Gitagovinda ("Govinda's Song") is a song written by Jayadeva, a poet from the twelfth century.
The Gitagovinda is one of the last major devotional (bhakti)
books composed in Sanskrit and is an exceptional example of Sanskrit poetry.
It was written at a period when vernacular languages were
becoming the common medium for spiritual religiosity.
Jayadeva was affiliated with the Jagannath temple in the
eastern Indian city of Puri, and his wife Padmavati was a dancer at the same
temple, according to legend.
The Gitagovinda is a devotional poem dedicated to Jagannath,
the Hindu deity.
The poem was clearly written to be sung, since each of the
twenty-four cantos is composed in a distinct musical style (raga), conveying a
different feeling.
For at least 500 years, the narrative has been portrayed via
dance in the Orissi dance form, which originated in the Jagannath temple.
The Gitagovinda is still employed in Jagannath's daily
devotion and has a place that no other literary source can match.
The Gitagovinda is a symbol of the human soul's oneness with
God.
This union is shown in the narrative of Krishna's love for
his human bride Radha, as they go through an early flush of desire, followed by
jealousy, separation, reconciliation, and reunion.
Despite the abundance of motifs from Sanskrit love poetry in
Jayadeva's narrative, it is considerably more than a romantic book.
The poem was composed to demonstrate that Krishna is the
supreme ruler of the universe.
The Dashavatara Stotra, the first cantos following the
introduction, offer praise to Krishna in his 10 avatars or earthly incarnations
(Dashavatar), each of whom plays a role in maintaining cosmic balance.
In many portions of Hindu tradition, Krishna is regarded an
incarnation of the divinity Vishnu, but for Jayadeva, Krishna is the highest
deity.
Krishna's brother, Balarama, takes Krishna's position in the
enumeration of the avatars, which he typically occupies.
The next song builds on this topic, describing Krishna's
glorious attributes as Vishnu and underlining that the whole Gitagovinda
represents the deity's divine pastime (lila).
After establishing the necessary backdrop in the early
songs, Jayadeva's writing returns to a more traditional romantic love story.
The symbols of spring are described in the next chapter,
which are meant to induce a romantic atmosphere.
However, Radha's jealously marrs the atmosphere when Krishna
engages in games with a group of cowherd females, since she seeks Krishna for
herself alone.
She withdraws and sits alone, pouting and dejected, only to
erupt in wrath when Krishna appears, carrying evidence of yet another amorous
connection.
Krishna realizes what he has done as a result of her rage
and rejection.
He ultimately manages to calm her down and persuade Radha of
his love.
They reconnect and fall in love passionately.
The book concludes with a description of their afterglow
love play, in which Radha commands Krishna to decorate her as she likes,
demonstrating her total control over him.
The Gitagovinda may be read on many different levels at the
same time as a text.
Love, betrayal, and reconciliation are easy to relate to in
daily life, yet theological and mystical dimensions are constantly present.
Finally, the god and the devotee (bhakta) are depicted as
being in need of and adoring each other.
Without the other, neither is whole.
Radha's quest for exclusive love is first rebuffed, but her
perseverance and determination are rewarded in the end.
Barbara Stoller Miller's superb translation of the Gitagovinda,
The Love Song of the Dark Lord, was published in 1977.
Goa is one of contemporary India's tiniest states.
On the Arabian Sea's coast, it is sandwiched between the
states of Maharashtra and Karnataka.
For more than 400 years, Goa remained a Portuguese colony,
and it was not included into the Indian union until 1961, when India
orchestrated a bloodless invasion.
Goa maintains much of its Portuguese influence, as seen by
its gastronomy, laid-back pace, and continued presence of Roman Catholicism,
making it one of India's most peculiar cultural zones.
Christine Nivin et al., India. 8th ed., Lonely Planet, 1998, provides an accessible reference for general information on Goa and all of India's provinces.
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