Jayadeva

Jayadeva, the saint poet, had composed Sri Gitagovinda, to please Sri Purushottama (Lord Jagannatha) in the twelfth century at Srikshetra.

Jayadeva was a saint poet who has composed Gitagovinda in the twelfth century. He and his wife Padmavati, an accomplished dancer and musician, used to offer prayers to the Lord of the Blue Mountain, in the musical mode - in geeta, vaadya and nritya. Jayadeva was a native of Kenduli village, in the sacred Prachi valley in the hinterland of the holy city of Puri. He was orphaned early in his life and shifted to Puri when he was a young man. He lived under a tree near the Gundicha temple at the Northern end of the Bada Danda or the Grand Avenue. There, he created the great lyrical masterpiece narrating the tale of love-play of Sri Vasudeva. In the climactic moment of the dance drama, Krishna makes his ultimate supplication to Radha to shed her anger, with the words dehi pada pallavamudaram - 'Let your pretty, tender feet adorn my head'. This is a symbolic representation of the divine acceptance of the bondage of the devotee.

While the composition consists of 12 cantos, 24 songs and 72 slokas, it has a strong narrative thread linking the songs together in an excellent dramatic structure.

It presents the story of the love play of Radha and Krishna, their separation, sufferings, anger, annoyance, supplications and the final re-union.

It starts with the depiction of Krishna, who as a child is scared of the dark night and Nanda asks Radha to escort him home. Jayadeva first presents two songs of invocation in praise of Lord Krishna or Vishnu. The first song, famous as the song of the Ten Incarnations (Dasa Avatara), is the best one which depicts different aspects of the God. Each stanza is like a many-splendoured gem and captures the entire mythology of one incarnation within the limits of a three-line composition. It is interesting to note that Krishna is represented here not as one of the ten incarnations but their creator, as the supreme Lord. Sri Jagannatha, who is none other than Sri Krishna, is shown as avatari and not an avatara. In the second invocation song Jayadeva sings in the praise of Krishna or Vishnu but relies more on the legends surrounding Krishna's life.

Getting into the narrative proper, Jayadeva first presents Radha pining for her beloved Lord from whom she is .Iong separated, while Krishna oblivious of Radha's sufferings is lost in his amorous games with the cowherd women (Gopis). A Sakhi (companion) describing the wanton love play of Krishna with the Gopis while presenting the many hues of spring, fills Radha with pangs of jealousy and intense longing for union with her beloved Lord. Radha, dwells on the memories of her Lord, his sweet countenance, his magic flute making dulcet notes and his great compassion. She remembers the many wonderful moments she spends in Krishna's company and the sweet experiences she has in her first meeting.

Krishna meanwhile, realises his guilt and in a pensive mood blames himself for Radha's annoyance. Remembering his sweet heart, he looks for her all around and supplicates the God of love not to torment him further. A Sakhi, Radha's companion, heightens his passionate desires by describing how Radha is wasting time in passionate longing for him and preparing beds of flowers. Coming back to Radha, she tells her of the equally anguished moments suffered by Krishna longing tor Radha's company. At last when Krishna approaches Radha and offers his love, Radha in annoyance rejects him, blaming him for his unfaithfulness. Her companions plead not to be so harsh on the Lord and Krishna too in elaborate supplications pleads with her to shed her anger and satiate his burning passion. In the final atonement for his many indiscretions, he pleads with her to place her tender feet on his head; Radha's companions then intervene and persuade her to join Krishna. Radha finally overcomes her annoyance and unable any more to restrain her own passionate desire to meet her beloved Lord, proceeds to the beautiful 'arbour' where Krishna eagerly awaits for her. At last Radha and Krishna are united and engage themselves in myriad modes of amorous enjoyment.

Gitagovinda has not only a unique place in the literary world but also has far reaching influence on the culture of the nation. This is the first Sanskrit poetic composition to make regular use of classical Ragas. Even as pure poetry it has few parallels in its rich use of metaphors, similes and alliterations. Only the reading of the magnificent poem is a rich sensuous experience. Another major feature of this poem is its strong visual imagery.

No wonder, therefore, that this poem has been the source of inspiration for generations of poets, painters, sculptors, weavers, musicians and dancers. Numerous translations, commentaries and imitations of the poem have been made over the centuries not only in Sanskrit or Oriya but also in numerous Indian and foreign languages.

A few stanzas provided here can give a rich experience of the sound value as well as the sense value of this great lyric.

Yadi ahrismarane sarasam manah
Yadi vilaasakalaasu kutuuhalam
Madhurakomalakaantapadaavalim
Shrinu tadaa jayadeva sarasvatiim.

Remembering Hari enriches your heart,
his arts of seduction arouse you,
Listen to Jayadeva's speech
In these sweet soft lyrical songs.

Lalitalavangalataaparishilanakomalamalayasamire
Madhukaranikarakarambitakokilakuujjitakunjakuutire.
Viharati haririha sarasavasante
Nrityati yuvatijanena samam sakhi virahijanasya durante.

Soft sandal mountain winds caress quivering vines of clove.
Forest huts hum with droning bees and crying cuckoos.
When spring's mood is rich, Hari roams here
To dance with young women, friend
A cruel time for deserted lovers.

Unmilanmadhugandhalubdhamadhupavyaadhuutachuutaankura-
Kriidatkokilakaakaliikalakalairudgiirnakarnajvaraah.
Niiyante pathikaih kathamkathamapi dhyaanavadhaanakshana-
Praaptapraanasamaasamaagamarasollasairamii vaasaraah.

Crying sounds of cuckoos, mating on mango shoots
Shaken as bees seek honey scents of opening buds,
Raise fever in the ears of lonely travelers
Somehow they survive these days
By tasting the mood of lovers' union
In climaxing moments of meditation.

• Chandanacharchitaniilakalevarapiitavasanavanamaaliii
  Kelaichalanmanikundalamanditagandayugasmitashaalii
  Haririha mugdhavadhuunikare vilaasini vilasati kelipare.*

Yellow silk and wildflower garlands lie on dark sandaloiled skin.
Jewel earrings dangling in play ornament his smiling cheeks.
Hari revels here as the crowd of charming girls
Revels in seducing him to play.

Yadgandharvakalaasu kaushalamanudhyaanam cha yadvaishnavam
Yacchringaravivekatattvamapi yatkaavyeshu liilaayitam.
Tatsarvam jayadevapanditakaveh krishnaikataanaatmanah
Saanandaah parishodhayantu sudhiyah shriigiitaagovindatah.

His musical skill, his meditation on Vishnu,
His vision of reality in the erotic mood,
His graceful play in these poems,
All show that master-poet Jayadeva's soul
Is in perfect tune with Krishna
Let blissful men of wisdom purify the world
By singing his Gitagovinda.

(Translations by Barbara Stoler Miller)