MUSIC
Geetagovinda
Jayadevas
Geetagovinda, composed in the twelfth century, is an Indian classic and
a part of the world cultural heritage. It marks a watershed in the development
of Sanskrit Kavya literature in the use of a simple and colloquial style
that is much closer to the spoken language than the purely literary or
ornate style of earlier works. It is also one of the best examples of padavali
sangeeta-poems meant for singing and dancing rather than for reading and
recitation. Geetagovinda is the precursor of modern dance-drama or geetinatya.
It uses matra chhanda, with syllabic instants for rhythmic patterns, ideally
suited for lyrical and musical rendition, and a form more popularly adopted
by the Prakrut language spoken by the lay public unlike classical Sanskrit
patronised by scholars and connoisseurs. Even as pure poetry this magnificent
poem has few parallels in its use of metaphors, similes and alliterations
which provide the readers and listeners a rich sensuous experience. Another
major feature of Geetagovinda is its strong visual imagery-succinct word
pictures of exquisite beauty. It is also the first major literary work
to make use of regular ragas and talas for its twenty-four songs. Geetagovinda
marks a major milestone in the evolution of Indian musical traditions.
This aspect of Jayadevas classic is perhaps more important than its special
place in Indian literature per se.
Geetagovinda
exists at many levels. At an outer level, it presents the romantic tale
of the love of Radha and Krishna. Vasanta Raasa, the mystic circular dance
of Krishna with the Gopi maidens in the Vrindavana forest in the vernal
season, is described by Jayadeva himself as play acting (kreeda). In its
essence, it is Bhakti Sangeeta or devotional music, capturing the essence
of Madhura Bhakti of Radha and Gopi maidens for Krishna. Simple and total
surrender to the divine, marked by an intimate personal relationship through
devotion, is the hallmark of this Madhura Bhakti.
The twenty-four
songs and seventy-two slokas of Geetagovinda are weaved together through
a strong narrative thread and 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. Each song depicts
a situation, an expression of a mood and a dominant feeling or Rasa. The
slokas are continuations of the songs or links providing choreographic
instructions or transition from one song to the next.
Starting with
the depiction of Krishna as a child afraid of the dark night as Nanda enjoins
Radha to escort him home, Jayadeva first presents two songs of invocation
in praise of Lord Jagannatha–Jagadeesha and Krishna–Vishnu. The first song,
famous the world over as the song of the Ten Incarnations or Dasavataara
is a jewel among all Sanskrit lyrical compositions. 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 important to note
that Krishna is represented here not as one of the ten incarnations or
avataaras but as their creator, as the supreme Lord or an avataari. In
the second invocation song, Jayadeva sings the praise of Krishna–Vishnu
but relies more on the colourful legends surrounding Krishnas life. In
short Jayadeva quite clearly emphasises and reiterates the precept of Krishnastu
Bhagavana swayam as presented in Shrimad Bhagavat. His Geetagovinda also
played an important role in establishing the complete and total identification
of Jagannatha with Krishna and in popular acceptance of Jagannatha faith.
Getting into
the narrative proper, Jayadeva first presents the description Vasanta Raasa,
the mystic circular dance of Krishna with the Gopi maidens in the verdant
meadows of Vrindavana or the banks of Yamuna. A Sakhi (close companion)
describes to Radha Krishnas dalliance with the Gopis, while presenting
the many splendoured beauty of spring and fills her with an 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 spent in Krishnas
company and her sweet experiences in her first meeting with her beloved
Lord when he overcame her shyness with a hundred flattering words and finally
they met in ecstatic union. Krishna, meanwhile, feels the pain of his separation
from Radha and in a penitent mood blames himself for her angered annoyance.
Remembering his slender sweetheart, he looks for her all around and supplicates
the God of Love to not torment him any further. The Sakhi heightens his
desires by describing how Radha is wasting herself in passionate longing
for him, eagerly awaiting in the leafy arbours, preparing beds of soft
blossoms for her union with him. Coming back to Radha, she tells her of
the equally anguished moments suffered by Krishna longing for her company.
At last when Krishna approaches Radha and offers his love, Radha, in an
outburst of hurt feelings, rejects him and blames him for spending time
with someone else and carrying tell-tale signs of their union. Her companions
plead with her to not be so hard on her Lord. Krishna too, in elaborate
supplication, 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 flower like feet on his head and suck away the
venom of the Love God from his body. Radhas companions then intercede on
Krishnas behalf and persuade her to join him. Radha finally overcomes her
hurt and, unable to restrain her own passionate desire to meet her beloved
Lord, proceeds to the beautiful arbour where Krishna eagerly awaits her.
At last Radha and Krishna are united in ecstatic joy and engage themselves
in myriad modes of amorous enjoyment. This narrative, presented through
the twenty-four songs and seventy-two slokas of Geetagovinda, is only a
medium to provide a dramatic structure and tension for a performance in
dance and music.
