STORY OF THE GITA GOVINDA

AND
THE RASA TRADITION
 20

Chapter - II
Story of The Gltagovinda
And
The Rasa Tradition

The Gltagovinda is a dramatised incident of one day and two nights,

being enacted from an evening continuing to the end of next night and going
r mm

on thoughtout the day. It is the love episode of a single night between Srikrsna

and RadhI on the banks of the river Yamuna. The theme of the poem is

‘Viraha Vedana’ or the pain of separation-in-love.

Lyrical poem with semidramatic note

The title Gltagovinda itself indicates the song of Govinda, means

/ _
Srikrsna and is a little musical drama in which the form of Krsna, an incarnation

of Lord Visnu, the human soul is displayed in its relation with earthly and

celestial beauty. Krsna at the same time is human and divine and is attracted

by the pleasures of the senses and also becomes transcendental. But

Jayadeva intended to treat it as a kavya (lyrical poem), and not as a drama.

Unique form in Sanskrit liteature

Yet it bears a mixed phenomena of old ilia or yatra because it is a

combination of narration, description and dialogue, which form a unique form

in Sanskrit literature.
 21

Jayadeva has divided the work into twelve cantos, twenty four Astapadls

means, songs in eight lines and seventy seven verses in different metres.

Frist Canto : WTfe

The first canto has been titled as “Samoda Damodara” means the

Lord who is happy. There is description of spring season. Lord Krsna is busy

in Rasa Lila, means love-sports with the Gopls.

First Verse:

But the first verse raises a question in the reader’s mind as to the

description of a rainy day. The total dance-drama happened in the spring, so

how the appearance of a cloudy day is possible in a spring season? The

poet’s imagination can be questioned. But it seems that the learned poet has

not given any chance to anybody to raise a question regarding this matter.

The description of a cloudy day in spring is nothing, but the supernatural

“Lila of the Lord. We should not forget that the hero of this lyrical poem is

Lord Visnu in one of his incarnations as Krsna. Jayadeva being a great poet

did not forget the tradition of composing the invocatory verses or

in the begining of his immortal work.

In the first two Astapadls, the ten incarnations of Lord Krsna1 and some

incidents in the important incarnations have been described. Before that he

has mentioned his wife Padmavati’s name in a dramatic style. She has been

G.G., 1.16 ,
 22

introduced as a dancer, who dances at the core of songs of “Gitagovinda”. It

implies that both the poet and his wife were devoted to dance and song. So

a beautiful verse has been inserted by the poet only for those, who have

interest in dance and music.2

In the fourth verse, he has mentioned some poet’s names such as

Umapati, Sarana, Govardhanlcarya and Dhoyl.

Dasavatara

Then he starts his Astapadl, where he has narrated the ten “Avataras”

such as - (i) Mina (incarnation of fish) at the time of ‘pralaya’ means delusion

or destruction of universe; (ii) then Kurma (incarnation of tortoise/turtle);

(iii) Sukara (boar), who carried the earth on the exterior point of its teeth at

the time of ‘Maha prayala’; (iv) Narasimha, who killed the demon king Hiraoya

Kasipu and saved his little son devotee Prahlada; (v) V£mana (Incarnation of

a dwarf), who defeated the great but arrogant king Vali (^foT) pressing his

head to the Patala (Netherland); (vi) Parasurama or Bhrgupati, who destroyed

the race of proud K§atriyas; (vii) Rama, the great human incarnation, who

created history by killing Ravana; (viii) Haladhara or Balarama, who brought

Yamuna river by his weapon plough (Hala); (ix) Buddha, who blamed and

stopped the animal salughter in the name of Yajna (W); (x) Kalkl, it is the last

incarnation where the Lord holds a sword to destroy the ‘Mlecchas’ or

the sinful in the iron age (Kaliyuga).

(G.G., 1.3)
 23

There is one thing to be noticed that Jayadeva has not mentioned the

Krsna incarnation among the ten, who is the hero of his lyrical drama. But he

has mentioned that Krsna is the cause of all the ten incarnations.

Then there are descriptions regarding his Lilas in some important

incarnations. The poet has written Lord Krsna as the lover of Kamala or

Laksmi, then the punisher of “Kaliya naga”, Ravana, the Lord of Slta, Rukmini,

Lover of Radha.

