2. The Riti and Guna

According to Bhagavan Panda the Gitagovinda is a beautiful work endowed with sweet, simple and melodious words and remains unparalleled in the whole of the Sanskrit literature 31. The style of Gitagovinda exhibits a deviation from earlier. compositions of similar nature, while the previous lyrical works in Sanskrit were composed in traditional meters like Arya, Mandakranta, Vasantatilaka etc., Gitagovinda has treated a novel path by including songs in tunes of Raga like Malava, Vasanta, Gujjari, etc. 32. The stylistic approach of a poem expressed by its ritih and gunah. Visvanatha Kaviraja has given the definition of riti or diction as: padasamghatana ritiramgasamsthavisesavat | upakartri rasadinam sa punah syaccaturvidha || 33 As a person has many limbs combined, a poem also has the union of word and related meaning. The combination of words technically is known as the Riti 34. Among these three are usually enumerated i.e. Vaidarbhi, Gaudi, Pancali to which a fourth is sometimes added, viz. Latika Lati and even a fifth and sixth, via. Avantika or Yavantika and Magadhi³5 30. Apte, V.G., Ed. Vrahmavaivartapuranam, part-1, pp.10-22 31. Panda, Bhagavan, Styie, Jayadeva & Gitagovinda, A collection of Articles, p.139 32. Miller, B.S., Introduction to Gitagovinda, pp.7-14 33. Saligrama Sastri, Ed. Sahityadarpanah, p.270 34. Ibid, p. 270 49

a. The Vaidarbhiriti madhuryavyanjakairvarne racana lalitatmika | avrttiralpavrttirva vaidarbhi ritirisyate || 36 A dulcet composition with letters manifesting sweetness with few or no compounds is designated the Vaidarbhi style. 37 Rudrata, the rhetorician also defined the same characteristics for Vaidarbhi.38 Jayadeva mostly followed and frequently used this diction.39 Jayadeva has attained the great perfection of form by combining the grace of diction with ease in handling the most difficult metres but has not failed to win the admiration of all who are capable of reading the original Sanskrit.40 b. The Gaudiriti. ajah prakasakairbandha adambarah punah | samasavahula gadi varnaih sesaih punavyo || 41 The combination of those letters which are difficult to pronounce having long compounds, energetic or emphatic manner of expression or style indicates the diction of Gaudi. Gitagovinda is a poem of sweet, soft gentle word formation but 35. Williams, M.M., Ed. A Sanskrit-English Dictionary, p.881 36. Sastri, Saligrama, Ed. Sahityadarpanah, p.271 37. Ibid, p.271 38. sakhi he kesimathanamudaram .Gitagovinda 4.1 nindati candana Ibid,4.2 stanavinihitamapi ... Ibid,2.5.5 samcaradadharasudha ... Ibid,2.6.6 39. A. A. Macdonell, A History of Sanskrit Literature, p.290 40. Sastri, Saligrama, Ed. Sahityadarpanah, p.271 258938 41. madhura - komala-kanta- padavali ... Gitagovinda 1.4 50 50

Jayadeva also used this diction in some places. Purusottama defined Gaudi as having long compounded words, with Mahaprana alphabets, excesss of alliteration and repetition of consonants is known as the diction of Gaudi 42. At the end of each song Jayadeva expressed the theme of the song through a verse, in that case the verses are composed by this diction 43 c. ThePancaliriti: samastapancasapada bandhah panalikah mata || 44 It refers to that diction which contain compounds of five or six words, expressing ability, splendour and at the same time sweet and delicate. This is used in many places of Jayadeva's poem 45. d. The Latiriti: lati tu ritivaidarbhipancalyeोrantare sthita || 46 tu This is a style made out of combination of Vaidarbhi and Pancali. The mixing of some characteristics of both these dictions are known as Lati. Jayadeva mostly follows Vaidarbhi and Gaudi sometimes singlulary and sometimes blended with one another. 42. Sastri, Saligrama, Ed., Sahityadarpanah, p.271 43. All the last verses of the Gitagovinda 44. Sastri, Saligrama, Ed., Sahityadarpanah, p.271 45. vedanuddharate . Gitagovinda 1.1.15 unmilanmadhu ....Ibid,1.3.36 visvesamanu ....Ibid,1.4.46 adyeोtsamgavasa ... Ibid, 1.4.47 hastatrastavilasa .... Ibid,2.6.19 aslesadanu ..../bid, 5.11.18 46. Sastri, Saligrama, Ed., Sahityadarpanah, p.271 51

