·Jayadeva's Gitagovinda
LOVE SONG OF THE DARK LORD
सिभिRArmrage
10
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.
TRANSLATED BY BARBARA STOLER MILLER

·Oxford University Press
OXFORD LONDON GLASGOW
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First published 1977
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·- To Tuni and-Pat k ·PREFACE Deliverance is not for me in renunciation I feel the embrace of freedom in a thousand bonds of delight Rabindranath Tagore Gitanjalı 73 Jayadeva's dramatic lyrıcal poem Gitagovinda is a unique work in Indian literature and a source of religious inspiration in both medieval and contemporary Vaishnavism The poem is dedicated in devotion to the god Krishna It concentrates on Krishna's love with the cowherdess Rādhā in a rite of spring Intense earthly passion is the example Jayadeva uses to express the complexities of divine and human love Although the poem originated in eastern India in the twelfth century and remains most popular there, it spread throughout the subcontinent in the centuries following its composition As early as the thirteenth cen cury it was quoted in a temple inscription in Gujarat, in western India Established traditions of commentary and manuscripts exist in every part of India Its songs are an important part of the devotional music and literature of Orissa, Bengal and South India The songs were introduced into Kerala in the sixteenth century and are still sung in temples there Portions of the poem represent one of the major subjects in medieval Rajput painting Critical acclaim of the poem has been high, but its frank eroticism has led many Indian commentators to interpret the love between Rādha and Krishna as an allegory of the human souls love for God The condemna tion of Jayadeva s eroticism made by the seventeenth-century esthetician Jagannātha in his Rasagangadhara (Kāvyamālā 12, Bombay, 1888, p. 52) is exceptional Learned and popular audiences in India and elsewhere have continued to appreciate the emotional lyficism the poem expresses in its variations on the theme of separated lovers' passion f Preface 12 ·✓ The 1 1 1 A Commenting on F. H. van Dalberg's German rendering of the Gita. govinda, Goethe wrote, "What struck me as remarkable are the extremely varied motives by which an extremely simple subject is made endless" (note to Schiller dated Jan. 22, 1802, quoted from Correspondence between Gocthe and Schiller, translated by L. D. Schmitz, London, 1909, vol. 2, p. 395). Dalberg's version was based on the first English translation of the Gitagovinda by William Jones, published in the Transactions of the Asiatic Society, Calcutta, in 1792 and reprinted in London in Asiatik Researches, 3 (1799), 185-207. A verse translation by the German poct Friedrich Rückert, begun in 1829 and revised according to the edited Sanskrit text and Latin translation of C. Lassen (Bonn, 1836), appeared in Zeitschrift für die Kunde des Morgenlandes, 1 (Gottingen, 1837), 128 ff. poem has also been translated into most modern Indian languages and many other modern European languages. Notable English versions include Edwin Arnold's The Indian Song of Songs (London, 1875); George Keyt's Sri Jayadeva's Gita Govinda: The Loves of Krspa and Radha (Borr! The Gita Govinda of Jayadeva >sophical rendering, The Song of Divine LUVC (Miuras, 1902), and Monica Varma's “transcreation," The Gita Govinda of Jayadeva, published by Writers Workshop (Calcutta, 1968). My own interest in the Gitagovinda began when I heard it sung in Orissi style in the home of Sulakshana and Debi Prasanna Pattanayak in Poona in 1966 and attempted to translate some of the songs. None of the available translations seemed to convey the literary richness or the religious significance of the original. My early work toward a verse translation of the poem convinced me that my English version should be based on a critical cdition of the text and an extensive study of the traditions associated with the poem at various levels of Indian culture. While I have concentrated my effort on textual aspects of the Gitagovinda, I have also gathered and studied substantial material relevant to its cultural contexts. I have heard and recorded the songs of the рост in different musical versions in Orissa, Bengal, Bihar, Madras, Mysore, and Kerala, as well as Nepal. Because of the role of the songs in the nightly worship of the deity in Jagannātha Temple at Puri, they are ven. crated and sung throughout Orissa. Their performance is an essential aspect of Orissi dance, which has developed through the religious art of temple dancers called Maharis who still dance Gitagovinda songs before Jagannatha. The significance of the legendary life of Jayadeva that identi- Preface x ใน ·fies the poct's muse as a temple dancer of Puri is discussed in the first section of my introduction. I have learned much about the emotional content of the poem from watching Sanjukta Pinigrahi and Ritha Devi perform Gitagorinda songs in Orissi style. I spent many pleasant hours in Cuttack in consultation with Kalicharan Patnaik and Akshaya Mohanty discussing and listening to the music of Gitagovinda. A seventeenthcentury palm-leaf manuscript of the text, with the commentary Sarvänga. sundari and superb illustrations, was examined in the collection of Kali Charan. In Bengal, the singing of Gilagovindu is especially prominent at an Annual spring fair in the village of Kenduli in Birbhum district, which is identified as the birthplace of Jayadeva in Bengali tradition. The in- Auence of the poem on the devotional music of Bengal is analyzed in an farticle by Swami Prajnananada entitled "The Gitagovinda-padagāna in the Background of the Padåvali-kirtan of Bengal," published in the Jour. nal of the Music Academy, Madras, 36 (1965), 176-82. In Nepal, the Gitagovinda is sung during the spring celebration in honor of the goddess Sarasvatī, in which worship is offered to the god of love, Kamadeva, and his consort. I did not hear an actual performance, but learned about it in a talk with the father of my friend Dr. Prasanna Chandra Gautam, who read the description and chanted a portion of the poem from his brahman family's old manual of annual ceremonies, entitled Varsikavrata paddhati. In the Bir Library collection in the National Archives in Kathmandu, I found the carliest known manuscripts of the Gitagovinda, dated 567 and 616 in the Nepali era (ca. A.D. 1447 and 1496). Norvin Hein discusses the theatrical rendering of the Gitagovinda in regions where ſākta influence prevails, with special reference to its performance in Nepal and Bihar (The Miracle Plays of Mathura, New Haven, 1972, pp. 267-71). He quotes the account of Sylvain Lévi of an evening performance by popular players in Kathmandu on March 7, 1898, in which the plot and songs were based on the Gitagovinda. In much of South India the poem is sung according to the classical Karnatic system of music. An edition of the text with musical notation according to this system by Semmangudi R. Sreenivasa Iyer was published by the Sanskrit College Committee, Tripunithura, Kerala, in 1963. The text is prefaced by this note: "Ashtapadi, as the poem is popularly known, is sung daily in many of the temples of Kerala, as the pious Hindus consider it a devotional song of the highest order. It is also sung invariably during Kathakali performances, but the way of singing in Preface si ·English version of Jayadeva's poetry. The discussions are supplemented by extensive bibliographic and textual notes. Because the bibliography differs so much from section to section, no general list of references is given. In preparing both the glossary and the introduction, as well as the translation itself, I have depended heavily on the interpretations and analyses of various commentators. The contents of selected commentaries are described as part of the evidence for the critical edition. References to variant interpretations of ambiguous phrases and technical terms are found in the glossary and the notes to the introduction. The research for this book has taken me to India three times. My search for manuscripts in the summer of 1971 was supported by grants from the National Endowment for the Humanities and the American Philosophical Sociсty. A grant from the American Council of Learned Societies enabled me to spend time in Madras and Orissa in January 1973 to consult manuscripts in the Adyar Library, the Orissa State Museum, and the Raghunandan Library, and to experience performances of the Gitagovinda. My residence at Mysore University during the winter of 1974-75 was supported by the American Institute of Indian Studies. A Guggenheim Fellowship for "A Textual and Contextual Study of Medieval Sanskrit Poctry and its Modern Interpretations” gave me time to consider the Gitagovinda in the broader context of medieval literature and to explore theories of the relationship between religion and art in Indian civilization. It also enabled me to work in Nepal in the autumn of 1974. In the five years I have spent gathering and preparing the Gitagovinda material for publication, many people have given me invaluable help. My special thanks are to the Pattanayaks, who have often shared with me and my family the warmth and cultural life of their home. My formal affiliation at Mysore University was with the Central Institute of Indian Languages, of which Dr. Pattanayak is the director; the resources of the institute greatly facilitated my work. In Mysore, I was also helped by research scholars at the Oriental Institute and the Office of the Chief Epigraphist. I enjoyed many hours at the Oriental Institute discussing Sanskrit kavya and analyzing aspects of the Gitagovında with H, V. Nagaraja Rao. It was under his supervision that the Devanagari text of my critical edition was typeset at Sree Kantha Power Press, publishers of the Sanskrit newspaper Sudharma. Without his gracious help, this book would not be in its present form. Thanks are due to Thcodore Riccardi, Lynn Bennett, and Gabriel Campbell for their help in locating and identifying the Nepali materials that have been so central to my critical text; Preface riv ·and also to Neil Groſs, who patiently collated the rcferences for the glossary. I am indebted to Daniel H. H. Ingalls for the example of his own work and for his encouragement of this translation through the endless revisions I submitted to his attention. For their generous and detailed criticism at various stages of the translation, I thank Susar Bergholz, Edwin Gerow, Jeffrey Masson, Agueda Pizarro, David Rubin, Burton Watson, and my husband James. William Bernhardt, Karen Mitchell, and Andrée Mounier of Columbia University Press have all contributed to the conception and form of the book; I appreciate their skills and standards. James and Gwenn have shared my travels in the Indian subcontinent and much of my adventure in studying the Gitagovinda. Their appreciacion for the music of Jayadeva's poem and for ny involvement with it have made this work pleasurable. Barbara Stoler Miller NEW YORK, 1976 Preface Xv

·CONTENTS
Preface' ir
A Note on Sanskrit Pronunciation xix
INTRODUCTION
i Jayadeva: The Wandersrig Poet 3
2 The Lyrical Structure of Jayadeva's l'oem 7
3 Jayadeva's Language for Love
4 Krishna: Cosmic Cowherd Lover
5 Rādha: Consort of Krishna's Springtime Passion
Notes 39
26
GITAGOVINDA TRANSLATION
67
GĪTAGOVINDA SANSKRIT TEXT
127
TEXTUAL CRITICISM OF THE GİTAGOVINDA
I Collection of the Textual Evidence
177
2 Dated Manuscripts of the Fifteenth and Early Sixteenth
Centures. Basic Evidence of the Shorter Recension 178
3 Selected Commentaries on the Gitagovinda 183
+ Previous Editions of the Gitagovinda 189
5 Secondary Evidence
190
6 The Significance of the Critical Edition 191
7 Variant Readıngs 193
A GLOSSARY OF SANSKRIT WORDS
207

·A NOTE ON SANSKRIT PRONUNCIATION In reading Sanskrit words, the accent is usually placed on thc penultimate syllable when this is long; otherwise it is placed on the antepenultimale. A syllable is long if it contains a long vowel (i, i, ), a diphthong (c, o, ai, au), or a vowel followed by more than one consonant. It should be noted that the aspirated consonants kh, gh, ch, jh, th, dh, ph, bh, and so on arc considered single consonants in the Sanskrit alphabet. Vowels are given their full value, as in Italian or German: i as ai in cut as a in father as I in pst asi in machine # as u in put u as u in rule a short vowel; as ri in river as ay in say ai as ai in aisle as o in go 411 as on Jn Cow mi nasalizes and lengthens the preceding vowel h a rough breathing, replacing an original s or r; lengthens the preceding vowel and occurs only at the end of a syllable or word c o Most consonants are analogous to the English, if the distinction between aspirated and nonaspirated consonants is observed; for example, the aspicated consonants th and ph must never be pronounced as in English thin and phial, but as in hothouse and shepherd. (Similarly, kh, gh, ch, jh, dh, bh.) The differences between the Sanskrit "cerebral" , th, d, dh, n, and "dental" 1, th, d, dh, n are another distinctive feature of the language. The dentals are formed with the tongue against the ceech, the cerebrals with the tongue turned back along the palate. Note also: 17 as g in goat as n in ink, or sing as ch in church Sanskrit Pronunciation xir ·1 Jayadeva: The Wandering Poct Jayadeva, wandering king of bards Who sing at Padmăvati's lotus feet, Was obsessed in his heart By rhythms of the goddess of speech, And he made this lyrical poem From tales of the passionate play When Krishna Joyed Sri, Jayadeva, the poet's signature in the Gitagovinda, is the name by which he is known as a poet-saint in Indian tradition. It is a name he shares with Krishna, the divine hero of his poem; he invokes Krishna in the second song with the refrain jaya jayadeva hare, “Triumph, God of Triumph, Hari!" In the context where the poet's name becomes an epithet of Krishna, the name in turn gains a dimension of sacred meaning. The listener is reminded of Jayadeva's special relation to Krishna as his name is repeated in the signature verse that ends each song. The lyrical, religious eroticism of the Gitagovinda earned sainthood for Jayadeva and a wide audience for his poem. All versions of the legend that sanctifies Jayadeva's life say that he was born in a brahman family and that he became an accomplished student of Sanskrit and skilled poet. However, he abandoned scholarship at a young age and adopted an ascetic life, devoting himself to God. As a wandering mendicant, he would not rest under one tree for more than a night for fear that attachment to the place would violate his vow. His ascetic life ended when a brahman of Puri insisted that Jagannātha, "Lord of the World," himselt had ordained the marriage of Jayadeva with the brahman's daughter Padmāvatī, who was dedicated as a dancing girl in the temple. Padmavatī served her husband and he shared her devotion to Jagannātha. As Jayadeva composed, she danced-thus the Gitagovinda. In the process of writing the poem, Jayadeva conceived the climax of Krishna's supplication to Rādhā as a command for Rādhā to place her foot on Krishna's head in a symbolic gesture of victory (X8). But the poet hesitated to complete the couplet, in deference to Krishna He sent to bathe and in his absence Introduction 3 ·Krishna appeared in his guise to write the couplet; then Krishna ate the food Padmavati had prepared for Jayadeva and left. When Jayadeva re. turned, he realized that he had received divine grace in cxaltıng Krishna's loving relation to Rādhi. Various local versions of this legend have grown into conflicting tradi. tions about Jayadeva's place of birth and region of poctic activity. Modern