Krsna, the cause of many Lilas is fully lovestricken in the first canto of

the G.G. The god of love Kamadeva has planned to make Krsna more love-

stricken by the help of spring season, fragrance of vakula flower, the malaya

vayu, nava pallava, the palasa flower, madhavl flower, navarrillatl, mallika,

fragrance of ketaklflower and the cooing of the cuckoos. So Krsna is busy in

pleasing many Gopls by different types of love-sports. He is embodied figure

t.
of Srngara rasa. So the Lord is delighted and therefore this first canto of G.G.

is rightly entitled as Samoda Damodara.

Second Canto : ^¥IcT or TUm

The second canto of Gitagovinda is named as ‘Snigdha Madhava

meaning Lovely Madhava. In some texts it has been entitled as Akiesa Kesava,

There is no flaw regarding the name of Krsna as Madhava and Kesava. The

word Madhava means Lord or husband of Laksmi, because Ma means mother

LaksmI and Dhava means spouse or husband. Kes ava means Visnu. The
i
Ke means in water and Sava means a corpse. As a dead-body floats in
 24

water, similarly Lord Visnu also floats in water at the time of delusion or

Pralaya period which has been depicted in the Puranas3 Snigdha Madhava

means Madhava becomes affectionate towards Gopis. And Aklesa Kesava

means Kelava relieves the Klesa or difficulties of his devotees.

The second canto has presented the heroine of this dance drama,

Radha as a Virahotkanthita (distressed by the absence of the lover) type of

heroine. She is hurt by Krsna's peculiar attitude. So she left the place where

Krsna immersed himself in Rasallla, but she was unable to forget him. She

recalls the charming and handsome appearance of her lover. Although she

knows about his romance with other maidens, yet she recollects his pranks

and naughty activities. She imagines the situation, where they both were

engaged in amorous sports or love sports. The poet here has skillfully narrated

the love-in-union (samboga s rngara) at the time of separation of the lovers

as follows —

(G.G., 6th Prabandha, 2.5, P.110)

Here Krsga derives pleasures by seeing the love stricken Gopis.

Third Canto;

Krsna is “Mugdha Madhusudan” in the third canto. Madhusudana is

another name of Krsna, because he killed the demon Madhu. He is mugdha,

3. Nilamani Misra, ed. Sri Jayadeva O Gltagovinda Samskrti, Pub. Grantha mandira,
1st edn., October, 1993, p.69.
 25

here means fascinated or captivated by Radhafe beauty and character. He is

seriously in love with his eternal beloved Radha. His body is afflicted by

Kamadeva’s flower shaft. He confesses his fault that he has deceived Radha.

So he begs excuse before her.

In this canto there is an important verse, which deals with the birth

place of Jayadeva and has made this controversy more critical. That is

The name Kendubilva, popularly known as the poet’s birth place has a

lot of significance in this canto. But the theme of the canto is Kona's anxiety

for annoyed Radha. The hero is so worried here, he gives delirious talks.

Jayadeva has written an excellent feloka on this emotion and has proved his

excellence in rhetoric world. This verse is the example of feRT -

^ W ifd: I

Rdw# to rm<r&
TO T 113 11

(G.G., 3rd Canto, 7th Prabandha, P.133)

Here the Lord is so much afflicted by love that he blames the god of
i
love Kamadeva. He tells that the god of love has mistaken him as Lord Siva

and therefore he is striking him by his flower-shafts. Kamadeva has mistaken

him as Lord £>iva because of some reasons such as, the lotus necklace round
i
Krsna’s
• •
0
neck seems to be the snakes of Lord Siva. The blue lily round Kcspa’s
*
 26

I
neck seems to be the blue marks of poison on Lord Sivas neck. The dried
<
sandal on Kfsna’s body seems to be ashes on ‘Siva’s body. Due to all these
_ <
facts, Kamadeva may have mistaken Krsna as Siva and is striking him again

and again.

Jayadeva is also an expert in describing woman’s beauty. Within a

very few measured words he has narrated Radha’s charming beauty through

Krsga. He has compared Radhas eyebrows as bows, her lips as red as BIMBA

fruit, the fragrance of her face with the fragrance of lotus flqwer, which have

made the hero more love-sick and enchanted. So he describes these beautiful

limbs of Radha as the weapons of Kamadeva. So being passionate the hero

blames Kamadeva that perhaps he has offered these weapons to Radha to

defeat him in the war of love.

