radha and to accept her prayer for a union with her. Snigdhamadhava is the name of this canto. • The fifth canto begins with the instructions of Krsna to the female messenger who returns to Radha and describes Krsna's eagerness for a union with her. The Duti further instructs Radha with most agreeable ways and means for a successful consummation of her love. 113 Further with the description of eager Krsna and necessity of Radha to proceed to him by her. This canto is entitled sakanksapundarikaksa comes to an end. • At the outset of the sixth Canto, when the lady companion finds Radha unable to move due to the strong effects of an attack of cupidity, she proceeds 111. nibhrtanikuncagrha... sakhi he kesimathanamudaram prabhrti 112. mamiyam calitavilokya vrttam vadhunicayena prabhrti 113. dhirasamire yamunatire vasati vane vanamali 35

to Govinda, informs the tormented conditions of the lady in love and appeals him for its redressal. With two more verses ends the Canto as kuntha vaikuntha. • Canto VII starts with the lamentations of the bereaved Radha who is so much tormented by cupid at sight of the rising moon at Vrndavana. The entire canto depicts Radha as the Vipralabdha, type of heroine, being deceived by Sathanayaka, Krsna. 115 This canto entitled as Nagara Narayana ends with the love stricken frenzy of Radha. • In the eighth canto Radha is depicted as the Khandita nayika.116 She watches the various signs of amour on the person of her dear Krsna and in dejected anguish reproaches him. Under the circumstances, she is not prepared to accept his lame excuses. Her feelings are expressed in subsequent stanzas. This canto is captioned as vilaksalaksmipati. • The ninth canto depicts Radha as kalahantarita nayika. 118 Further, she is told by the companion that since Hari has become approachable; she should 114. pasyati disi disi rahasi bhavantam 115. sathoyamekatra vad'dhabhavo yah . darsitavahiranurago viprapriyaman'yatra gudhamacarati . . sahityadarpana: 3.37 116. vyasangaducite yasya : vanake nagatam priyah . tadanagamanartatu khandidetyabhidhiyane .. natyasastra : NS.24.209 117. rajanijanitaguru... . yahi madhava yahi kesava ma vada kainapavadam | (Song.17 in Bhairaviraga) 118. irsyakalahavikrantau yasya nagacchati priya : 1 amarsavesasantapta kalahantarita bhavet .. NS.24.208 36

not be rigid and be agreeable in her attitude to Krsna. is manda or Mugdha-mukunda. 119 The title of this canto The tenth canto embodies Radha's condition as a manini-nayikaor a resolute type of heroine with self-respect, even though in heart she pines for Krsna. At this stage Krsna requests her to forget the past and be pleased to make him free from the torments of the God of love. 120 This canto is captioned as Caturacaturbhuja. • Reconciled by Krsna's prayer, Radha becomes agreeable which in turn delights Krsna and he retires to his own bower. However, Radha feels shy to proceed there at the presence of her companions. This makes one of her 121 attendants enthusiastic to incite passion in her. This impels her to proceed to Krsna for union. At the doorway again, the companion admonishes Radha the norms of secret love-making, instructs to bravely face the desired resort and enjoy herself with the company of Krsna. 122 The poet with utmost pleasure denotes the union of the pair in consummation of their love at the close of this canto entitled, Sananda-damodara. • In the 12th and the last canto Radha's position is portrayed as a svadhinabhartrka nayika. 123 Leaving Radha in her lover's bowers, when her friend had gone, smile spread on Radha lips, while love's deep fantasies 119. irsyakalahavikrantau yasya nagacchati priya: | (Song.18 in Gujjariraga) 120. ff ff (Song. 19 in Desavaradiraga) 121. viracitacatuvacanaracanam... I ( Song. 20 in Vasantaraga) 122(Song. 21 in Varadiraga) 123. granfardden tren : qafa: fora: 1 samode gunasanyukta bhavetsvadhinabhartuka ..NS.24.207 37

struggled with her modesty. Seeing the mood in Radha's heart, Krsna wooed her into his confidence and both enjoyed each others company in amours to their heart's content. Then as Krsna idled in passionate love, Radha commanded him to decorate her body with various cosmetics and ornaments. 124 This canto is entitled as Suprita-pitambara.