scholars of Bengal, Orissa, and Mithila have put forth claims locating the village of his birth in their respective regions. Two strong traditions say that the "Kindubilva" cited in the Gitagovinda (111.10) is either a village near Puri in Orissa or a village in the modern Birbhum district of Bengal. A third tradition identifies the village of Kendult near Jenjħarpur in Mithila as Jayadeva's birthplace. The argument is well known and has been summarized in favor of Jayadeva's Bengalı origins in a recent monograph by Suniti Kumar Chatterji. Although the Bengali position remains tenuous, both legends and historical documents suggest that Jayadeva lived and composed in castern India during the latter half of the twelfth century. The dating of Jayadeva's literary activity is established by the composite evidence of various literary and historical documents. Most prominent is the presence of verses attributed to Jayadeva in Śrīdharadāsa's Saduktikarnāmrta, an anthology compiled in Bengal in A.D. 1205 (Sīka era 1127), at the end of the reign of Laksmanasena, who ruled about A.D. 1179 1205. Among the thirty verses attributed to Jayadeva in S. C. Banerji's edition of the anthology, two are in the critical text of the Gilagovinda.” In the Gitagovinda (1.3), Jayadeva compares himself with poets named Inhoyi, all of whom are quoted court epic entitled Pavanaduta, --...puebo by Laksmanasena into the south. The other poets are less directly associated with Laksmanasena, but their works relate them to the period and region of his reign It seems clear from the contents of the Sadukukarnāmrta and from the inscriptions of Lakşmanasena that the king was a patron of Sanskrit learning and of Vaishnavism The Senas were Karnatic kings who employed Sanskrit for their official documents, the standard practice in North India at this time. The inscriptions of Laksmanasena open with an invocation to Vishnu (aum aum namo nārāyanāya) instead of to Siva, as had been the practice of his predecessors. The king is described by the epithet “Highest Vaishnava" (paramavaisnara).10 A court that promoted Sanskrit learning and the hụghly syncretic Vaishnava worship of this time ܕܝ17 - Jt 6 L- LU builty 8 Introduction 4 ·would have provided an appreciative audience for thc Giragovinda. It is im. possible to know whether Jayadeva composed the work at Lakşmanasena's court; perhaps he composed it clscwhere and performed it there. The South Indian Vaishnava devotional cults that were influential in Bengal in the twelfth century were equally active in Orissa. Traditional accounts record that Rāmīnuja, the great Vedānta philosopher and apostle of the Srīvaishnava cult, visited Puri in the carly part of the twelfth cen. tury and established a school there. It is claimed that he met and influenced the King of Puri and worked to introduce the ritual of Srivaishnavism into the Jagannātha temple, against the strong opposition of resident Saiva priests." The king whom he met was probably Anantavarman Chodagangadeva, the Ganga king who ruled in Orissa about A.D. 1078–1147. Later Ganga records suggest that Chodagangadeva initiated major construction of the Jagannātha temple, which was completed during the reign of his grandson Anangabhimadeva in the late twelfth century. From the evidence of his inscriptions, Chodagangadeva, like Lakşmanasena lof Bengal, came under Vaishnava influence. Two sets of copperplate inscriptions illustrate the shift in his sectarian allegiance. In A.D. 1981 (Sāka era 1003), Chodagangadeva expressed traditional Ganga devotion to Siva by granting land to support worship of Rājarăjeśvara, a name of Siva. In A.D. 1118 (Sāka era 1040), in a grant of land to a brahman named Midhava, his inscription begins with an invocation to Laksmī, and the king is described as "Highest Vaishnava" (paramavaisnava). Temple records show that since the time of Chodagangadeva, lagannātha has been continuously worshipped as the Supreme form of Vishnu, whose expressed through the energy of his consort, Laksmi or Srī.12 Although the legend of Jayadeva's life has no historical value, it does tell us that in the course of his wanderings Jayadeva visited Puri, where he came under the influence of the Jagannātha cult and formed a special relationship with Padmavati. The identification of Padmăvatí as Jayadeva's wife is not supported by either of the early commentators on the Gitagovinda. Both Mānānka and Kumbhakarna identify Padmavati (12; X 9; XI.21), or Padmă (1.25), as names of Krishna's divine consort Sri (1.2; 1.23), or Laksmi (XI.22), who is also called Kamala (1.17) in the poem. The "marriage" of Jayadeva and Padmāvati in the legend may be a veiled allusion to his initiation in the Śrīvaishnava cult that was established in Puri under Rāmānuja's influence. The role of Krishna's cowherdess consort Rádkā in the Gilagovinda takes its cosmic significance from the context of recurrent references to ści. Jayadeva's use of the power is Introduction 5 ·cpithet Jagadita, "Lord of the World," for Krishna in the first song is too similar to lagannatha to be accidental—the Gitagovinda may well have taken shape in the richly syncretic environment in Puri in the twelfth century.13 By the fifteenth century, the Gitagovinda was sufficiently popular in Puri to be incorporated into the ritual of the Jagannātha temple. An inscription located on the far side of the Jayavijaya doorway, written in Oriya language and script and dated A.D. 1499, prescribes the performance of the Gitagovinda in the temple." An English translation of the inscription reads: On Wednesday the tenth lunar year of Kakadā, bright half in the ninth mark of the warrior, the elephant-lord, the mighty Pratāparudradeva Mahārāja, king over Gauda and the ninety millions of Karņāta and Kalabaraga, orders as follows: "Dancing will be performed thus at the time 1 of food-offerings (bhoga) to the Elder Lord (Balarăma) and the Lord of the Gitagovinda (Jagannātha). This dancing will continue from the end of the deities' evening meal to their bedtime meal. The dancing group of the Elder Lord, the female dancers of Lord Kapileśvara, and the ancient dancing group of Telangana will all learn no song other than the Gitago. vinda from the Elder Lord. Aum. They will sing no other song. No other dance should be performed before the great God. In addition to the dancing, there will be four singers who will sing only the Gitagovinda. Those who are not versed in singing the Gitagovinda will follow in chorus-they should learn no other song. Any temple official who knowingly allows any other song or dance to be performed is hostile to Jagannātha." In the early sixteenth century, the great Vaishnava mystic Caitanya made a pilgrimage to Puri and settled there. It is recorded in the spiritual biography of Caitanya by Krsņadāsa Kavırāja, entitled Cartanyacaritāmrta, that Caitanya derived great joy from hearing the Gitagovinda, as well as the songs of the Bengali poet Candīdāsa and the Maithili poet Vidyāpat.15 There is no reference to the origin of Caitanya's devotion to the songs of the Gitagovinda, but it is likely that he heard them in the temple of Vagannātha. His love for Jayadeva's songs led to the canonization of the Gitagovında within the Vaishnava Sahajyä сult and its interpretation according to the doctrines of Bengali Vaishnavism.16 Sahajiyā tradition claims Jayadeva as a practicer of its unorthodox ritual and the "original preceptor" (adsguru) of the cult." Jayadeva's ritual practice is not revealed by his poem, but the place of his songs in the Caitanya cult complements the Oriya tradition that nightly performance of the songs in wor- Introduction 6 ·A.D. ship of Jagannātha at Puri has been continuous for more than seven hun. dred years.18 By the end of the thirteenth century, the Gitagovinda was known in western India. A stone inscription of Mahārāja Särangadeya Väghclă of Anahillapattan, dated 1291 (Vikrama era 1348), opens with Jayadeva's invocation to Krishna in his ten incarnate forms (1.16).' The inscription records the levying of a revised tax on the inhabitants of Pālhanapura (modern Palanpur) to defray the expenses of temple offerings to Krishna. The Gitagovinda was probably brought to Gujarat by Vaishnava pilgrims who heard it at Puri or some other castern center of the Krishna cult. Further evidence of the poem's wide dissemination in the centuries fol. lowing its composition includes the existence of one palm-leaf manuscript in Newari hooked characters dated ca. A.D. 1447 (Nepali era 567) and another in Newarı script dated ca. A.D. 1496 (Nepali cra 616).20 The text of this version accords well with the text on which Mânănka based his simple commentary. The fifteenth-century date given to an early paper manuscript of the Gitagovinda, accompanied by Mānānka's commentary and illustrated with paintings of the ten incarnations of Krishna in the Gujarati style of the mid-fifteenth century, is corroborated by the date, ca. A.D. 1512 (samvat 1569), on another manuscript of Mānāäka's commentary. The literary critical commentary of Kumbhakarņa, called Rasikapriya, is dared the mid-fifreenth century according to the dates of the ruler of Mewar named Kumbhakarna_(A.D. 1433-68), with whom the commentator is identified.22 By the sixteenth century Jayadeva's poem was recognized throughout northern India for the intensity of its poetic and its religious expression. 2 The Lyrical Structure of Jayadeva's Poem The Gitagovinda, deceptively simple in its surface beauty, has a wealth of meaning embedded in structurally intricate forms and concepts drawn from various levels of Indian literary tradition. In the process of preparing this textual analysis and translation, I have come to appreciate how masterfully Jayadeva interwove_formal and thematic elements to create a work of high art and religious intensity that remains appealing to popular audiences throughout the Indian subcontinent. In order to translate the Introduction 7 ·11 the Giragovinda, twelve different syllabic meters occur. There are also three verses in the moric meter Årya (V1.1; VII.2; 1X.1). Aryā is the most cxtensively used moric meter in Sanskrit poetry. It is the characteristic meter of poetry in Prākrit dialects of the classical period, ex- Semplificd by the contents of Häla's anthology, the Saltasai, 10 and by Prākrit verses in Sanskrit dramas. Although the classical Arya meter is organized in terms of beat and measure, like the songs of the Gitagovinda, its formal articulation makes it distinct from the types of measured meters that order the songs." In comparison with the compact form and contained grammar of the classical kõvya verses, the structure of the songs is broader and more complex. A composite pattern of three interdependent formal units is repeated in cach of the twenty-four songs." The fixed unit in cach song is the dhruvapada, a "refrain" that is repeated after each couplet; it is the stable unit of sound and meaning in the song. Its content provides a context for the descriptive details of the couplets and intensifics their meaning. Where the dhruvapada contains the grammatical subject to which descriptive compounds and phrases refer, it resolves the "dangling" syntax of the couplets. The refrains are characterized by syntactic simplicity and a core vocabulary of recurring words that suggest correspondences between Radhā and Krishna at different stages of their separation. Just as a refrain unifies a song, the network of refrains unifies the poem. The varying unit in cach song is the pada, a stanza that is one of a series of rhymed couplets occuring in a particular moric metrical pattern. From this comes the designation of the songs as padávali,"stanza-series," a term that Jayadeva introduces in the Gitagovinda (1.4). Since the stanzas usually number eight, the songs are also referred to as astapadi, "eight-stanza song." The final formal unit is the bhanita, the last pada in each song. Each bhanita repeats the poet's signature, Jayadeva, and usually some form of the root Vbhan, which means "saying" or "singing." This stanza re. affirms the affinities of the poet's creative activity and the audience's csthetic experience to the developing erotic relationship between Rādha and Krishna. It functions in each song to give the perspective of esthetic and religious perception to the emotional intensity of the preceding stanzas and the refrain. The system of moric meters in the Gitagovinda songs gives the poem its rhythmical structure. A particular meter relates couplets within a song, and the metrical system relates the songs to one another. Jayadeva's skill- Introduction 10 ·ful variation of a few selected metrical patterns sustains the aural appeal of his long poem. As I have already suggested, the moric meters of the songs contrast with the traditional moric meters like Aryā in several ways. The severely restricted occurrence of heavy syllables is most striking. Heavy syllables are relatively rare in the songs; they are limited mainly to initial position within the gana units and to the ends of lines. This gives the songs their lilting quality and definite rhythmical beat. The rhythmical element is further emphasized by repetitious sound patterns of alliteration, assonance, consonance, and end rhyme. These devices are all used in earlier Sanskrit literature, but nowhere else with the persistence that characterizes the Gitagovında. The meters of the songs and the mode of their articulation clearly resemble the meters of medieval poetry in the vernacular languages known as Apabhramśa. Although few of Jayadeva's meters are specifically identifiable with those known from either Jain Apabhramśa poetry of western India or Buddhist Caryāpada poetry of eastern India, the predominant metrical pattern of the songs corresponds with the basic rhythmic design of such non-Sanskrit medieval poetry. The correspondence had led scholars like Pischcl, Renou, and Chatterji to suggest that the songs, or even the entire poem, were originally composed in Apabhramba and then translated into Sanskrit.13 A close reading of the songs and a comparison of the songs with the kávya verses in the poem suggest instead that Jayadeva adapted the musical moric meters of vernacular poetry in order to create a medium of song within conventional poetic Sanskrit. If one analyzes Jayadeva's style in terms of meter, ornamentation, and structure, the classical elements drawn from Sanskrit and Prākrit sources are as significant to the songs as the Apabhramśa meters. Jayadeva’s adaptation of Apabhraíśa meters to Sanskrit is not an isolated phenomenon. It is the most sustained and successful of several such experiments that are known from the tenth century and after, when the bonds of classical Sanskrit literature were loosened by attempts to broaden its appeal,14 The most prominent meter in the Gilagovinda songs repeats a pattern of couplets structured into lines of seven four-beat measures, exemplified by the opening couplet of the third song (1.27): 15 lalttala|vangala|tāpara{filana! komalamalayasa!mirel madhukaraļnikarakaſrambitakokila|kunta|kuñoakuſtire || Li-uuluvuliwuluuluuuu! j|--|- -|- -|- -|- - || Introduction 11 ·This meter and its variants, which maintain the four-beat mcasure, govern nineteen of the twenty-four songs in the Gitagovında." The dominant metrical unit of the songs reflects the four-beat subdivision of the most common rhythmical pattern (sala) of both Hindusthani and Karnatic classical music. The meter of a song can provide the rhythmical component of the song's music. It seems significant that no tåla designations are given in two of the oldest manuscripts of the Gitagorinda, though cach song in these manuscripts is defined by the name of a melodic pattern (råga), Where tála names do accompany råga names in other manu. scripts, there is enormous variability with regard to the täla names."