In this way the hero is ‘Mugdha’ means, he has been attracted or

charmed towards the heroine and the poet has proved the significance of

the title of the third canto as “Mugdha MadhusUdana”.

Fourth Canto :

The poet has introduced a new character in the fourth canto entitled

and the newcomer is the “SakhT’ or maid of the heroine, Radha.

She has, here played the role of DQfT means female messenger. The

theme of this dance drama demands the presence of a messenger. The

clever poet Jayadeva has introduced this character at the proper time, actually,

when this dance drama demands. Separation has never been the theme of
 27

Sanskrit drama or poems, rather the end of each story should be a happy

union, not tragic. So when the heroine Radha is annoyed and leaves Krsna,

the separation or the viraha dufckha begins here. The hero is separated from

his heroine, when both are seriously love-sick. To pacify the separated and

lovesick hero, the Lady companion (Sakhi)4 of the heroine appears before

him as an angel.

Jayadeva has very skillfully narrated the activities, mental condition of

a maiden, who is separated from her lover. The female associate or SakhT

informs Krsna about Radha’s precarious condition, which has arisen due to

separation from Krsna. She tells : Radha is always shedding tears and

behaves like a person who is very much nearer to death. There is no doubt

that being separated from Krsna, she may die within no time. To make the

hero more anxious, she cleverly tells that, there is a chance to save her life.

Krsna’s presence is the best medicine to save her mistress.

In this way the SakhT pacified Krsna’s heart which was burning in the

fire of separation from his beloved and now the Lord is mentally satisfied and

has become snigdha (fTW) means affectionate or graceful towards Radha.

He again sends the Sakhi to Radha with his message. So Krsga is here

“Snigdha Madhusudana”.

4. ‘SakhT is female friend or lady’s maid.The sakhi is an important person in the Rasa-
sastra and theology of later Caitanyaism. Without her the beautiful erotic sport of
Kf§Qa and Radha is not nourshed nor does it expand. No one has access to the
sport except the privileged saVhis and those devotees who imitate their attitude.

Dr. S.K. De, Early History of the Vaisnava Faith and Movement
in Bengal, Firma K.L. Mukhopadhyaya, Calcutta, 1961, P.209, fn.
 28

Fifth Canto : «l<4il4$T ^Wiich

Now the Sakhi carries the messages of Kr§oa to Radha in the fifth

canto entitled Krsna is here “Pundarikaksa” means, he

who is lotuseyed. The Word “Sakank§a” means desirous. Here Lord Krsna is

desirous to have Raclha’s promixity (closeness). The SakhThas also played

significant role in this canto. She tells Radha how Krsna suffers severely

being separated from her. So she insists upon Radha to proceed for Abhisara

(3#R|R) means journey of love.

The SakhT suggests Radha to meet Krsna as an “Abhisarika”5 and

also advises howto dress up and when to go. Here is a marvellous description

about Abhisara in the fifth verse of the fifth canto —

Onife^ HlT'sk), ed. Sri Krishna Mohan Thakur

C.S. Series Office, Banaras, 1947, p.176.
 29

erotic act they felt ashamed as they recognised each other. Of course the

verse quoted does not support parakiya rati. It is rasabhasa at the time of

union, but resulted in accomplished relish due to bashfulness. Union between

husband and wife cannot be justified to be parakiya. No Doubt, Jayadeva is

a romantic poet. He is superior in describing the iftr or the extra marital

love. His idea of extra-marital love should not be treated as ephemeral in

connection with divine lovers like Radha Krsna. From philosophical and

spiritual point of view Krsna should be treated as supreme soul and Radha is

to be treated as his parasakti or svakiya sakti. There is n6 difference between

Krsna and his parasakti Radha. In their eternal abode there is no separation

between them, but for the relish of erotic sentiment Krsna, the supreme soul,

appears to take human form and his paraiakti Radha too. In human form

devoted poets usually depict the pang of separation between the divine lovers

for the relish of vipralambha srhg'&ra rasa or the sentiment of love-in-

separation. As the hero (Kj-sna) is waiting for the heroine eagerly, so this

canto has been entitled as “'WKhtfSf in order to show the depth of

Krsna’s love for Radha.

m 0 *

Sixth Canto : tilcenud

The subject matter of sixth canto is only about the condition of a

fcK^lc=*>fu<ddl heroine. The title of this canto is . Krsna is very

much eager to meet Radha. He is waiting for her with deep anxiety. The word

“Vaikuntha” here implies the name of Krsna. We generally know that Vaikuntha
 30

is the eternal abode of Visnu. But according to Purana sastra Vaikuntha has

mainly two meanings. First is Visnu and another is the abode of Visnu.6 So

Jayadeva here meant Vaikuntha as the Krsna form of Visnu.