In spite of all scholastic opinions all the four dictions are used by Jayadeva. Jayadeva so successfully blended all these four styles according to his requirement it is never an easy task to ascribe a particular category of riti to it. Taking one fine for an example of Jayadeva's Gitagovinda one cannot definitely establish to which particular style the stanza actually belongs. As a known poet worldwide Jayadeva has mastery over all the dictions. A scholar says that Jayadeva the finest lyric of Odisha has produced the ever charming Gitagovinda , a unique work in the list of Sanskrit Literature. The poem describes the amorous dalliances of Radha and Krsna with the excellent ideational subtlety and superb stylistic elegance which have become a perennial source of inspiration and joy to the thinkers, literatures, devotees and poets all alike.' 48 According to Visvanatha Kaviraja there are three types of gunas. madhuryamaja'tha prasada iti te tridha || 49 Those are Madhurya, Ojah and Prasada. a. Madhuryagunah: cittadravibhavamayo hladeा madhuryamucyate | sambhage karune vipalambhe sante'dhikam kramat | 150 Madhurya refers to that quality which can make one's heart saturated by the sweetness of a poem. This grace of style is used in the sentiments of erotics, 47. Panda, R.N., Contribution of Odisha to Sanskrit Literature, p.50 48. Rath, B.M., A Study on Srikrsna lilamrtami, Ch. VIII, p.193 49. Sastri, Saligrama, Ed., Sahityadarpanah, p.264 50. Ibid, p.265 52

grief, separation and peace. Its use increases serially and subsequently used in the sentiment of peace. Jayadeva has frequently used this quality 51. b. Ojogunah: ojascittasya vistararupam diptatvamucyate | virabibhatsaraidresu kramenadhikyamasya tu | | 52 It means that style of letter composition which can create the feeling of spreading or universal emotion with glowing or astonished expression. It is used in a serialy proceeding manner in the sentiment of bravery, compassion and violence. Hard composition of words with long connection and the letters which are difficult to pronounce indicate this style. In Jayadeva's work we rarely find this type of composition. For example: unmilan-madhugandhalubdhamadhupavyadhutacutamkura- kridatkokilakakalikalakalairudgirnakarnajvarah niyantepathikaih kathamkathamapidhyanavadhanaksana- praptapranasamasamagamarasollasairami vasarah | 1Gg 1.3.36 (v) C. Prasadagunah: cittam vyapnoti yah ksipram suskendhanamivanalah | sa prasada samastesu rasesu racanasu ca || 53 51. lalitalavangalata ...Gitagovinda 1.3 song candanacarcita .../bid,1.4 song sakhihe, kesimathana ... Ibid,2.6 song nindati candana ... Ibid 4.8 song 52. Sastri, Saligrama, Ed., Sahityadarpanal, p. 265 53

The style can catch and imprison the heart immediately like that fire which catches the dry fuels at the moment of flaming. When this type of composition enters in the ear, it creates the feeling of gladness, brightness, purity and rejoice. It can be composed in any sentiment and any type of creation. This is easy to understand with simple and gentle word formation. Jayadeva has shown his poetic capability by using this quality of style in a befitting manner 54. Gitagovinda is embedded with both Prasada and Madhurya qualities. The entire work serves as a specimen of these qualities 55. Making abundant use of alliteration and the most complex rhymes occurring not only at the end but in the middle of metrical lines the poet has adopted the most varied and melodious measures to the expression of exuberant erotic emotions with a skill which could not be surpassed. It seems impossible to reproduce Jayadeva's verse adequately in an English garb. The German poet Ruckert, has however, come as near to the highly artificial beauty of the original, both in form and matter, as is feasible in any translation 56. 53. Sastri, Saligrama, Ed., Sahityadarpanah, p.266 54. fach 4m........Gitagovinda 1.2 song ....Ibid,2.5 song ff....Ibid,3.7 song farpaat......Ibid, 5.11 song R....Ibid, 9.18 song af af...Ibid, 10.19 song 55. Panda, R.N., Contribution of Odisha to Sanskrit Literature, p.50 56. Macdonell, A.A., A History of Sanskrit Literature, p.291 54