? Most of the refrains are in moric mctrical patterns that maintain the same measured beat as that of the associated couplets.18 They gencrally contrast with the uplets in length only. Refrains usually consist of one line or two rhyming lines of uncqual length. The rhythmic cadences of the refrains tend to be heavier than those of the couplets, thus giving their words greater emphasis.19 Rhyme, in its several varieties, highlights the rhythmic patterns of the songs. Alliteration (anuprāsa) in Sanskrit poetry involves the echo of repeated sounds in a line; it is not limited to the initial sounds of words. Alliteration is the rhyming device most commonly used to produce emphasis and cuphony in classical kávya.20 In the Gitagovinda alliterative combinations of consonants and vowels reinforce the meters and the sensuous imagery of the songs. They often contribute to the rhythmical complexity of a line by forcing syllables into a syncopauon of the metrical accent 21 End-rhyme (antānuprāsa) is a universal feature of the couplets. It serves to mark the close of each metrical cycle. This consistent use of endrhyme is rare in classical Sanskrit poetry, though internal rhyme is common, as it is in the kāvya verses of the Gitagovinda.22 The eminent critic Anandavardhana warns that a poct's preoccupation with repetitions of sound, like word-play, alliteration, and assonance, is an obstacle to the production of erotic mood.23 But most Sanskrit crítics consider these devices essential to the sweetness of poetry (madhura, mādhurya).24 These critics seem to agree with the practicing poets that sense and sound must complement each other to create intensity in the expression of erotic mood. The entire Gitagovinda abounds in various forms of word-play as well as thyme. The repetition and shifting meaning of key words like rasa (taste), madhu (honey), and vilāsa (seduction), relate levels of content Introduction 12 ·song.28 within the poem and often expand the context of a verse or song, Jayadeva puns on the names of certain meters hc uses in the kävya verses.** He plays on the names of heavenly nymphs to describe Rādha (X.14). He plays on the cpithets of Krishna, especially Madhava, Madhusudana, and Hari. The poet's own name, Jayadeva, which is also used as an cpithet of Krishna, is repeated as the poct's signature at the end of cach The grammar of the songs is simplified. Certain forms are repeated frequently. Prominent are the locative, which is often used in its absolute function, the instrumental, and various participles. In the tenth song, un. varying grammatical parallelism governs cach of the couplets. In the Gitagovinda repetitive patterns of sounds, syllables, words, and phrases serve to reinforce and supplement the metrical structures of the songs. All Sanskrit poetry contains generous amounts of sound elaboration (sabdalam kara); 27 in the songs of the Gitagovinda the redundancies are incessant, complex, and multileveled. They create a sensuous surface of verbal ornamentation that suggests comparison with che sculptured surfaces of the medieval Hindu temples of Bhubaneswar and Khajuraho. In the rhythmic disposition of a basic ground plan and the superimposition of repetitive shapes along a vertical axis, each temple moves to a point of intense concentration, where it simultaneously plunges into the womb-house of the deity and transcends itself.29 The intricate vertical and horizontal design that emerges in the Gitagovinda from the repetitions of metrical units, refrains, rhymes, alliterations, technical words, puns, and syntactic devices unifics the entire poem and concentrates its movement. All known manuscripts of the Gitagovında indicate the names of various rägas, or melodic patterns, for individual songs. The Indian råga is a melodic formula that includes particular embellishments and tone colors. The technique of improvisation, which is essential to the formal presentation of a raga, uses dense combinations of grace notes and microtonal ornaments. The räga, in the form of either a song or an instrumental piece, is identifiable in performance by its characteristic turns of phrase and dominant tones. In theory, every rāga is associated with a particular mood, time, and seasonal setting. 2* The songs of the Gitagovinda are sung in regions of eastern and southern India in a variety of different rägas.30 Although the oldest manuscripts show striking agreement in designating a group of cleven different rágas for the twenty-four songs, there has been no traditional trans- Introduction 13 ·mission or notation to assure that these names designate the same melodic patterns they do in later times. The fact that many commentators are preoccupied with defining the rägas in terms of Indian music theory sus. gests that the songs were variously interpreted throughout their history. 3 Jayadeva's Language for Love Poetry is distinguished from ordinary modes of speech by the controlled and stylized ways it strives to transcend the limits of ordinary language. The lyrical techniques of Jayadeva's songs combine with the conventional language of Sanskrit crotic poetry to express the intimate power of divine love." As Jayadeva's elaborates the passion of Ridha and Krishna, he crc. ates an esthetic atmosphere of crotic mood (Irrgårarasa) that is bliss for devotees of Krishna. The poct's aim is implied in an opening verse of the Gitagovinda (14): If remembering Hari enriches your heart, If his arts of seduction arouse you, Listen to Jayadeva's speech In these sweet soft lyrical songs. The relation between esthetic and spiritual experience is made explicit in the signature verse of the final song of the poem (XII.19): Make your heart sympathetic to Jayadeva's splendid speech! Recalling Hari's feet is elixir against fevers of this dark timne. She told the joyful Yadu hero, playing to delight her heart, The concept of mood, rasa, is at the heart of all Indian artistic expression. Rasa is literally the taste or flavor of something. The rasa of a verse, song, dramatic scene, or musical performance is the flavor of a pervading emotion (sthāyibhava). Sanskrit poets and critics came o realize the unique power and the esthetic potential of sexual passion (raubhāva) in its aspects of pain and pleasure. The erotic mood that emerges from Passion was expressed in the antithetical modes of "separation" (vipralambhaſrngāra) and "consummation" (sambhogasrngära). To experience this mood in the interplay of its two modes was considered the height of esthetic joy. Jayadeva created the religiously potent atmosphere of the Gitagovinda by exploring the poignant mood of separation within the broader play of divine passion in consummation. . Introduction 14 ·Passion is transformed into crotic mood when a poct distills essential qualities from the confusion of spontancous cmotion and then patterns them according to universalizing rules of composition. Passion is made palpable through sensuous descriptions of movements and physical forms. Seasonal changes in nature and bodily signs of inner feeling arc colored richly to create a dense atmosphere of passion. The theorists dictated that the gestures exposing a character's mental states must be subtle, expressive cnough to arouse a sensitive audience but never so crudely detailed that they stimulate wanton desire. In the Gitagovinda, this restraint functions to make potentially pornographic subject matter the material of esthetic and religious experience. In Jayadeva's environment of springtime (sarasavasanta, 1.27 *), Rādha and Krishna arc vehicles (vibhāva) for the universalization of erotic emotion. These youthful figures with gleaming flesh and lotus-petal cyes manifest signs of emotion (vyabhicăribhāva, sättvikabhāva) to communicate the passion of their separation. For Jayadeva, their longing and reunion is the concrete example o' religious experience in which the disquieting distinction between "I" and "mine" verses "you" and "yours" is calmed. The esthetic experience of their love is the means for breakıng the imaginary barrier dividing human from divine. The poet's direct presence throughout the poem dramatizes his view that the discipline of esthetic perception is a way to enjoy Krishna's graceful love. Each signature verse is a variation on the idea that the emotional states of Rādha and Krishna have religious power through the medium of the poet's lyric presentation. Insight into Jayadeva's conception is found by following the way he presents his characters through the movement of the poem's twelve parts. After evoking Rādha and Krishna in their secret erotic relationship and stating his own aim, Jayadeva invokes the ten cosmic incarnations of Krishna. He proceeds to present increasingly intimate aspects of Krishna's relation to existence, focusing on the suffering he shares with Rādha in the frustration of their love. Krishna's ecstatic reunion with Rādhā within the forest thicket in springtime allows the poet's audience to witness the center of existence. The vision (darśana) of Krishna revealed through Radha at the end of the poem is a vision of the soul of his erotic mood (ekarasa, XI.24-31, song 22). Its effect is comparable with Krishna's manifestation to Arjuna in the eleventh chapter of the Bhagavadgita. Rādha's heart, strengthened by the long trial of their separation and by flie force of Krishna's suffering, is filled with erotic mood (sarasamanas, XII.1) Introduction 15 ·that is the consummation (sambhogašrigāra) of the crotic, esthetic, reli. gious experience Jayadeva crcates for himself and his audience. This vision is contained within the structure of the poem, like the vision that climaxes a worshipper's controlled approach to the deity in the womb of a Hindu temple. On another level, the poetic perspective follows the movement of Rādhā's friend (sakhi), who goes between the parted lovers to describe the condition of cach to the other. This perspective begins on Radha's side, but it subtly shifts to mediate between Rādhā and Krishna and bring them into union. The friend, the poet, and the audience share the experience of secretly participating in the play of divine love.? The Gitagovinda begins with a classical verse indicating the subject of the poem. "Clouds thicken the sky, Tamāla trecs darken the forest. The night frightens him. Rādhā, you take him home!" They leave at Nanda's order, Passing trees in thickets on the way, Until secret passions of Rādhā and Madhava Triumph on the Jumna riverbank. The place, the time, the characters, and their relationship in the poem are superficially clear in this verse. But details of the episode are rich in symbolism and have encouraged complicated interpretations of Jayadeva's • mcaning. Most interpretations turn on the identification of the speaker of the first half of the verse and on the reference to Krishna's "fear" and Rādha's role as his guide through the dark forest. The opening speech is variously attributed to Krishna, Rādhā," Nanda,2 or even the friend of Radhā.1Jayadeva is characteristically ambiguous here the many voices that are possible in the verse all direct the sexual energies of Krishna toward Rādhā, but each voice slightly shifts the quality of the darkness and of Krishna's fear. When we hear Krishna's foster-father, the cowherdchief Nanda, address Rādhā, Krishna's youthful fear of the dark is suggested. When we hear Rādhā speaking to herself, the words suggest a woman sensing the sexual fear of her adolescent lover. When we hear Krishna himself speaking he is courung Rādhā in the veiled language of love, where feigned fear is a device of seduction. The composite voice further suggests that fear may relate to the cosmic age of darkness, the Kali Yuga, for which the union of Radhā and Krishna is the cure.14 Introduction 16 ·The darkness of the night in the forest is described in voluptuous sounds and imagery that echo through the entire poem. It is in this sccrct, sexually stimulating environment that Krishna and Rādhā cnact the initial triumph of their divine love and then suffer the long night of scparation that ends in their reunion. They follow the path through the forest as a pair, which Jayadeva calls Rādha-Mādhava.' The triumph of their passions occurs in this dual state, which is the defining structure of their relationship in the Gitagovinda. The "home" to which Rādhã brings Krishna is a forest thicket (kuñja), the sccret place of their divine love, in which they meet again at the end of their journey. The crotic mysticism of the Gitagovinda, which inspired the Vaishnava saint Caitanya, was interpreted allegorically by Caitanya's followers in terms of the Sahajiyā doctrine of devotional esthetics (bhaktirasa); " they used love as a metaphor whose primary reference was a metaphysical conception. Although many elements in the Gitagovinda are codified in the Sahajiyā doctrine of love, this reading seems artificial. Jayadeva's verses nowhere praise unbodied joy; they are explicitly sensual, and celebrate the joy of divine love. Through imagery, tone color, and rhythm, Jayadeva interweaves levels of physical and metaphysical associations, and the cosmic energy of Krishna's love with Rādhā is condensed into a religious ecstasy. sensual 4 Krishna: Cosmic Cowherd Lover Krishna's mythology is ancient and complicated, emerging in the earliest levels of the epic Mahābhārata and developing through the various phases of Purāņic literature. The history and significance of the Krishna legend has been analyzed in numerous scholarly studies; the summary that follows borrows freely from them." The process of Krishna's deification is discernible in epic literature. In the accounts of him in the Mahabharata and the Hanıvamša, his character is a transparent composite of a cowherd hero and a tribal chief who is also a form, or an incarnation (avatāra), of the god Vishnu. The mundane and cosmic levels of his activity are interwoven in the narratives to en. compass elements from various sources in a complex mythic structure. The basic account includes Krishna's miraculous birth, his concealment Introduction 17 - ·among cowherds to protect him from his demonic uncle Kamsa, his childhood pranks and miraculous deeds in the cowherds' village, his youthful sexual play in the forest with the cowherdesses of Vraja, his destruction of demons, his defeat and killing of Kamsa, his role in the Bharata war as the cunning and unscrupulous counsellor-cousin of the five Pāņdava brothers, and his violent death. In the Bhagavadgitä, he teaches a syncretic religion of devotion to his Pāņdava companion Arjuna and reveals him. self to be the all-God, who is called Vishnu. The fusion of Krishna with Vishnu involved a transfer of many of Vishnu's epithets, as well as his functions, to Krishna." The divinc-cowherd episodes of Krishna's legend became the focus of the medieval devotional cults that emphasized erotic mysticism, and in the process his divinity became distinct from the other incarnations of Vishnu. Krishna emerged as the supreme god of the Kali Yuga, the cosmic age of darkness." From ancient times, Indian culture has attributed extraordinary power to names and the act of name-giving, especially the naming of gods. The tra. ditional practice in Hindu ritual of chanting a series of a god's thousand names (sahasranāmasturi) is evidence of this. Epithets are characterizing names, frequently taking the form of descriptive compound words (bahuvrihisamāsa) in Sanskrit. Although some epithets are petrified into obscure ornamental formulas, most of them function to delineate the subject's character by evoking his deeds, relations, physical forms, and qualities. The particular names and epithets sophisticated poet like Jayadeva chose from among the myriad names of Krishna must have been meant to set the figure in a pattern of specific associations. Most of Krishna's epithets in the Gitagovında are traceable to older sources. The epithet Bhagavat, Lord, which is prominent in the Mahabhārata, the Harivamsa, and various Purānas and which is referred to in the title of the Bhagavadgitā, is notably absent in the Gitagovinda. Its absence, along with the absence of terms like dharma, karma, and bhakti, encourages the speculation that Jayadeva was consciously distinguishing the Krishna he worshipped from the object of the orthodox Bhagavata cult? This is consonant with the poet's concentration on Krishna's special relation to Rādhā, the isolated figure who contrasts with the cowherdess group and who is ignored in early Bhāgavata texts & The epithets Jagadija, Lord of the World, and Jayadeva, God of Triumph, are textually associated with Krishna for the first time in the Gitagovinda. Their use in the opening songs is crucial to appreciating the conceptual framework and 6 Introduction 18 ·movement of the poem. The epithets Dafavidhårupa and Dašākriikri, rcferring to Krishna in his ten incarnations, are similarly significant. The various cpithets are defined below, in order of their appearance in the text of thc poem, with references to other sources, Chapters and verses in the text of the Gitagovinda arc referred to by Roman and Arabic numerals; an asterisk placed after a verse number indicates a refrain. MADHAVA (1.1; III.2; IV.1, 2*, 7; V.7; VII.12, 39; VIII.3*; IX.2"; XI.14*) litcrally means "related to madhu." Madhu may mean "springtime," or "honey," or "the progenitor of Krishna's own Yadu clan." The relation of the progenitor Madhu to the demon Madhu whom Krishna destroys is unclear. Daniel H. H. Ingalls suggests that the whole myth of the demon' rests on a misunderstanding of the name Madhava, "spring. time."