In this canto the Sakhi again goes back to KrsQa and informs him

about Radha’s condition. Radha is so love-stricken that she is unable to move

a step. So Radha is here Vasakasajja type of heroine, means she is in her

best finery to receive her lover Krsna. Radha’s inclination towards Krsna has

made her mad. She is unable to bear his absence. So to avoid the painful

separation, Radha decorates herself as Krsna and tries to forget his absence.

Jayadeva has represented this fact within two lines very skillfully as follows-

(Sri G.G. M.K., 6th Canto, 12th Prabandh, p.201)

SakhT says, “Radha puts on the dress and decorates her like Kr§ga and all

the time looks at it and thinks that she is Krsna.

Again she embraces and kisses the deep darkness like cloud by

mistake thinking it as Krsna, which has been depicted as follows —

$R<?h4ici ^fcT 11^ 11

(Ibid, p.203)

6. Nilamani Mishra, Sri"Jayadeva O G.G. Sanskruti.

 31

It is nothing but the delirius behaviour of Radha, who has given up modesty

or lajja, the most expected ornament of a woman.

In this way the poet has completed the sixth canto by narrating the

condition of a maiden, who is seriously love-lorn and who is involved in all

the activities of a Vasaka Sajja7 heroine.

Seventh Canto: ^HKHKWUI

In the seventh canto named as “hhk*ikwui” , the poet has represented

Krsna as the hero or Nayaka of intense love. The word Narayana implies

Lord Vispu who has become Nagara in his incarnation of Kfsna. Nagara is

the appropriate term used in this canto because, he is man of the heroine

here. He is the hero of all the Gopis with whom the women (GopTs) are enjoying

the erotic sports.

Oh the otherhand the heroine (Radha) is burning in the flame of

separation which has made her more anxious. In this situation the hero is

very late in his arrival. Radha’s expectation when crossed its limit, she started

wailing, which has been described as follows —

m IR iI

(Sri G.G. M.K., 7th Canto, p.211»

7. Vaskasajja:
&& 4WI
ctHacH^r qr n<imi
(•Wilson ^f°T: Third Chapter, p.184.)
 32

The moon gradually went up and Madhava did not turn up.

Consequently Radha started wailing in high pitch and repenting.

Now she understands that Kfsga has deceived her. She blames her

beauty, young age as these have been fatile to attract Krsna.

Now the SakhTcomes back from Krsna with a gloomy face, which

indicates her failure to convince Krsna. Seeing her face Radha understands

everything and she now starts imagining the erotic sports of Krsna with other

maidens.

Jayadeva’s depiction of intense love reaches its height of success here.

He has described minutely the dress and decoration of those who engage

themselves in love. The marks left after the romance let others aware of their

amorous act. The knot of the braid of hair of a lady becomes loose and the

flowers decorated as ornament on the head fall down and are strewn over on

the ground. The organs and the whole body of the lady is horripilated and

she sweats a lot. Her face has become pale.

The love-picture in Jayadeva’s point of view should not be decried. He

has honoured Krsna as the hero of his dance drama so that the society

would accept and respect it as a divine topic.8

8. It has been often alleged that the famous Six Gosvamis of Vpidavana were upholders
of Paraklya doctrine, but neither the works of Rupa Gosvami nor Jiva Gosvami of
Caitanya era donot lend support to this doctrine. The views of the Gosvamis appear
to have been that, as Svarupa-^akti of the Bhagavat, the Gopis including Radha*
were his own (■w+hl), but the Gopas under an illusion created by Yogamaya,
considered them to be their wives. Ktsgadas Kaviraja author of Caitanya Caritamrta
ascribes the Paraklya belief to Caitanya himself, for in his opinion sentiment for an­
other man’s wife strenghtens the feeling. (h^^I srfcT 3w51¥)) Dr. S.K. De,
V.F.M.B., 2nd edn., f.n. p.349,1967.
 33

Eighth Canto : f^T

The story of G.G. turns towards another direction in the eighth canto

which is entitled as “Vilaksa Laksmipati”. The separated lovers meet each

other here. After a long waiting the hero, at last, appears before the heroine.