The true significance
of Geetagovinda is indicated by Jayadeva himself right at the beginning
of the musical epic. In the very first sloka, by way of introduction of
the subject and theme of his composition, or the traditional vastu pravesha,
Jayadeva presents this as triumph of the mystic love play or rahah kelayah
of Radha and Madhava on the banks of Yamuna. Jayadeva also refers to this
as the tale of love of Sree or Laxmi and Vasudeva or Krisna–Vishnu. He
clearly identifies the protagonists of his epic as Jagadeesha or the supreme
divinity whom he treats as one and the same leelamaya Krishna and Radha
whom he identifies with Kamala or Shree.
Later alluding
to the Raasa dance in the Vrindavana forest in the concluding stanza of
a song or bhanita, he speaks of adbhuata Keshava keli rahasya or the mystery
of the strange romance of Krishna. In this mystic dance Krishna dances
simultaneously with numerous Gopis and yet each Gopi feels that she is
exclusively enjoying his company. Jayadeva explains this in a sloka that
encapsulates its true essence.
Vishvesaamanuranjanena
janayanaanandam indeevara
Shreni shyaamala
komaleirupanayanangeiranangotsavam
Svachhandam
vrajasundaribhirabhitah prattyngamaalingitah
Shringarah
sakhi murtimaaniba madhau mugdho harih kreedati
Vishvesaamanuranjanena
literally means to give delight to the whole universe. It is for this purpose
and for janayan aanandam, or filling the entire universe with joy, that
this leela or drama at the outer level has been created. Any attempt to
understand this great mystery at the surface can be quite confusing. This
leela is but a manifestation of an act of Supreme Grace. This is the showering
of Divine Grace on the entire humanity, the whole universe. This is the
act of love of indeevara shreni shyaamala-Krishna. He has a captivating
darkness, as if all the sweetness of a bunch of blue lilies has been concentrated
on his countenance. As if this was not enough, Jayadeva adds another adjective
with telling effect-Komaleih!-an epithet implying that this darkness has
a tender, soft and enchanting character. What Krishna is enacting through
this mystic love play is only to shower his Love and Grace on entire humanity.
The whole Geetagovinda is a play about Anangotsava. In his own body Krishna
is manifesting this festival of Ananga or a celebration of love. He is
dancing with Gopis who are like his ornaments. They embrace him, with absolute
freedom, without restraint. Shringarah Sakhi murtimaaniba, the bodiless
Ananga, the God of Love, in fact the feeling and concept of love, has acquired
a body, a shape and an appearance when Krishna is engaged in the Raasa
dance. He has created this leela for his own joy and also to bless the
entire humanity. He is mugdho, engrossed in this whole performance. Like
this Raasa dance, the whole of Geetagovinda is but a leela of Krishna–Jagannatha.
Vishweshaamanuranjanena, to shower delight on the entire universe, Jagannatha–Krishna
has created this joyous play-acting in which the Lord himself is a willing
participant along with Radha and the Gopi maidens. This quintessential
sloka of Geetagovinda has been described by Dr Subas Pani as a mantra.
In fact, in this perspective, this sloka holds the key to a deeper understanding
of Geetagovinda. The drama and romance is but an aid to weave the entire
composition through a narrative thread with a human touch to which ordinary
humans can relate easily and feel attracted. Right at the beginning of
the composition, Jayadeva clearly states that Geetagovinda is an aid to
the remembrance of Krishna-for Hari-smarana. He never lets the reader or
the audience forget this central purpose of the composition and repeatedly
emphasises it almost in each song, especially in the bhanita portions as
elsewhere.
A truly immortal
work of art, Geetagovinda is the perfect embodiment of Keats famous words
"A thing of beauty is a joy forever." Even today the influence of Geetagovinda
is quite powerful on the culture of Orissa. Notably, Odissi dance, now
enjoying great revival, derives many themes from Jayadevas songs and the
famous Dasavataara song is a part of the repertoire of every Odissi dance.
Patta paintings and sculptures too draw inspiration from Geetagovinda.
Text woven into the patterns of handloom silk cloth known as Geetagovinda
Khandua, tie and dye silken cloth inscribed with words from Jayadevas composition,
adorns Lord Jagannatha in his Badasinghaara ritual when he gives his grand
audience every evening and later enjoys listening to the sweet songs of
Jayadeva before retiring for the day. The culture of Orissa is replete
with the influence of Geetagovinda. In every sense, Jayadevas Geetagovinda
is a living monument and the essence of Orissas grand and ancient cultural
heritage.
- Based
on Geetagovinda, the Essence of Orissa, Tradition and Spirituality, Exploring
the Mantras of Geetagovinda and other writings and additional inputs by
Dr Subas Pani
originally
featured in geetagovinda.org
© Dr
Subas Pani and Sri Geetagovinda Pratisthana
Sampoorna Geetagovinda
- the Music CDs
Sampoorna Geetagovinda presents
the complete and unabridged version of Jayadeva's immortal creation. This
is a major musical composition presenting the entire Geetagovinda - all
the stanzas of each of its twenty-four songs, typically consisting of eight
padas and hence called Ashtapadis, and all the seventy-two slokas-a unique
and first ever offering. A group of scholars led by Dr Subas Pani, well-known
scholar of Jayadeva and Geetagovinda, has finalised the authentic text
of this musical epic after extensive research referring to several original
tika or commentaries.
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