! It may be that the "misunderstanding" was intended by storytellers to amplify the meaning of the epithet as it applies to Krishna. In the Gitagovinda, madhu is used to mean "honey" (1.36; VI.2; VII.6; X.2*; XI.18), "springtime" (1.46), and "the demon Madhu" (1.20). The epithets Madhusudana, "killer of Madhu” (1.25, 40; II.17; VII.9), Madhuripu, "enemy of Madhu" (11.9, 18; V.1, 14; VI.s; VII.13, 29; XII.9), and Madhumathana, "tormentor of Madhu" (XI.2*) indicate that Krishna conquered madhu, but it remains uncertain how madhu is to be understood. If these cpithets and Madhava are understood as a complex of related meanings, they seem to suggest that Krishna conquered and absorbed into himself the power of what he conquered, whether it was "springtime" or "honey" or Krishna's own progenitor, all of which are potentially dangerous and so "demonical.” Springtime, personified in Indian literature as the companion of the god of love, is erotically powerful and painful for parted lovers. Honey, the przed raw food of the forest, is cited as an aphrodisiac of power and danger in early brahmanıcal literature. 10 Lévi-Strauss offers an analysis of honey in South American myths as a paradısaical seducer and disrupter of marital ties," and one can see a parallel relation between Krishna's seductive, antinomian sexual behavior and his metaphoric association with honey. The conventional Indian sexual image of the bee acting like a lover in producing and drinking honey further widens the meaning of Krishna's association with honey. Becs are referred to in the poem by the common Sanskrit epithets madhukara, "honey-maker” (1.27; VII.25), madhupa, "honey-drinker" (1.36; V.4; XI 4, 18), and madhuvrata, “busy with honey" (II.1). The Introduction 19 ·dominant mcanings of madhu thus provide a strongly crotic context for the verbal play of Mfadhava and related epithets in thc Gitagovinda." VĀSUDEVA (1.2) refers to Krishna's royal birth in the Yadu clan as the son of Vasudeva and Devaki. It is a common cpithet of Krishna throughout epic literature.13 HARI (1-2, 5*, 17*, 27*, 34 38*, 39, 43, 46; 11.1, 2*; 1V.9, 17; V.14, 15; VI.2", 6,7; VII.3, 7, 10, 14, 29, 38; IX.1, 2, 4, 6, 8, 9; X1.6, 8, 9, 13, 24, 31; XII.1, 19) literally means "the tawny onc," but Vaishnava commentators interpret it to mean "the destroyer of pain," derived from the Sanskrit root V hr. Hari is a common name of Vishnu in his cosmic form and his various incarnations in the epics and Purānas. It is probably borrowed from the Vedic name of Indra, whose characteristics Vishnu and Krishna absorb.14 The ambiguity of reference in the name Hari reflects the identification of Krishna, as Jagadīša, with the cosmic form and function of Vishnu.The similarity between Hari and Siva's name Hara, "the destroyer" (111.11), is exploited by Jayadeva for ironical effect. KEŚAVA (1.5*, 45; IV.11*; VIII.2*; XI.1) means "long-haired." It is traditionally related to Krishna's killing of the horse-demon Kesin." Like Hars, it refers ambiguously to Vishnu and Krishna in epic and Purānic literature, JAGADĪŠA (1.5*) means "Lord of the World." In the refrain of the song of invocation, it indicates Krishna's cosmic supremacy. In the Jagannātha cult of Orissa, which probably provided the context for the composition of the Gitagovinda, Krishna is identified with the composite Buddhist Saivite-Vaishnavite form of Jagannātha.17 DAŠAVIDHARŪPA (1.15) means "having a tenfold form." It indicates that Krishna is at once all of the ten forms of cosmic power he assumes in his awesome aspect (aršvarya) in order to save the world. The same is meant by Dasakruari (r.16). The ten forms of ſagadiša are a variant of the ten incarnations of Vishnu; in Purānic literature Krishna instead of Balarāma is usually the eighth incarnation The incarnations were originally independent legends that came to center on Vishnu as the preserver of order when it is imperiled. Various aspects of the legends are emphasized in different texts. The content of the Gitagavında song is not traceable to any single source.18 The awesome aspect of Krishna, which the ten forms vividly portray, recedes as Krishna's lover-hero role (nāyaka) is elaborated in the poem to Introduction 20 ·dramatize his honcy aspect (mädhurya) in relation to Rādha. But the cosmic power remains a background for the intimacy of the lovers throughout the pocm; the intimacy offers a dimension of cosmic power on which human perception can focus. The complex and powerful mani. festations of cosmic reality arc concentrated in emotions that are carefully patterned for esthetic experience. In the terminology of Indian esthetics, the song of invocation to Krishna's tenfold form expresses the mood of wonder (adbhutarasa), whose presence is essential to Jayadeva's religious transformation of the mood of erotic love (śrrigararasa).20 Jayadeva presents the con forms of Jagadiſa as follows: I. MINAŠARĪRA (1.5), the Fish-form, more commonly called Matsyavatāra. The ancient myth of the deluge and man's rescuc by a giant fish, which is told in the Satapatha Brahmana (1.8.1-6), is the basis of later versions. The Gilagovinda refers to the theft of the Vedas from Brahmä by a sea demon as the former is entering the sleep of cosmic dissolution. Hari takes on the form of a fish and, by means of the deluge, destroys the demon and recovers the Vedas. 91 2. KACCHAPARŪPA (1.6), the Tortoise-form. The Gitagovinda refers to the creative power of the giant tortoise in relation to earth, an association that is made in the Satapatha Brahmana (VII.5.1.5). This form is better known, as Kurmăvatăra, for supporting Mt. Mandara when the gods and demons churn the sea to obtain the clixir of immortality.22 3 ŠŪKARARŪPA (1.7), the Boar-form, another name for Varāhāvatāra. The giant boar rescues the earth by raising it out of the ocean depths on one of his tusks.23 4. NARAHARIRŪPA (1.8), the Man-lion form, another name for Narasimhavatāra. It is the form in which Harı destroys the infidel King Hiranyakaśipu, who threatened his own son Prahlada with death because of the son's devotion to Hari. Hiranyakaśipu had been given a boon of invulnerability by day or night, by god, man, or beast, inside or outside his palace, and to overcome it the god appears at twilight as a man-lion inside a pillar and reaches out to dismember the king 24 5. VĀMANARŪPA (1.9), the Dwarf-form. The three cosmic strides of Vishnu form the basis of the dwarf myth.25 The demon Bali, usurper of Indra's power, grants three paces of land to Hari when he comes to him in the guise of a dwarf. Then Hari assumes his cosmic shape Introduction 21 ·and traverses carth, atmosphere, and heaven. The Gitagovinda rc. fers to Hari's wet feet, which the demon, in his hospitality, has washed to welcome his guest.26 6. BIIRGUPATIRŪPA (1.10), the form of the Bhrgu chief better known as Parafurāma, "axe-wiciding Ráma," who reestablishes order in the world by putting an end to the tyranny of the warrior class,27 7. RĀMASARĪRA (1.11), the form of the "charming" Rāmacandra, Prince of Ayodhya, who is alternately called Raghupatirūpa. He is the hero of Vālmiki's epic Ramayana and of the Ramopakhyana of thc Mahābhārata (III.258-76). His purpose as an incarnation of Hari is the killing of the ten-headed demon king Rāvana, whose cvil power threatens the world. The abduction of his wife Sitā by Rävaņa and his defeat of Rāvana and Rāvana's general Duşāņa, "the corrupting one," are referred to in the second song of the Gitagovinda (1.16, 22).28 8. HALADHARARÚPA (1.12), the form of the plowman Balarāma, elder brother of Krishna. Haladharasodara, "brother of Haladhara," rcfers directly to Krishna (VII.28). Balarāma and Krishna are alternative incarnations of Vishnu in some texts; in other texts they are both partial incarnations, each representing a hair of Vishnu, onc white and one black.29 Balarāma is known for his addiction to wine, paralleling Krishna's addiction to women. The Gitagovinda refers to the episode where he drunkenly orders the Jumna river to move close so he can sport there. When the river fails to obey, he throws his weapon, the plowshare, into her and makes the river bend to him.80 9. BUDDHASARĪRA (1.13), the form of “the enlightened one,” Gautama Buddha. Buddha is not an incarnation in the Mahabharata or the Hartvama, but he appears as such in the texts of carly Purāņic literature.31 The orthodox Hindu view stresses that Buddha's emphasis on moral values, as opposed to Vedic ritual, is valuable only in confusing men and fostering the social chaos that marks the decline of the Kali Yuga. Jayadeva's linking of Buddha's condemnation of Vedic ritual with his compassion for animal victims is a more positive view, consonant with the syncretism characterizing the worship of Krishna as Jagadisa in the Gitagovinda.92 10. KALKIŠARĪRA (1,14), the form of the avenger, Kalkı, who appears with a blazing sword on a white horse at the end of the Kali Yuga to punish barbarians and sinners.33 Introduction 22 ·KRŞŅA is anglicized as Krishna in this volume to render recurring reference to the hero of the Gitagovinda less artificial for English readers (I.J6, 26; 11.10; VIII.3, 7; X.5; XII.21); it literally means "black," or "dark." It is a prominent name of the epic hero who is identified with Vishnu in the Mahabharata and who is counted as one of the standard incarnations of Vishnu. Krsna Devakiputra is mentioned in the Chåndogya Upanisad (III.17.6) as a pupil of the mythical teacher Ghora Angiras; scholars have madc much of the reference, but it is too isolated to be significant. In the Gilagovinda, Krishna is Jagadiſa, the cosmic power of the Dark Age. His relationship with Rādhā is set in the context of his youthful adventures among the cowherds and his adolescent crotic play with the cowherdesses in Brindaban forest, 34 JAYADEVA (1.17*) is interpreted as a dependent compound (talpurusasamása) mcaning "God of Triumph." This is derived by reading the refrain of the second song as jaya jayadeva hare, "Triumph, God of Triumph, Hari!" to parallel the refrain of the first song, which is jaya jagadita hare, "Triumph, Lord of the World, Hari!" s5 The commentator Sankaramiśra, referring to the opening verse of the poem, points out that Krishna's triumph as the hero (nāyaka) of the Gilagovinda is in sexual play (feli). Rādhā is called "Love's living goddess of triumph," anangajayajangama. devată (III.15). The epithet of Krishna is identical with the name of the author of the Gitagovinda. In this function, Jayadeva occurs in the sig. nature stanza (bhanita) of each song, as well as in some verses (1.2, 4, 15, 24, 34, 45; 11.9, 18; III.ro; IV.9, 18; V.6, 15; VI.9; VII.10, 20, 29, 38; VIII.G; IX.9; X.9; XI.9, 21, 31; XII.9, 19, 21, 22).54 HANISA, (1.18), the Indian wild goose, which migrates to the Himalayas every spring to mate on Lake Mānasa, according to legend. It is symbolic of the Universal Spirit (parabrahman). Manasa also means "mental" and the poet's reference is to Krishna as the Universal Spirit in the minds of sages, MURĀRI (1.37; V.12; VII.21, 22*; XI.21), or Muravaırın (X.9), means “enemy of Mura." Mura is a demon who is associated with another demon named Naraka in the Mahabharata (1.59, etc.), as in the Gitagovinda (1.20).37 PĪTAVASANA (1.38; 11.7), or Pitāmbara (XII.20), means "wearing a yellow cloth." It is an ancient epithet of Krishna, referring to the light garment that contrasts with his dark skin.38 VANAMĀLIN (1.38; V.2*, 8*; VII.31*) means "wearing a garland of forest flowers" and symbolizes Krishna's sensual presence in the forest, 39 Introduction 23 ·GOVINDA (II.19; V.17; VI.1; XI.23; XII.21) is probably a Prakritic form of gopendra (gov' inda), which means "chief of the cowherds." It can also be derived from go Vvid to mean “protector of cows." 49 In either casc, the epithet refers to Krishna's adolescence in the forest among the pastoral pcoplc of Vraja, the period of his awesome feats of strength, seductive flute playing, and sexual rites. The title Gitagovinda has these associations; the young dark lord of the forest is the subject of the poet's singing, KEŠIMATHANA (II.11*) means "tormentor of the demon Kesin." In the Harivamsa (62.69), Kcáin is called "the mcanest of horses," turagadhama." XANISĀRI (III.1) means "enemy of Kanisa." It refers to the rivalry between Krishna and his uncle, the demonic King Kamsa.*2 UPENDRA (IV.20) means "Indra's younger brother." 43 In the Gitagovinda verse it is used to form a pun on the name of the meter spendravajrā. JANĀRDANA (VII.12) means "exciting to men." It is a common cpithet of Krishna in the Mahabharata, the Harivamsa, and the Bhagavata Purana. NĀRĀYAŅA (XII.2*) literally means "related to nara, man." In the Satapatha Brāhmana (XIII.34.1) it is an epithet of Puruşa, the primordial man. Throughout the Mahabharata it is the name of Vishnu or Krishna in the role of cosmic creator.44 YADUNANDANA (XII.12, 12*) means “joy of the Yadu clan." Like the epithet Vasudeva, it refers to Krishna's royal birth. In addition to the epithets that Jayadeva chose to characterize Krishna, references to characters, places, and events from various Vaishnava myths are used to expand the context of the poem. The role of Krishna's fosterfather, the cowherd-chief Nanda, in the opening verse is barely indicated by the adverbial compound nandanidešatah, "at Nanda's order." But the presence of the name emphasizes that Krishna is young as his sexual play begins.45 References to Krishna's defeat of the serpent-king Kālıya (I.19) " and the bird-demoness Pûtanıkā (VIII.8) 47 evoke heroic events of his legend, Kālıya was punished for befouling the Jumna waters and Putanıkā was killed when the baby Krishna sucked her life from her by taking the poisoned breast she offered him. Garuda (I.20) is the anthropomorphized eagle who usually serves as Vishnu's vehicle. 