But the heroine is so annoyed that she is not in a mood to receive her

lover with hearty welcome. The lady is burning in the fire of anger as she

knew the fact that she was deceived. So she started scolding him in spite of

his begging excuse.

Radha is here a Khanditi9 type of heroine. She could easily find out

the marks of union on Krsna’s body. She charges the hero with shafts of

questions.

Krsna’s red eyes, red teeth, the nail, the marks of another lady on his

body, the marks of the feet, decorated by lack (3f<rNd), marks of teeth on his

lower lip etc. are open secrets of Krsna’s love sports with other maidens by

which he was caught red-handed, clearly marked by Radha for having the

Parakiya rati or erotic act.

After scolding, now the heroine blames him. She tells that, there is

nothing to be astonished about Krsna as the killer of ladies. From the very

9. -

mwwiw i iiam i
(-UlRjc-4 ^f&T: Third Chapter)
 34

childhood his nature is not unknown as he killed Putaria by sucking her breast.

Then why he should care for a common and ordinary woman like Radha?

Jayadeva has used a nice epithet for Krsqa as —

As Radha is very much possessive for Krsqa, she feels ashamed for

his activitis.

The title of this canto wMcT” is quite appropriate here. The

word means, he who is deviated from his object. Here Krsna’s

object was to please Radha, but he failed. So he is away (fcf^rT) from his

object (oT^T) I f^TST - a different reading which means bashful Krsqa.

The word may seem to be inappropriate, but it is not so. At

the time of Jayadeva a happy synthesis has been wrought between Laksmi

and Radha. Though we find the name of Radha in Gatha SaptasatT (Gaha

sattasai) of Hala Satabahana10, but Radha had not been associated with

Krsna for dual worship, Laksmi had been associated with NSrayana orVisqu.

But by the time of Jayadeva Radha has been assoicated with Da&akrti K[ta

Krsna (who has been treated as an Avatari) as on equal par with Laksmi.

Radhapati and Lak§mipati have identity. Krsna is no other than Visnu and

Radha is identified with Laksmi This is a unique contribution of Jayadeva in

G.G. Krsna in G.G. is not an incarnation of Visnu, rather he is Visnu.

/_ _ _;
10. Dr. Sashibhusan Dasgupta, Sri Radhar Kramavikasa, 3rd edn., Calcutta, 1370, p.124.
 35

In the eighth canto the hero and the heroine are again separated. It

has already been discussed that Radha blamed Krsna and the latter went

away with remorseful heart. But in the ninth canto Radha regrets for her

behaviour towards Krsna, because she loves him and she has a soft corner
• • •

for the latter. So now she is a Kalahantarita11 type of heroine. The sakhTagain

plays here an important role in promoting happy understanding between

them. She tries to convince Radha regarding her love for Krsna. She tries to

explain her that although she has blamed Kc§oa a lot, still she is in love with

him. Her activities are the proof of this fact that she loves Krspa. She wails

loudly recollecting him. She is so much love-stricken that, she sleeps on the

lotus leaves in the cool beam of the moon; besmears sandal paste on forehead

to soothe the burning sensation like fire. Now she thinks that she is guilty

because she did not listen to Krsna and remained indifferent to forgive him,

while he was begging excuse. So now it is her duty to please Krsna, otherwise

she will be the sufferer. So she is rightly advised by her TRslt —

TO, 1TT TOFT HMW

The title of the nineth canto is . The Lord who satisfies the women

in love - sports is

11.

CSIT.^.: Third Chapter)

 36

Tenth Canto: fremisra

The tenth canto has more importance than other cantos. Because the
story reaches its climax here. The separated lovers not only meet each other,
but also try to understand them.