18 The sexual freedom enjoyed by the adolescent cowherd is symbolized by Krishna's simple bamboo flute, which is called vamsa (1.43; II.2, 19) or venu (V.9).99 Like the flower arrows shot by the god of love, Krishna's Introduction 24 ·magical flute is an adolescent instrument for arousing and sustaining sexual desire. Both the arrow and the flute, with their obvious phallic sig. nificance, function in this way in the myths of many societies. The culminating effect of Krishna's flutc-playing is the ritual circular dance, called räsa (1-43; 11.2*), which he performs under the full moon of au. tumn with the cowherdesses. The common version of the story recounts Krishna's seduction of the cowherdesses by the melodious call of his flutc in the woods of Brindaban (Vrndāvana) on the banks of the river Jumna (Yamuna). Krishna remains clusive, but promises to dance with the girls in autumn, when the heat and rains arc finished. On a night of the full moon, Krishna goes toward the forest playing his flute. The cow. herdesses follow and form a circle around him, like stars around the moon. By his magic power, he multiplics himself to dance with all the cowherdesses at once.52 This rite of autumn acts as a foil for his spring. time play with his cowherdess consort Rādhā. In Indian myth, spring is the ally of Kāma, the god of love. The sexual aggression of Love is portrayed in the myth of his body's destruction by Siva when he interrupted Siva's meditation with flower arrows to arouse the divine ascetic's desire for Pārvati, the daughter of Himālaya. In his relation to Rādhā, Krishna is both the object of Love's attack and the embodiment of Love's creative sensuality. 3 By representing his divinc hero with a complex of characteristics known from older religious sources, Jayadeva thus sets Krishna's relation with Rādhã in a sacred framework. Krishna's relation to all living beings is expressed through his ten incarnate forms. His personal spiritual relation to human beings is expressed through the form of the flute-playing adolescent cowherd. His intense spiritual intimacy with an individual human being is expressed through the divine sensuality of his love with Rādhā. As the divinc lover and object of the poet's worship, Krishna is the embodiment of erotic mood (śrngaramürtiman, 1.46) and the essence of esthetic experience (ckarasa, XI.24*). His relation with Rādhā epitomizes the classical pattern of erotic love in Sanskrit drama and poetry. Krishna is referred to by standard forms of address given for the dramatic hero (näyaka) in Bharata's Natyaśāstra, such as "beloved" or "lover” (kānta, VII,11, XII.10, 11; dayıta, 1.41, VII.17, 30; priya, IV.21, V.16, VII.30, VIII.I, X.12, XI.32, 33, XII 5, 13; vallabha, VII.30), 84 "cheat" (kitava, VI.10),65 and "rogue" (fatha, VII.30).66 These familiar forms of address complement the sensuous surface that emerges from descriptions of Krishna's ornamented physical presence and his manifestations of emo- Introduction 25 ·tion. By such mcans the poet encourages his audience to approach the divinc lover through esthetic experience. The ingenious integration of religious, crotic, and csthetic meaning that Jayadeva achieves in the structure of the Giragovinda is basic in the character of Krishna 100. 5 Rādhă: Consort of Krishna's Springtime Passion Rádhū is one of the most obscurc figures in carly Indian literature. Until Jayadeva made her the heroine of his pocm, she appeared only in stray verses scattered through various Purānas, anthologies of Prakrit and Sanskrit poetry, works of literary esthetics, grammar, poctry, drama, and a few inscriptions. In the Gitagovinda, Rādhā is neither a wife nor a worshipping rustic playmate. She is an intense, solitary, proud female who complements and reflects the mood of Krishna's passion. She is Krishna's partner in a secret and exclusive love, contrasted in the poem with the circular rasa dance Krishna performs with the entire group of cow. herdesses. Krishna disappears after this dance, deserting the cowherdesses; but he stays with Rādhā to admire and ornament her. Her relationship with Krishna culminates in their union and mutual “victory" (jaya) over each other. In Jayadeva's view, the profound intimacy of Krishna's concentration on Rādhā, in contrast with the diffusion of erotic energy in his play with the cowherdesses, is the perfection of Krishna's nature.1 Jayadeva's reference to his heroine focuses on one name, Radha (1.1, 26; II.1; III.1; IV.20; V.1; VI.2*; XI.1, 13, 14*, 24, 32; XII.1, XII.11) and its diminuitive, Radhika (1.37; 111.2; IV.1, 11*; X.9, XI.2*; XII.2*). Names of Krishna's divine consort, such as Sri (1.2; 1.23), Padmavati (1.2; X.g; XI.21), Kamala (1.17), Padmă (1.25), and Lakşmi (XI.22), occur to place Rādhā in the appropriate cosmic context. Rādha's role as the female counterpart of her lover is consonant with the meaning of her name, which is related to the word rådhas. In Vedic and Purānic literature, rādhas and other forms of the root Vradh have meaning of “perfection" and "success," even "wealth "2 The Vedic god most closely associated with rådhas is Indra, who bears the epithet "Lord of Success" (rādhaspalı). In the Mahabharata and various Purānas, the rivalry between Indra and Vishnu/Krishna results in the transference of elements of Indra's great power to Vishnu/Krishna. Among these elements are female powers associated with Indra, such as Srī in the episode of the churning Introduction 26 ·of the occan, Indra lost Sri through a curse by the sage Durvisa and Vishnu reclaimed her as his spouse. A similar pattern may well account for Krishna's role as "Lord of Success" (råd haspali) in relation to Radha, the feminine personification of rådhas. This explanation helps to clarify the parallelism between the pair Sri/Lakşmi-Vishnu/Krishna and the pair Radha-Krishna that is suggested in many stray verses antedating the Gitagorinda. There is no need to construct fanciful etymologies for the word rädha, but this has been the approach of the Sanskrit commentators on the Gitagovinda and more recently of the linguist Sukumar Sen. Such accounts offer no clue to why the association between Rūdhi and Krishna was made. In the absence of direct textual evidence it remains impossible to know when and in what circumstances the Rādha-Krishna pair originated. What we find in the availablc Prākrit and Sanskrit sources suggests that thc poets and critics are dealing with a familiar subject. The name Rādhā seems to carry overtones of meaning from astral mythology. Although there is no reference to the pair in Vedic literature, the word rödhå occurs in the Atharva Veda (XIX.73) in relation to the two stars called viļākha. Later references to rădha as the name of a feminine constellation or starcluster (naksarra) associate her with Indra. Indra is called a "cowherd" (gopa) and is paired with a viſakha in several Vedic contexts. In the Tailliriya Brāhmana (3.1.1.II) (wo višakhās are described as the chief female consorts (adhipatni) of the male constellations (naksatra) and are paired with Indra and Agni, who are called the two best cowherds. In the Taittiriya Samhità (44.11), in the section where the building of the fire altar (agnicayana) is described, the layers of bricks are pairs of feminine cor.sccllacions and masculine deities. The feminine mfäkhas are paired with the masculine deities Indra and Agni. These associations are especially significant when it is recalled that Indra is the "Lord of Success" (radhaspan). In the same Taittiriya Samhitā passage the pairs of months of the various seasons are named; the months of spring (vasanukav rtū) are named madhu and madhava. In the Mahābhārata, Vishnu is related to the constellations by his cpithet Naksatrın, "Lord of Constellations," and to spring by the epithets Madhu and Madhava that he shares with Krishna.' Madhava is a major epithet of Krishna in epic and later literature, Krishna is also associated in several contexts with various feminine constellations. 10 Whether or not the equation of rådhā with višākha in commentaries on the Atharva Veda passage is based on a "misunder- Introduction 27 ·standing" of the word anuradha, as Whitney suggests, it is clear that by the fifth century, rådhå was held to be another name for the constel. lation viſakha."1 With the equating of month names and constellation names, viſakhā became one of the months of spring, crcating another link between rådhå and madhava. The somewhat esoteric character of these associations may have increased the appeal of Rādhā as a consort for Krishna in a secret relationship. In these two aspects, she represents, like Lakşmī, the power of "success" and she incarnates, like Siva's Pärvatī, a phenomenon of nature. Both aspects illuminate her association with Krishna 12 Because of the fluidity of Purāņic texts, it is impossible to date or locate the relationship of Rādha and Krishna from them. However, the pattern of Rādhā's presence and absence in some major Purāņas is relevant to the problem. As disciples of the sixteenth-century Vaishnava saint Caitanya, who was considered an incarnation of the divine lovers. Rādha and Krishna, the Gosvamins searched Puranic literature to find references that would establish Rādhā's old and high status within orthodox Vaishnavism 13 References to Rādhā by name in early Purāņas such as the Matsya, the Linga, and the Varāha are significant, but few. Rādhā's elaborate treatment in the Brahmavaivarta and Padma Purānas seems to postdate the Cartanya movement.14 There is no direct reference to Radhā in the Harivamsa, the Visnu Purana or the Bhāgavata Purana. But the mention of a favored cowherdess who is "worshipped" or "desired" (aradhitā) by Krishna in the tenth book of the Bhagavata Purāna 15 led the Gospāmins to derive the name Rādha from ārādhıtā and to claim Rādhā's place in the text.18 The heroine of the Gitagovinda is so complex that it seems absurd to seek Jayadeva's model for her in the allusions to the arrogant gırl (drptā) of the Bhagavata episode. Krishna's special mistress is presented there to criticize the exclusivism that Krishna's relationship with her represents. If the Bhagavata authors are referring to Krishna's consort Rādhā, they seem to be rejecting her relationship with Krishna as an inappropriate model for the devotee. The possessive attitude manifested in her secret encounter with Krishna is antithetical to the values presented in the Bhagavata and the attitude is criticized for its perversity (dauratmya, X.30.42). It is not unlikely that the authors of the Bhagavata knew a rival cult centering on Krishna and his cowherdess-consort and were critical of it. Charlotte Vaudeville, in her article entitled "Evolution of Love- Introduction 28 ·Symbolism in Bhagavatism," 11 has stated her supposition that the author of the Bhagavata was specifically rejecting the figure of Nappiņņai, as she appears in the Tamil Alvār poetry of Ancil and Nămmāſvār. Here Nappinņai is the daughter, or daughter-in-law, of Nandagopāl and the wife of Krishna; she is an incarnation of Vishnu's consort Niladevi.1! It is possible that Nappiņņai is the source of the Rādhā conception in Prakrit and Sanskrit literaturc, but the two figures more likely represent independent variants; thcir characteristic relations with Krishna arc different. In the ritual dance called kuravai, Krishna dances with his wife Nappiņņai, while Krishna's relationship with Rādhi is a secret, erotic rite, 10 The character of Rūdha and her unique association with Krishna that Jayadeva brought to his Gitagovinda from carlier literaturc is not apparent from any single source, but details emerge from the collection of stray verses that refer to her. A chronological catalogue of these references suggest an old tradition surrounding the secret love of Radha and Krishna. From the Sattasai of Hila (dated first to seventh centuries by various scholars): 1 Krishna, removing cow-dust from Rādhikā With the breath of your mouth, You sweep away the high esteem These other cowherdesses have for you. (86) From the Gaudavaho of Vākpati (late seventh or early eighth century): 22 Let mailmarks Rādhā makes remove your pain They are rich with mood. They are shining on Krishna's chest Like his magical kaustubha gem. (22) From the Venisaṁhāra of Bhaça Nārāyaṇa (antedates A.D. 800): 23 Angered in sensual play, she lost her mood for love In the rāsa dance on sandbanks of the Jumna river. When Kamsa's foc followed Radhika As she left in a choking veil of tears, His body hairs seemed to bristle From his steps touching her footprints And from her calmed, loving looks- May you prosper from Krishna's innocent pleat (2) Introduction 29 ·From the Dhvanyaloka of Anandavardhana (mid-ninth century):** Say, friend, if all is well still with the bowers that grow upon the Jumna bank, companions to the dalliance of cowherd girls and witnesses to Rādha's lovc. Now that there is no use to cut their fronds to make them into beds for love, I fear their greenness will have faded and they grown old and hard. (2.6) Gracious love, Rādha is difficult indeed to please her tears fall even as you wipe them away With the cloth that covered some truc love's loins. "Women's hearts are hard, so enough flatteryl Leave me alonc!" He was told this whenever Hari cried to placate her May he grant you his blessing! (3:41) From the Dhvanyalokalocana of Abhinavagupta (early tenth century):25 Then when demon Madhu's foe had gone to Dväravati, Rādhā embraced a sweet vine growing on the Jumna bank, A little bent from the way he made it quiver- Rādhā's lamenting In a faltering voice choked by heavy tears Made even the waterbirds wail regretfully. From the Kävyamımāṁsa of Rājasekhara (late ninth or early tenth century), as an illustration of the poetic figure tulyadehitulya, an imitation that resembles the similarity between two similar persons:28 Then we are going to give the different types of the imitation fulyadehitulya. . the change of subjects gives a different shape to the same theme: this is the change of subject. May the winds of Siva's sighs protect you As they arise from the hollow of his right nostril, Making lines in the ash-dust on his body, Disrupting his yogic breathing exercise, Licked by the serpent sheltered in his ear, Stealing coolness the moon gives, Witnessing the agony his mind suffers When his body is parted from angry Pārvati May Hari's sighs protect you As they burn from the fire deep within, Introduction 30 ·Boiling the lotus-honey from his nayel, Wilting the garland on his brcast, Drunk in and spit out because of their heat By the trembling serpent who forms his couch, Witnessing his memory of Rādha's love, And heard jealously by goddess Sri. The occurrence of Rādhi's name in the tivo oldest-known Sanskrit compositions in mixed prose and verse (campii-kāvya) is significant. But the name occurs only once in the Damayantikatha (early tenth century), and once in the Yašastila kacampukarya (A.D. 959) and the passages are spare in detail relating to Rādhā.”? In the Damayantikasha passage the name Rādhā is part of an elaborate pun. The Yalastilaka reference simply says, "Thus indeed--formerly, did Gangā not sport with Maheśvara, Rādhã with Nārāyaṇa, Bphaspati's wife with the Moon, Tärā with Valin?" From inscriptions (dated A.D. 974, 982, and 986) of Vākpati-Muñja, a Paramāra ruler of Malwa, in which the same two verses open cach inscription, one in praise in Siva as the lord of Pārvati and this one in praise of Krishna as the deserted lover (virahın) of Rādhā: 28 May the active body of demon Mura's enemy protect you! Lakşmi's face could not please it, the ocean's waters could not cool it, The lotus in the lake of his own navel was powerless to pacify it, Fragrant breath from serpent Sesa's thousand mouths could nor soothe it- It was so sick with the pain of Rādhā's desertion. From the Sarasvatikanthabharana of Bhoja A.D. 1000-55) *9 is a verse (2.294) that is an exercise in word play known as kavināmárkástapattrabandha. Here the poet's name, Rājasekhara, is hidden in a poem in palindromes and puns; the name emerges through a diagram of an cight-petaled loxus. The diagram was executed by H. S. Phitak of the Mysore Oriental Research Institute. The verse can be paraphrased roughly as follows: "She who bestowed a kingdom of defects, a knower of rasa that gives expansion (Vra), who speaks pretentious speech, who does wrong to the world, the full-moon maiden, whose eyelashes are like serpent Seșa, whose eye leads to nitiśāstra, she who travels in the sky, whose love is praiseworthy, who is charming, whose penance is several, carrier of the moon, Śrī, whose sword is sharp-let Rādhā protect me; she is the incarnation who brings down serpent knowledge for masters of will who have their egos centered in Siva." Also, from the same text: Introduction 31

·प्पा
A
मा
भ
तो
th
राजशेखरकमलबन्धः

·"Are you comfortable, Rādha?" "Are you happy, Kamsa?" "Kamsa?" "What is the difference between Kamsa and Rādhā?" With these retorts of the cowherdess Päri, Hari triumphs in self-conscious laughter. (2.351) As he tries repeatedly to lift The raincloud-dark reflection of his own bright form, Mistaking it for the black border of a garment On thic golden globe of Rādhā's breast, Hari triumphs, Laughing in shame as his love laughs at him. (3.110) You left the house for the river to fetch water--you do not return. Saying, "I shall bathe," you stop at bowers of vines on the ſumna bank. Tethering the cows, you enter the thick woods of Mt. Govardhana. Rādhā, didn't you catch sight of Krishna, Devaki's son? (4.777) May the god who gracefully toys with Rādha's cloth On the surface of her breasts protect you! Hari's hand is trembling With sudden fear at their first encounter. (5.235) "I have recently left Gokula, and the thought of Rādhā Confounds me out of sleep-let it leave my bed and let ‘Rādha' Stop coming in place of other names by day! I am afraid of this!" May Hari's fatigue protect you! He is spending sleepless nights, repeating Lakşmi's name alone by day, Trying to forget Rādhā, and delighting goddess Sri. (5-448) Secing how thin Hari's arms were as he carelessly lifted Mt. Govardhana, Shc rested her hand on Hari's shoulder and placed her feet on his, Wanting to help him lift the mountain that was out of her reach- Let the empty motions of Rādhā's hands in the sky triumph forever! (5-493) From the Daśāvatāracanta of Ksemendra (composed in A.D. 1066):30 While Kushna was kissing swarms of glowing nubile women, Rādha became most beloved for his joy--like jasmine for a bee. (83) Then in the morning, having mounted the armed chariot, Akrūra, Balarăma, and Krishna went to Mathurā with their retinue. (169) "How could I have come here without bidding farewell to Rádhā?" Madhava sighed, felt discontent, languid, anxious at leaving. (170) Going by way of hidden places in secret thickets of Gokula, Krishna looked longingly, his face turned back, The border of his garment held by his friend the forest earth. He recalled Rādhā's "No! No! No!" while he loosened her skirt knot, Introduction 33 ·Her syllables marked by her confusion, Her body wondrous in fear of love, her words barely intelligible. (171) Filled with fire of Krishna's desertion when he left for Karsa's city, Like antelopes lying on smooth green banks in secret coves of the Godāvari, Secretly, in Gokula grass, cowherdesses passionately sang Krishna's virtues, Heard by herds of cows standing ruminating, cars intimately erect. (172) "His love is now and graced by shining youth, Scductive to young women in the easy play of its gentle enchantment; He subjugates the family of serpent Kaliya in turbulent Jumna waters, Black as swarms of becs, cuckoos, dark lotuses, and kohl; He is harsh in killing great demons like Kesi and his sons, Tearing dangers from Gokula, upholding Mt. Govardhana- Could anyone's cyes help drowning in him when he is addicted to passion, A trembling wave of love, delighting delightful young women?" (173) While cach virtue in Krishna's occan of virtues Was sung with passionate feeling, Passion rose secretly in the cowherd girls And frenzy struck them again and again. (174) Since Krishna had gone away without speaking In his zeal to show deference in the presence of the elders, Doc-eyed women who carelessly slept on cool ground under bakula trecs, When they met him in dream embraces, Made their slender crecper bodies echo their words by writhing- “Rogue, let go! Let go, cheat!" the young women loudly cried. (175) With tears, flowing away like life in Mādhava's desertion, Falling on her breasts' firm cips, Rādhā was like a laden kadamba trec As tears were strewn by her endless sighing and trembling gait- Darkened by the delusion that was bound to all her hopes, She became like the new rainy season engulfed in darkness (176) From the Subhāsstaratnakosa compiled by Vidyākara (latter half of eleventh century);1 these three references have not been noted in earlier works: "O Laksmana, these clouds distress me who have lost my Sītā The cruel kadamba-scented breezes cut me to the quick." So speaking, in his sleep, of separation suffered in a former birth, may Hart, gianced at jealously by Rādhā, bring you joy. (131) "Go on ahead, milkmaids, taking home the pots already full. Rädhā will follow later when the older cows are milked." May Krishna, who by subterfuge thus made the cattle station Introduction 34 ·deserted but for Ridha and for him, the god, foster-son of Nanda, stcal away your ills. (139) The pilgrims in the street have warded off the painful cold with their broad quilts sewn of a hundred rags; and now with voices clear and sivect they brcak the morning slumber of the city folk with songs of the secret lovc of Madhava and Rădhā. (980) From the Vikramänkadevacarita of Bilhana (late eleventh century): 33 Let Krishna's sword, “Delighter," reflecting joyful Laksmi In its blade, hold out intense joy, for you- For demon Mura's enemy it perpetually revives The memory of graceful Rādhā in the Jumna river's fow. (1.5) [On his journey southward from Kashmir, Bilhaņa stops at Brindaban.) Broken by Rādha's broad hips, which sway as she swings them, Even now the trees in Krishna's playground have not recovered When the circle of Mathurā's sages was shaken by playful banter, The poet spent several days in wandering around Brindaban. (XVIII.87) From the Siddhahemaśabdanušāna of Hemacandra (A.D. 1088-1172): 33 Hari danced in the courtyard, the world was wonder-struck. Let the glow of Rādhā's breasts endurel (4 420.2) Though Hari sees every person with full regard, Still his glance goes wherever Rādhā 15-- Who can arrest eyes ensnared by love? (4.422.5) From the Narsadhiyacarita of Śrīharsa (latter half of twelfth century)? is a verse based on the double meaning of the names Radha and Srivaisa. The name Rådhå here refers to both Krishna's consort and Karna's foster mother in the Mahabharata, the enemy of Rādhā's son Karna is Arjuna. Srivatsa means “Sri's child" and the curl of hair on the chest of Vishnu or Krishna. 34 Rādha is as dear to you as your life Your friendship with Arjuna, foc of Rādhā's son, is unfitting. But is it fitting for Sri's lover To hold "the child of Sri" on your own heart forever? From the Aryasaptašati of Govardhana (late twelfth century): 35 Introduction 35 ·Friend, Tulasi, garland on the head of Madhu's foc, Why compare yourself in vain with Rādha? All the outpouring of your fragrance Is just to perfume her feet. (431) When stories of how his head was washed In royal ablution are told about Krishna, Rādhã, her eyes slowed by the weight of pride, Looks down at the lotus of her own feet. (488) In order to shame demon Madhu's chemy, Whose mind was drunk with all the cowherd girls, Rādhā, feigning innocence, asked for the story of Siva, Who was satisfied with half his wife. (508) Lovely wonen on shores of the milly sea Eat balls of milk made thick By hot winds of Laksmi's sighing, And they sing the praises of Rādha. (509) When Krishna is wandering in search Of Rādhā's impassioned quivering eyes, The god of love is creating an arrow Perfected to pierce the ten directions. (530) To complement Krishna's role as the dramatic hero (näyaka) and the embodiment of erotic mood (śrrgåranüritman), Rādha is the dramatic heroine (näyıka) and is identified with passion (ran), the emotion (bhāva) through which erotic mood (śrngārarasa) develops. As passion personified, she is also consort to Kāma. When Rādhā fulfills Krishna's passion, she provides the emotional means for a sympathetic audience (rası kazana) to enjoy the extraordinary experience of Krishna's springtime love Through her suffering during Krishna's desertion, as described by her to her friend (sakhi) and by her friend to Krishna, she is transformed into a powerful consort, appropriate to share Krishna's divine love, 36 Rādhā is referred to by the standard forms of address for a dramatic heroine. Among them are “foolish woman" (mugdhavadhū, 1 38*; mugdhā V 17; X 11,12; XI.2*), “fiercely angry woman” (candi, X.11,13; X1.7),37 "proud woman" (mānini, IX.2*), and "emotional woman" (bhavni, XII.6). Rādhā plays the classical heroine in seven of the eight stylized psychological states of relation to the hero (näyukávasthā) that are delineated by Introduction 36 ·theorists of Indian drama.sk Each of the states is identificd in the text by Jayadeva with reference to its technical name or to its characteristic sign. The increasing intensity of Ridhi's desolation is dramatized by concrete manifestations of her condition in the various states. The culminating emotional intensity of her divinc love with Krishna is not cffected through psychological depth. It is effected through the accumulation of sensuous details expressing the chaos of feeling and fantasy a deserted woman suffers. After their first night of love, Krishna deserts Rādhā to play with other cowherdesses. Her demand for Krishna's exclusive love, in the context of his common love (südharanapranaya, II.1) with the other cowherdesses, generates her state of envy (irsya). A descrted cowherdess longing for love (ukanihıtagopavadhủ, II.18) is her basic condition throughout the night of the drama. The power of her longing makes Krishna reciprocate her love and suffer as much as shc does in their separation. The longing is emotionally amplified by the other states. She waits in vain for Krishna, dressed and ornamented for love (vâsakasajjā, VI.8). She feels herself deceived (vañcita) by her friends (VII.3*) and by Krishna (VIII.7,9). She is jealously enraged (khandırayuvati, VIII.9), imagining the marks of love a rival has inflicted on Krishna. She is remorseful after quarreling (kalahāntaritā, IX.1). At her friend's urging, her modesty abandons her (salajjă lajja vyagamad iva, XI.33) and she goes to meet her lover." After their ecstatic reunion, she feels her lover in her power (svadhinabhartrkā, XII.1r). The graceful intimacy of Rādha's triumph gives Jayadeva's drama its unique flavor. The character of Rādhā in the Gitagovinda established her as Krishna's consort within later traditions of the Krishna cult. Her relative obscurity in earlier literature encouraged the view that Jayadeva had invented "Rādhā." Although he clearly did not invent her, he did create a unique heroine for Indian devotional literature.12 Introduction 37 ·NOTES I Jayadeva: The Wandering Poet 1. There exise other literary works whose authorship is also designated "Jayadeva," but there is no evidence to associate the author of the Gitagorinda with any of these works. The play on the life of Rama, entuled Prasannavaghara (edited by S. M. Paranjpe; Poona: Shiralkar, 1894), bears Duttle conceptual or stylistic resem. blance to the Gilagovinda. It is first quoted in the anthology Süklımuktarali of Bhagadatta Jalhana (edited by E. Krishnamacharya, Gackwad's Oriental Series, 82; Baroda: Central Library, 1938), dated AD. 1257. The Sikh tradition that lists Jayadeva among the great saints of India is based on the sixteenth century Bhaktamál legend (sec note 2 below), but the two mixed Prakrit.Apabbsamsa verses attributed to him in the Guru Granth Sahib are characterized by the kind of abstract devotionalism that is not present in the Gitagorenda; see M. A. Macauliffe, The Sikh Religion (1909; reprint, New Delhi: S. Chand, 1963), vol. VI, pp. 4-17 Jayadeva the author of the work on prosody entitled Chandahśästra is referred to by the tenth-century critic Abhinavagupta in his Abhinavabharati; sec P. K. Gode, Studies in Indian Literary History (Bombay: Bharatiya Vidya Bhavan, 1953), vol. I, pp. 138–43. The one-act Sanskrue drama Piyasalahari is attributed to the author of the Giragorinda on the basis of similarity in content; sec K. Kar, "Piyusa-lahari: A One-act Drama of Poct Jayadeva," Journal of the Kalinga Historical Research Society, 1956, pp. 291- 327. Many other derivative works are attributed to the author of the Gitagorinda with no better claim. The author of the Candraloka, a work on poeties, is known as Jayadeva_ Piyüşayarsa (sce text edited by N. S Řhiste, Kasht Sanskrit Series 75; Varanasi: Chowkhamba Sanskrit Series Office, 1929), nothing in the text suggests iclentical authorship of it and the Gilagovnda. 2. The most widely known version of the legendry life of Jayadeva is in the Hindi Bhaktamál, edited and rewritten by Nārāyanadása in the middle of the seventeenth century from old Hindi verses by Nābhājidāsa (edited by S., B. Rupakata; Lucknow: Tejkumar Press, 1969), PP 34F64; see G. Grierson, "Modern Vernacular Hindi Literature," Journal of the Astatic Society of Bengal, 57 (1888), 27. On the Hindi version is based the Sanskrit Bhaktamālā of Candradatta; sargas 39-41, which give the life of Jayadeva, are quoted in the introduction to the Telang and Panshikar cdition of the Gitagorinda with the commentaries of Kumbhakarna and Sankaramiśra (Bombay: Nirnayaságara Press, 1899), pp 1-19. The best-known Bengalı version of the Jayadeva legend is Vanamálidasa's Jayadevacarita (edited by A. K. Goswamı; Calcutta: Vangiya Sahitya Parishad, 1905, BS 1312) The legend is also related in the sixteenth-century Sekhśubhodayā, which centers on the life of a Muslim holy man who visited the courrof Takşmanasena; see Sukumar Sen, ed., Sekhiubhodaya, Bibliotheca Indica, no 286( Calcutta. Asiatic Society, 1963). Aspects of the legend are referred to in all the later commentaries A all me of th: count of Jayadeva's life identifies Bhojadeva as a brahman of Kapavi who migrated to the village of Kindubilya 3 S. N Chatterji, fayadeva, Makers_of_indian Literature (New Delhi: Sahitya > -- Dh... * * Dime.-A.A. Introduction 39 ·Vrcien Padhyay, 1965), author index, p. 8. For the best available account of the Jayadeva: The Wandering Poet (cont.) Akademi, 1973); this is largely based on the material of Harekrishna Mukhopadhyāya that introduces his edition of the Bengalı version of the Gitagovinda, with the commentary of Caitanyadása entitled Balabodhini, in Kavijayadeva o frigita. govinda (Calcutta: Gurudas Mukhopadhyay, 1955, B.. 1362). Sce also the introduc. tion, in Latin, by C. Lassen to his edition and Latin translation of the Gitagovinda (Bonn, 1836); R. Prschel, "Dic Hofdichier des Lakşmanasena," Abhandlungen der Königlichen Gesellschaft der Wissenschaften zu Gotligen, philol.