The Daksina Nayaka now appears in a different image. He has become

very polite to pacify Radha’s anger by or words of praise. Krsna

surrenders himself before the heroine. He tells that whatever punishment is

to be inflicted, he would accept that calmly, but he is unable to tolerate the
separation. He lives only for Radha, who is his life, the ornament of his form
and the precious jewel for him. He will be grateful if the lady places her lotus
like feet on his head. The following stanza —

“w ftrcftr wi

glorifies the politeness of Krspa and his honest love for Radha. Because it is
a great thing that Krsna, the absolute reality, begs excuse before a maiden to
please her, to pacify her anger, and again, who is desirous to have love
sports with her. He is so inclined to the lady love that even he is ready to beg

at her feet. Jayadeva, here, wants to convey his message that all are equal
before love. There is no place of prestige no place of ego in love. The lovers
should be devoted to each other. In accomplishment of there is no
distinction between the enjoyer and the enjoyed. Both enjoy so far as the

relish is concerned. The question of superiority or inferiority, strong or weak,

 37

active or passive dissolves in the ecstatic joy. Two selves are unified as one

unit.

The title of this canto is and in some editions it is read as

But the former title seems to be more appropriate here. Krspa

tries to convince Radha very cleverly, skilfully and very carefully by different

types of songs of erotic eulogy. But his effort has not shown any consequence

till now. So how can he become *£% means satisfied.

Again Jayadeva has used the term ‘Caturbhuja’, which implies Krsna.

Use of the word is justified as Krsna is identified with Madhava having

four hands and as such he is no other than Visnu.

9 •

Eleventh Canto:

After a long time Krsna’s praise-songs made Radha thoroughly satisfied

and he has gone to the Keli kunja means the bower of love sports in the

eleventh canto entitled as , because Damodara Krsna

• • •
has

become very glad here. But Radha has not gone to the ‘Keli kunja’ yet. So

the Sakhl again plays an important role in convincing Radha. The expert

SakhTtries her best to make Radha an ‘Abhisarika’ by imparting her some

knowledge about “Abhisara”, such as : at what time she should start her

journey of love, how to dress her form, what to wear and where to go! The

SakhT says that, Krsna is so much enamoured and attached to Radha that,

he is ready to serve at her feet like a “shield” means a slave, which- has

been desdribed as follows —

 38

I^KfactfaRrafadlM TIT T$sm W*N<M: II

(G.G., 7th Canto, P.211)

At last Radha has agreed to go to the ‘Keli kunja’. Now she appears before

Kf^oa. She is satisfied to see the handsome lover, who seems to be a symbol

of personified “Srngara”. Krsna is also satisfied to see Radha in the ‘Keli

kunja’. Seeing Krsna, tears rolled down on Radha’s cheek. Now both are

eager to be united after severe pangs of separation.

As this canto enhances the happiness and satisfaction of Krsrta, so he

is called and this canto has been named accordingly.

It is said that ‘lajja’ or bashfulness is the ornament of a woman. The

same thing happened to Radha in the eleventh canto. She was flushed with

shyness at seeing her lover. But in the last or twelfth canto of G.G., Radha

was relieved of impudence, as she was satisfied with Krsna’s praise-songs,

replete with coaxing speech. Now the desire of union comes to an end and

both of them start erotic sports .

Now their desire is fulfilled. The ‘Abhisarika’ type of heroine in the

eleventh canto now turns into type of heroine, because she

has satisfied her lover and he is so glad that he acts according to the wishes

of his beloved. After erotic union eyes even Krsna is again love-sick. So the

lady is here called . According to Sahitya Darpana -

 39

n ** n
(^ifirq : Third Chapter, p. 177)

At the end of this canto of G.G. the great poet conveys message regarding

his composition as follows —

Wh|o% dldlRldH, I

WRT: #Ml£Kd: \\ 6 II
Ont.1Tt, 12th Canto)

It means, this work is full of means the art of music, a lot

of information can be gained regarding Lord Visnu, also a connoisseur can

i .
have some idea about the Srngara rasa, poetic elements, and above all,

devotion to Krsna can be developed in one’s mind.

Twelfth Canto:

The last canto is also dedicated to Krsna and has been entitled as

means “ mIcii^k” Krsna isor thoroughly satisfied. It means,

the dance drama has come to a happy end, which is embellished by the

love-sports of Radha and Madhava.