-histor. Klasse, 39 (1893), in39; K. N. Mahapatra, "New Light on Poct Jayadeva, The Author of the Gitagorenda," The Orissa Historical Research Journal, 7 (1959), 191-207; S.C. Mukherji, A Study of Vaišnavism in Ancient and Medieval Bengal (Calcutta: Punth Pustak, 1966), pp. 91-107; N. K. Sahu, editor, Souvenir on Srijayadeva (Bhubaneswar: The Jayadeva Sanskrutika Parishad, 1968), articles by S. N. Rajaguru, N. K_Sahu, and K. N. Mahapatra, pp. 1-41. Richard and Carol Salomon have reminded me how similar the controversy about Jayadeva's place of origin is to the controversy surrounding the "old Bengali Caryāpada literature. The two cases suggest that the culture, as well as the language and literaturs, of castern India was more or less uniform at this time. See note 13 to scction 2 below. 4. Scc Saduktikernāmrta, critical edition, edited by S. C. Banerji (Calcutta: K. L. of Laksmanasena, see R C. Majumdar, History of Ancient Bengal (Calcutta G. Bharadwaj, 1971), PP 231-50, 254-59. 5. Skm. 659 = GG. VI.11; Skm. 1144 = GG. X[1.10. Three additional verses attributed to Jayadeva in the Saduktıkarnámrla are found in the text of the Gitagovinda on which Kumbhakarna commented (see edition of Telang and Panshikar) and which became the popular version after the sixteenth century. However, these are not found in conservative versions of the Gitagot'ında and are included in the prescat critical edition only as variants: Skm. 294 = GG XI 33t, Skm. 1134 = GG XII.237 (a); Skm. 1160 = GG XII.234 (c) Many of the remaining verses show thematic and stylistic similarities to the Gitagovinda verses, but others attest the poct's ability to compose panegyrics to a king and descriptions of battle; see Chatterji, Jayadeva, pp. 20-28, for a collection of these verses 6. Both Kumbhakarna, in whose text this is 1.4, and the other carly commentator, Mānanka (text and commentary edited by V. M. Kulkarni, Ahmedabad. L. D. Bharatiya Sanskriti Vidyamandıra, 1965), interpret this verse with reference to Lakşmanasena, Mānānka considers the king to be the author of the verse and Kumbhakarna considers the five, plos another pamned Srutidhara, to be scholars at the court of Laksmanasena If Jayadeva composed the verse, he is probably elaborating the preceding reference to the goddess of speech (vägdevatā, 12) with a comment on how some famous contemporary poets, including himself, use speech in their poetry. 7 Pavanadüta of Dhoyi, edited by C. Chakravartı (Calcutta; Sanskrit Sahitya Parishad, 1926), This is modeled on the Meghadüta of Kälıdása, here Kuvalayavati, a nymph from the Malaya hills, sends the wind (pavana), instead of a cloud (megha), as a messenger to Lakşmanasena 8. See Pischel, "Die Hofdichter", Monmohan Chakravarti, "Sanskrit Literature during the Sena Rule," Journal of the Anatic Society of Bengal, n.s, 2, no. 5 (1906), Introduction 40 ·157-76; S.C. Mukherji, Vaisnutim 19 Bengal, pp. 71-83; D. K. Mukherji, "Identification of some Verses by Umipandhara found in Two Inscriptions of Lakşmanasena," Journal of the Asiatic Society of Bengali fih ser., 9. nos. 3-4 (1967), 188-72. Some verses from the Aryasaplaati of Govardhana are translated in section five of this study; texts are given in note 35 to that section. The following verse is quoted in the Durgiprasad and Parab edition of the text, Kávyamáli, no. 1 (Bombay: Nirmayaságara Press, 1886), p. 1: govardhanai ca israno jayadera umåputih faritajaí ca ratnāni samitau laksmanasya ca il This is reported to have been seen by Caitanya's disciple Santana Gosvámin in any inscription over the assembly Hall at Lakşmanasena's capital of Navadvipa. It is otherwise unnoticed. 9 Royal patronage of Sanskrit language and literature at the court of Laksmanasena was linked to a renaissance of Sanskrit in northern India during the tenth, cleverth, and twelfth centuries. The courts of Bengal, Orissa, Kashmir, Kanauj, and Dhara were notablc among centers of brahmanical scholarship and literary activity. Scholars and pocts traveled extensively in the quest for patronage. Their philosophical, religious, and literary products were as complex and highly eclectic as the great Hindu temples that marked the style of the period See K. K. Handıqui, Yašastilaka and Indian Culture (Sholapur: Jaina Samiskrta Samrakshaka Sangha, 1949); R. C. Ma. jumdar, ct al, The Age of imperial Kenanj and The Struggle for Empire, vols. IV and V in The History and Culture of the Indian People (Bombay: Bharatiya Vidya Bhavan, 1955, 1957). Inscriptions of Vakpati-Muñja, the Paramära ruler of Malwa at the end of the tenth century, make reference to the presence of brahmans who have migrated all the way from Bengal, sec section five of this study, note 28. Wc also know from the poci's biographical sketch in huis Vikramankadevacarita that Bilhana traveled from Kashmir in the latter part of the cleventh century to serve as the coust poct of Vikramaditya VI, the Chaluhya king of Kalyani (in modern Karnataka); see Barbara Stoler Miller, Phantasies of Love-Thief, The Caurapan. cašika Attributed to Bilhana (New York: Columbra University Press, 1971), pp 188 9r; Helen Waddell, The Wandering Scholurs (New York: Barnes and Noble, 1949). 10. N. G. Majumdar, ed., Inscriptions of Benga! (Rajshahi, Bengal. Varendra Research Society, 1929), vol 3, pp. 81-172; for reference to other inscriptions, sco R. C Majumdar, History of Anetent Bengal, p 231 and notes it is notable that atim namo nárāyanāya is the principal mantra of the Srivaishnava cult. Scc Otto Schrader, Introduction 10 the Pancarátra and the Shirbudknya Samhetă (Madras: Adyar Li. brary, 1976), pp. 141-43; sce also S. N. Dasgupta, 4 History of Indian Philosophy (Cambridge. Cambridge University Press, 196r), vol. 3, PP 19-21. II For 2 SCVICW of the accounts of Ramanuja's life, sec Dasgupta, History of Indian Philosophy, yol 3, pp. 100-5 Dasgupta notes (p. 10092) "Most of the details of Rämánuja's life are collected from the account given in the Prapannāmrta by Anantācárya, a junior contemporary of Ramanuja." • 12. J. F. Fleet, "Sanskrit and Old Kanarese Inscriptions: Grants of Anantavarma Chodagangadeya," The Indian Anuquary, 18 (1889), 161-76 The most detailed analysis of the reign of Chodagangadeva is in H. K. Mahtab, History of Orissa (Cuttack: Prajatantra Prachar Samily, 1959), PP 196-211; a list of inscriptions by and referning to Chodagangadera is given on PP. 309-211 See also Prabbat Mukherji, The History of Medieral Vashnpursm in Orissa (Calcuta R. Chatterji, Introduction 41 ·! Jayadera: The Wandering Poct (cont.) 1940); S. N. Raja guru, History of the Gongos (Bhubaneswar: State Muscum, 1968), K.C. Miśra, The Cult of Jagannatha (Calcutta: K. L. Mukhopadhyay, 1971), pp.com 42. In a late thirteenth century copper plate inscription of the Ganga king Narasım. hadeva II, the construction of the Jagannatha temple and a Lakşmi temple is at. tributed to Chodagangadeva; N. N. Vasu, "Copper-plate inscripcion of Nrsimhadeva II of Orissa, dated 1217 Saka," Journal of the Astalic Society of Bengal, 65, Pt. I (1896). 240 (texe), 261 (trans.), yv, 27-28. 13. Scc Miśra, Cult of Jagannatha 14. Monmohan Chakravasıı, "Uriya Inscriptions of the 15th and 16th centuries," Journal of the Anatic Society of Bengal, 62, pt. 1 (1894), 88–104; sec Miśra, Cult of Jagannatha, pp. 54 55 15 Relevant portions of the Caitanyacaritāmita are quoted by S. K. De in The Early History of the Vaisnare Faith and Movement in Bengal (Calcutta: K. L. Mukhopadhyay, 1961), p 112; see also E. C. Dimock, Jr., The Place of the Hidden Moon Erotic Mysticism in the Vaisnava-sahajiyà Cult of Bengal (Chicago: Univer. stry of Chicago Press, 1965), p. 55 16 The Bålabodhini commentary of Caitanyadasa, a Bengali Vaishnava scholar and devotee who lived in Vrndāvana in the late sixteenth century, gives this interpretation to the text; it is followed by Harekrishna Mukhopadhyāya in his intro. duction to his edition of the text and commentary, as well as by most contemporary Vaishnava writers on the Gitagovinda 17. See Dimock, Place of the Hidden Moon, P. 56–57; Shashıbhushan Dasgupta, Obscure Religions Cults (Calcutta: K L Mukhopadhyay, 1969), pp. 115, 118. 18. Sec Miśra, Cult of Jagannatha, P 149 Kali Charan Patnaik, the Oriya poet who has composed an Oriya lyric version of the Gitagovinda (Cuttack: Das, 1970) and from whom I have learned much about Oriya traditions surrounding the poem and its performance, holds the title "Gitagovinda-sevaka” sn the Jagannatha temple of Puri. This means that he is responsible for the singing of the dašavatāra song before the image at every evening worship and various other songs at night 19 Cited from R K Majumdar, "A 15th Century Gitagovinda Ms. with Gujarati Paintings," Journal of the Universily of Bombay, Arts and Law, 6, no. 11, pt. 6 (1937), 127, with plate The significance of this inscription is discussed below in relation to the critical text of the Gitagovinda. 20. These manuscripts form the basis of my chytical edition of the Gitagovinda, they are described and analyzed in detail in the critical apparatus in the clothbound edition of this book. Evidence of the poem's status by the fourteenth century 1 is the citation of verse III 11 as an example of the poetic figure niscaya, "certainty," in the tenth pariecheda of the Sahityadarpana of Viśvanátha, edited with notes by '1P. V. Kane (Delhi. Moulal Banarsidass, 1965), X 39 21 See Kulkarnı's edition of the text and conamentary and my analysis of the early dated manuscripts of the shorter Recension of the Gitagovinda, see also Majumdar, "15th Century Gitagovinda Ms" 22 See Telang and Panshıkar edition; also R C Majumdar, et al, The Delhi Sulanate, vo! V in The History and Cudlure of the indian People (Bombay: Bharatiya Vidya Bhavan, 1960), pp 332-38: the introduction to Premlata Sharma's edition of Introduction 42 ·Sangitarųja by Mahüránā Kumbhi (Varanasi: Hindu University Press, 1963), vol. 1, Pp. 29-70. 2 The Lyrical Structure of Jayadeva's Poem 1. I. A. Richards, Practical Criticism (New York: Harcourt, Brace, Harvest paper. back, 1958), p 200. 3. Because Jayadeva's songs are characterized by long canpounds in which the relations among words are Auid, any translațion of the Gitagorinda is necessarily tentative. 3. See Daniel H. H. Ingalls, An Anthology of Sanskrit Court Poelry, Harvard Oriental Series, vol. 44 (Cambridge, Mass : Harvard University Press, 1965); Barbara Stoler Miller, Bhartrthari. Poenis (New York: Columbia University Press, 1967). 4. Scc A. B. Keith, A History of Sanskrit Literature (Oxford: Oxford University Press, 1920), pp. 191-92; S, N, Dasgupta, ed., & History of Sanskrit Literature, Classical Period (Calcutta: University of Calcutta, 1947), pp 392-95,509-10; E Gerou and A K Ramanujan, "Indian Poctics" and "The Lyric Poenis in The Literatures of India, edited by E. C. Dimock, Jr., et al. (Chicago: University of Chicago Press, 1974), pp. 138-41, 155-56. V Raghavan, in his study Bhoja's Singura Prakása (Madras:) Punarvasu, 1963), pp. 549-51, suggests that the Gitagorında is a kind of musical poein that Bhoja calls citrarágakávya, a pocm meant to be sung in several melodic patterns (råga) and to be interpreted in the language of gesture (abhinaya). The classification of poems that are to be sung as rägakavya is known from Abhinava- Gupta's Abhinavabhärati on the Natyasástra, edited by M R. Kavi, Gackwad's Oriental Series, 4 vols (Barod: Central Library, 1956), vol. 1, pp. 174-84. Both Ablunavagupta and Bhoja recognize a variety of “nonclassical” forms and attempt to codify them within the classical categories. Their recognition suggests the existence of a poctic genre simular to the form of the Gisagovında by the tenth century, but no works survive for comparison See A K Warder, Indian Kevyis Literature (Delhi: Motilal Banarsidass, 1972), vol 1, PP 163-65. 5 These sound patterns occur in earlier Sanskrit works, but only sporadically See Keith, Sanskrit Literature, pp 197-98, Edwin Gerow, A Glossary of Indian Fig. ures of Speech (The Hague Mouton, 1971), pp 102-7, Warder, Kavya Literature, vol 2, PP 174-76. 6. "Song cycle” is an attempt to put the terms prabandha and padávali, as Jayadeva uses them, in a meaningful relation 7. For examples of alliteration in the verses, see I 1, 35, 36, JII.15, 20; V.19 The Rasikaprtya commentary offers the most complete analyses of the standard figures cmployed in individual verses, see Gerow, Glossary 8 I use the terms aksaravrite and tilavrita, following the nomenclature most commonly found in commentaries on the Gitagovinda, but the term chandas is sometimes found in place of vrtta as the general word for meter. Thus syllabic meters are clesignated aksarachandus as well as aksaraurtlu, vurnavrita is also used Moric meters are designated mätrar ta and matruchandas, as well as túlurila, gunachandas is used of moric meters where the beats are organized into measured units (gana). The metrical analysis presented here draws on the following studies. C. Lassen, Gitagevinda (Bonn, 1836), pp. XX¥11-XXV, Sudhibhushan Bhattacarya in Harckrishna Mukhopadhyāya's Kanayadeva o frigilagorınds (Calcutta: Gurudis Mukhopadhyay, ? Introduction 43 ·2 The Lyrical Structure of Jayadeva's Poem (cont.) 1957, 8 S. 1363, pp. 230–41; Edwin Gerow's unpublished paper on Jayadeva's meters, delivered at the annual meeting of the American Oriental Society in 1966, which the author generously made available to me. Detailed discussions of Sanskrit, Prakrit, and Apabhramśa moric meters include: H. Jacobi, "Ueber die Entwicklung d. in. dischen Metrik in nachvedischer Zeit," Zeitschrift der Deutsche Morgenlandische Gesellschaft, 38, (1884), 590-617, H. D. Velanker, "Apabhramía Meters," Journal of the University of Bombay, Arts and Low, 2, pt. 3 (1933), 32-62 and 5, pt. 3 (1936) 41-93, "Prākrta and Apabhraría Meters," Journal of the Bombay Branch of the Royal Asiatic Society, 22 (1947), 15-32, and 23 (1947), 1-11; Sivaprasad Bhattacaryya, Jottings on Sanskrit Metrics (Calcutta: Sanskrit College, 1963), pp. 15 ff. 9 With the exception of the meter Sloka, which allows of considerable variation, and Puspitägrā, which is a syllabic meter with paired quarters of unequal length (ardhasamacatuspadi), the syllabic meters in the Gitagorinda have quarter-stanzas of identical length and form (samacatuspadi). The meters are noted here in order of their frequency within the text: Sürdülavikridita (--- -) L.1, 3, 16, 36, 46, 47; 11.19; III.12, 13, 14; IV.10, 19, 21, V.7, 17, 18; VI 11; VII.11, 30; IX 10; X.13; XI 10, 11, 22; XII.10, 21. Harini (v -) II 1, 10; III.11; V.16, 19; VII.40; X.ro, 12; XII.1, 20. Vasantatılakü (-- --) 1.2, 25, III 15; VII I, 41; X 1, II; XI, 12, 13. Sikharıni ( UU-) 1 26; If 20; VIII.10; XI.32, 33. Sloka (a and c, XXXX (either heavy or light), b and d, XXXX ) III 1; IV 1; XI.23, X11,11. Málsri ( -----) 1.35, V1.10; X1.1. Puspitāgrā (a and b and d, IV 22; V.1; VIII.I. Vamsastha ( -) 1.37; III.2; VII 39 Drutavilambita ( -) 1.4, VJI 21. Upendravajra w IV.20, VII 12. Prthri ( -) X 14 Upajati v ) XII.22 Five of the meters are named by punning in verses where they occur. Sikharıní (11.20), Sardůlavıkrīdıta (IV 10), Puspitägrå (11.22), Upendravajra (IV 20), Prthví (X.14). This punning is further evidence of Jayadeva's interest in the integra. tion of sense and sound 10. See cxamples from the Satfasai of Håla quoted in note 21 to section 5; see also G. L. Hart, Ili, The Poems of Ancient Tamil (Berkeley: University of California Press, 1975), appendix I, "An Analysis of the Meter and Rhyme of the First Twentyfive Poems of the Sattasai," Pp 281-84. 