Here a point is to be noticed that in the last verse of G.G., the poet has

again identified himself as the son of “Bhojadeva” and “Radha Devi”, that is -
 40

^oich^M i

WRTf^rwf^%nW^>ftcepR5 II ^o-II
(G.G., 12-10)

The name of Jayadeva’s mother “Radha Dev? is also read Rama DevT and

Bama Devi in other editions of G.G.13

This chapter is a brief discussion regarding the subject matter of G.G.,

but we cannot overlook the description of nature (mainly the description of

spring season), which tells something about the “Vasanta Rasa”. It is the

spring season which has added colours to the description as a backdrop of

i
Smgara rasa or the erotic sentiment in this lyrical drama. From the description

of vasanta, we can easily snatch out the narration of “Vasanta Rasa”. Spring

season is the season of festivals and “Vasanta Rasa” is one among them. It

is well known that most of the Sanskrit poets have shown deep interest in the

description of the spring season in their literary works. Spring is the divine
i . . t ~ -
glory of Srikrsna according to “Srimad Bhagavad Gita”, because in this

immortal classic text, Lord Krsna has said to Arjuna —

TORT wWHte 11 3 H ||

(B.G., 10th Discourse, p.436)

12. qiSRK:
■UHl'tel, G.G. Mahakavyam, p.360, Pub. Sanskruti Bibhaga, p.360.
Kavi Jayadeva O Sri G.G., Ed. H.K. Mukhopadhyaya, p.159.
13. Nilamani Mishra, ed. Sri Gltagovinda, pub. Grantha Mandira, 1st edn., Jan 1955,
Reprint, Feb-1998-2002.
 41

Among hymns also I am the Brhat Sama, among metres Gayatff am I; among

months l am Margafeirsa, among seasons (I am) the flowery season or spring

season.

The main theme of the poem is the vernal sports of Lord Krsna and

Radha in the bowers of “Vrndavana” on the bank of Yamuna. It is also

wellknown that God of love, “Kamadeva” is being worshipped in the spring.

“Gltagovinda” is saturated with the flavour of the divine love of Krsna and

Radha. Spring being an UddTpana Vibhava (excitant) of erotic background in

the nineth canto of G.G., there is description of “Vasanta Rasa”, although the

poet has not directly narrated anything about “Vasanta Rasa”, yet the love

sports of Radha, Krsna and Gopls undoubtedly represent a clear picture of

Vasanta Rasa. Jayadeva’s selection of spring is the appropriate timing for

describing the love-sports of Krsna and RadhaT which is really praiseworthy.

Therefore he has mentioned that —

11 V9 11

(G.G., 1st Canto, p.54)

The description of Vasanta Rasa starts from the first canto and

continues till the fourth canto. The great poet has defined vasanta with many

adjectives, synonyms and many words those are directly or indirectly related
 42

to it. They are : =hl^<rl *T<rPT ^PTlt,

cblPhcn 'jjRrici 3)^30dl<, cig)d4»dlM,

o^^a^cii^, WTU7!, pblsci ^IfeT #>|chRi

cfxrlT*^: fFP^T ^loT J^vi, chlRhei churUd

^%cf, ^d^Kto and many more.

In our Oriya literature also, Jayadeva is believed to be the exponent or

precursor of vasanta rasa. Our state Orissa being an agricultural state, has

been celebrating many festivals in different seasons. Vasanta rasa, being a

festival of spring, is celebrated in the said season only. Though there is no

exact proof of the origin of Vasanta rasa, yet it is very ancient and can be

traced in our old literature, both Sanskrit and Vernacular.

The season vasanta (spring), according to our tradition consists of

Phalguna and Caitra. In the ancient and medieval oriya literature, there is

description of Madana puja (worship of Kamadva), which was believed to be

clebrated under Asoka tree in the spring.14 Vasanta is a season of refreshment.

It comes after the shivering winter with new messages. The worship of Madana

was celebrated in the sixteenth century, which has been depicted in ‘Parimala’

Kavya of poet Narasimha Sena.15

14. Odiya Slhityare Jayadeva”, Nagendranath Pradhan, Friend’s Publisher, 1st edn.,
Dec. 1971, p. 165.
15. Ibid.
 43

So there was a tradition of Vasanta Utsava in our society to which the

great poet belonged. The romantic lyrical drama G.G. represents the tradition

of Vasanta Utsava, where Lord Krsna and his beloved Radha were engrossed

in Rasalila.The term ‘Rasallla’ actually means the sports of love. And Jayadeva

has chosen spring as the best time for Rasallla of Krsna and Radha. So it

can be also called “Vasanta Rasa”. The following verse is the best example

of the same, i.e. —

fefcT

I K 11
(G.G. Mahakavyam, 1st Canto)

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