11. Ärya is expressed in couplets of seven and one-half measures. Most measures (gana) consists of four beats, with the standard exception of the sixth measure of the second line, which has a single beat, making the two lines asymmetrical, Further restrictions in the syllabic patterns of certain other measures give Arya a fairly Introduction 44 ·or fired form. The opening verse of the sixth sarga (VII) is an example of how Sanskrit syllables may be ordered in terms of this form; ath a tam gantụng giakhanh ram anaraktăn laugric drztvã { fuccaritam gorinde manasijamande sakhi prähall muuleluuuul-luUl.-1-1 ---luvul--I--I11 Four-beat measures in the forms ww-occur freely. The syllabic sequence - is restricted to the second and fourth measures of both lines, and to the sixth measure of the first line, in which the sequence is its only alternative. The eighth measure of cach line is conventionally a heavy or light monosyllable. The frequency and position of heavy syllables, in. cluding the spondaic sequence (--), is notable in comparison with the meters of the songs; tlic amphibrach sequence (veu) uccurs only a few times in refrain verses of the songs. 12. In the terminology of classical Indian music theory (sangitasästra), the songs are called prabandha (the term Jayadeva lises at 1.2) or gitabandha. See V. G. Apte, ed, Sangitaratnakara, Anandásrama Sanskrit Series, no. 35 (Poona. Anandaśrama Press, 1942), chapter 4 (frubundhadhyaya), pp. 271-354 Chandah prabandha designates songs that are bound up in meter (yati), which provides their rhythmical component. 13. See note 3 to section 1 above-Peschel, p. 22, Chatterji, pp 31-33 See also Louis Renou, et al, L'Inde Classique (Paris: Payot, 1919), vol I, p. 443 "There is much confusion surrounding the use of the term "Apabhramsa." It is often broadly used to designate both forms and stages of Indo-Aryan language that differ from Sanskrit and the literary Prakrits More specifically, it refers to a vernacular of western India that achieved literary form in the period ca. Ap. 600-1400 It was used by Jain writers in Gujarat and Rajasthan for the composition of poetry. A similar Präkrit, with its reduced inflections and increased postpositions, was used by Buddhist writers in Bengal and Orissa See Richard Píschel, “Materialien zur Kenntnis des Apabhramsa," Abhandlungen der K Gesellschaft der Wissenschaften 4 Göttigen, ns, 5, no 4 (1902), Ludwig Alsdorf, "Apabhramsa Studien,“ Deutsche Morgenlandische Gesellschaft, 22, no 2 (1937), Sukumar Sen, "Charyageetikosh," Indian Linguistics. (1944-48), 30-133, G V Tagare, Histoncal Grammar af Apabhramba (Poona Deccan College, 1948); S K. Chatterji, The Ongin and De velopment of the Bengali Language (1926, reprint, London Allen and Unwin, 1970), vol. I, pp. 109-29, S M Katre, Prakni Languages and their Contrbution to Indian Culture (Poona: Deccan College, 1964), PP 21, 24, 84-89, Shashabhusan Dasgupta, "The Buddhist Sahajıyă Cult," in Obscure Religious Cults (Calcutta: K. L. Mukhopadhyay, 1969), pp. 3-9 ft It is worth noting that Jayadeva's rhyming moric meters, like the rhyming music meters of the Carya songs, are reflected in the meters of later Bengali and Oriya poetry, eg, Payāra and Tripadi: sec Sen, "Charyageeti, kosh," p. 125. The couplets of the Gitagovında songs should also be compared with verses found in C M Ghose, ed., Prakrtapaingala (Calcutta; Asiatic Society of Bengal, 1902), a treatise on Prákrat and Apabhramśa versification. Examples are drawn from the floating mass of popular poetry of North India during the period ca A D. 900-1400, see vy. 334, 570,576, 581, 585 *14. For example, the tenth century Jan author Somadeva appl:ed Prakrit and Apabhramśa meters to Sanskrit in his Yasaunlakacampú (edited by Sivadatta and 1 “on 45 ·2 The Lyrical Structure of Jayadeva's Poem (cons.) Parab, Kavyamáli, no. 70; Bombay: Nirnayasagara Press, 1903). In the "Krşnáva. tära" chapter of Ksemendra's Dasárataracanta (VI11.173, quoted below in note_30 to section 5), the narrative is interrupted by a song sung by the cowherdesses in four lines of long, end-rhymed compounds, sct in a rhythm of ten four-beat measures followed by a heavy syllable, and so resembles the metrical structure of the Gitagorinda songs It is notable that both of these works are among the scattered sources antedating Jayadeva that contain references to Rādha (sce section 5). If one accepts the convincing argument of H. D. Velankar in favor of the authenticity of the Apabhramſa stanzas in the fourth act of the Vikramorvasiya of Kälidása, there is an even earlier example of Apabhramsa stanzas, and stanzas in a more conven- . .1, The . 91. See " Verhandelingen der Koninklijke Akademic r'an Wetenschappen te Amsterdam, 17, no. 3 (1917), 5-158; cf. review by Sten Konow in the Indian Antiquary, 49 (1920), 232- 36; M. Winternicz, "Krsna-dramen," Zeitschrift der Deutschen Morgenländischen Gesellschaft. 74 (1920), 137-44- 15: This meter is identificd by the commentator Kumbhakarna as Layachandas; see Kumbha's Sangitarāja, edited by P. Sharma (Varanasi: Hindu University Press, 5963), 1.3 21; sce also, H. D. Velankar, "Hemacandra's Chandonušāsana," Journal of the Bombay Branch of the Royal Asiatic Society, 20 (1944), 29 (VII.4). The same meter occurs in songs 4, 5, 6, 8, 11, 17, 20, 22, and 23 Several other meters patterned in four-beat measures are only variants of Layachandas. The meter of the first song has couplets in unequal lines of sixteen and twenty beats; it is identified by Kumbha as Kirtidhavalachandas and is defined in the Sangitarăja (1 3.36). The meter of songs 9, 12, 14, and 18 has couplets of four four-bcat measures. The meter of song 16 has three four-beat measures followed by a trochaic cadence (-). The meter of song 15 has six four-beat measures followed by an ambic cadence (-). The meter of song 24 has six four-beat measures followed by a cretic cadence ( --). The less regular meter of the second song, which Kumbha calls Mangalachandas and defines in the Sangitarije (1.3-39), has couplets in unequal lines of twenty and eleven beats, the first line consisting of five four-beat measures and the second line of two fourbeat measures followed by a trochaic cadence (-u). 16. The four-beat measures are expressed predominantly in two out of five possible syllabic combinations of groups of four beats: four light syllables ( wvu) or a heavy syllable followed by two light syllables ( -U). Given the syllabic structure of Sanskrit, with the prominence of consonant clusters and heavy vowels, the contu' olac legauers enses on the placement of heavy syllabies is masterful. A measure of two heavy syllables (--) normally occurs only in final position in a line of a couplet; a measure of two light syllables followed by a heavy syllable (-) is rare; and no measure with a heavy syllable between two light syllables (w) occurs Of the remaining five songs in the Gitagovinda, three have meters based on measures of five beats, one has a meter that is best resolved into measures of seven beats, and another is entirely irregular The five-beat meters generally show the same preference for light syllables and the same restriction of heavy syllables to initial position within a measure that characterize the four-beat meters. The combinations of five light syllables ( ) or a heavy syllable followed by Introduction 46 ·three light syllables (awu) are predominant. The meter of song 13 has cou. plots of four five-beat measures, the last of which is a cretic cadenec (wo), The meter of song 1g has couplers of six five-beat measures followed by a spondaic ca. dence (- -); the cretic pattern (ovo) in the fourth measure of almost every Inc gives this long meter a distinctive rhythm, The meter of song 31 has couplets of three five-beat measures, but the first line of cach couplc is lengthened by the addition of a final heavy syllable. The meter of song 7 divides into three seven beat measures in the fixed sequence -- followed by a trochaic cadence (-u). Song 10 is expressed in five metrically identical verses of asymmetrical quarter. stanzas, The quarter-stanzas all differ in syllablc scquence and moric length, while consistently rhyming in the pattern a bla b. The first verse of the song shows the Fixed pattern: . vahati malayasamire nadanam upanidhaya) sphitati kusumanikare virahahrdayadalanaya || u-ull 17. The Nepal manuscript dated Ap 1447 and the Bornbay manuscript dated A.n. 1515 omit tala names. The frequent designation yarıtala in other manuscripts may perhaps be interpreted as "he săla of the meter," meaning that the meter is the tala On tāla, scc Alain Daniélou, Northern Indian Music (New York: Praeger, 1968), PP. 65-74; P. Sambamoorthy, South Indian Music, book II (Madras: Indian Music Publishing House, 1968), pp. 18-28; Ravi Shankar, My Music, My Life (New York: Simon and Schuster, 1968), pp 29-30. 18. The refrains whose measured unit differs from the gana organization of the couplets in the song may be resolved as follows: SONG 9: two measures of seven beats, followed by a light syllable: cf. song 7, which also seems to follow a saplagana pattern, a rarity in Indian prosody. SONO 10: four measures of four beats, followed by two light syllables SONG SONG SONG sures of four beats, like the meter of the couplets SONG 22: one line has five measures of four beats, the second line begins with a unit of eight beats (-v-uvu), followed by five measures of four beats. 19. There are more heavy syllables in the four-beat measures of the refrains, the spondac unit of two heavy syllables (--) and the anapestic unit of two light sylla. bles followed by a heavy syllable (ww.) occur in the interior of lines, cg, song 16 (VII.31, refrain). The amphibrach unit of a heavy syllable between two light syllables, which is nowhere used in the four-beat meters of the couplets, occurs in the refrains of songs 1, 4.7, 17, 20, and 24 20. Sce Gerow, Glossary, PP 1027 It should be noted that the repetition of con. sonant clusters is minimal in the Gitagouinda, suggesting comparison with Prákrat and Apabhramśa, where the clusters are normally reduced; sec Gerow on grâmyānu. prasa, Glossary.p 103 21. For example, II.5. vipulapu lakabhupa | Pallavavalayita | ballava | yuvatisa | hassam wui-ci furcaru norasi / mapgong| bhusana ] kirangur } bhinnata | masram || TURUT Invulli mca UT- Introduction 47 ·2 The Lyrical Structure of Jayadeva's Poem (coni.) 22. An early instance of the use of antanuprāsa is the sixth sarga of Sundarakanda in thc Valmikiramdyana. Though the date of this section is debatcd by scholars, it is accepted in the critical edition; sce G. C. Jhala, ed., Valmikiramayana (Baroda: Oriental Institute, 1966), vol. 5, pp. 76-80. 23 Sec K, Krishnamoorthy, ed., Dhranyaloka (Dharwar: Karnatak University, 1974), 11.14-15. 24. Sec, c.g., Dandin, Küryadarsa, edited by V. N. Ayer (Madras: Ramaswamy Sastrulu, 1964) 1.51-60, Dandın discusses anuprāsa in the context of delincating the differences between the two major styles of poetry, called vardarbhi-ritt and gaudiriti (1.40-54). The gandi style was located in castern India; its exponents were noted for their love of anuprāsa. See also Bhoja, Sarasvatikanthābharana (Bombay: Nir. nayasāgara Press, 1934) 11.76, 77, 106; Jagannatha, Rasagangadhara (Bombay: Nir. nayasagara Press, 1939), p. 89 25. Scc noleg above. 26. Sce section 4 below. For other examples of Jayadeva's word-play, see rasana, rasa, rasa in song 14 (VJJ 16, 17); and hari, hora, håra in song 20 (X1.6). Song 19, which begins the climax of the poem, has rich word-play on various levels. Puns in verse 1.36, in the long compound dhyānavadhanaksanaprăptaprānasamasamõgamara. solläsa which modifies pathika, relate yogtc meditation to lonely travelers' evocation of erotic union. 27. Sec Gerow, Glossary, on anuprāsa (pp. 102–7), citra (pp. 175-89), yamaka (pp. 223-38). 28 See Stella Kramrisch, The Hindu Temple, 2 vols. (Calcutta, 1946). The interplay of "surface beauty" and underlying structure is also characteristic of Indian dance and music. 29 My initial appreciation of the music of the Gitagovinda came from many hours of listening to singers in various regions of India sender their versions of the songs. A deeper appreciation is based on formal study under the tutelage of Vasant Rai, Director of the Alam school of Indian Music in New York, who belongs to the tradition of Allaudın Khan, and under V Deshikachar at the Mysore College of Fine Arts. This attempt to define the rága draws on Ravi Shankar's exposition in My Music, My Life. See also Daniélou, Northern Indian Music, pp. 20-63, 75-96ff., N. A Jasrazbhoy, The Rågs of North Indian Music Therr Structure and Evolanon (London: Faber and Faber, 1971), Walter Kaufmann, The Ragas of North India (Bloomington: Indiana University Press, 1968), Sambamoorthy, South Indian Music, books 1-V; V. G. Apte, ed., Sangitaratnakara (Poona Anandäśrama Press, 1942), 2 vols. 30 The northern versions of the songs, as I heard them in Orissa and Bengal, follow the räga designations most commonly found in the manuscripts; these differ from those of Kumbhakarna, which are defined in his Sangitaraja. In articles writ. ten for the "Geet Govind Celebrations" held at the Sangeet Natak Akademi in Delhi (March 18–20, 1967), Premlata Sharma and C. S Pant both suggest that the rāgas and talus Kumbha prescribes were associated with his own compositions. The South Indian versions of the songs, as I heard them in Madras, Mysore, and Guruvayor (Kerala), accord with the rägas given by Semmangudi R Sreenivasa lyer in Gitagovindam with Mristcal Notations (Tripunithura: Sanskrit College, 1962). The Introduction 49 ·designations in the present text of thie Gitagorinda are those common to the oldest manuscripes; significant variants are noted in the critical apparatus in the clothbound edition of this book. For a comparison of the musical characteristics associated with different rågas of the Hindusthani and Karnatak systems, see B. Subba Rao, Riganidhi (Madras: Music Academy, 1964-66), vols. 1-IV. 3 Jayadeva's Language for Love 1. The background for this analysis is provided by the rasa theory of dramatic esthetics in its general form. The relation between csthetic cxpcrience and religious experience that is central to the Gitagorinda cncouraged me to search for evidence of Jayadeva's direct reference to the special theories of Abhinavagupta or Bhoja, but the vocabulary of esthetics that Jayadeva uses is drawn directly from the Natyaśāstra, The technical terminology of dhvani theory and srngåra theory is notably absent; individual terms are analyzed in the glossary to the hardcover edition For a general introduction to basic notions of Indian literary esthetics, see Edward C. Dimock, Ir, et al., The Literatures of India (Chicago: The University of Chicago Press, 1974), chapter 3 Within Sanskrit literature, the rasa theory is summarized in book 4 of Dhananjaya's Dasarūpa, translated, with Sanskrit text and notes, by G. C. O Haas (reprint, Delhi: Motilal Banarsidass, 1962), PP. 106-48. Thc summary is bascd on book 7 of Bharata's Natyaśāstra, edited, with the commentary of Abhinavagupta, by M. R. Kavi, Gackwad's Oriental Series, 4 vols (Baroda. Central Library, 1926), vol. 1, pp. 343-86. 2. Bhoja, in his Srngaraprakása, concentrated on rati and the śrngära developing from it. He expanded and further universalized śrngära into an absolute fasá called ahamkārairngåra, a rarcfication of ordinary love which is for him the universal of existence; see V. Raghavan, Bhaja's Srngära Prakasa (Madras; Punarvasu, 1963), Pp. 425-532. Earlier, Rudrata had expressed the more general view of the im portance of rati and singåra by raising the question of how any other rasa except śrngära could be truly relished and how the name rasa could apply to any sentament but śrngåra, Kavyalamkara XIV 38 says. anusaralt rasanam rasyatāmasya nanyah sakalam idam anena vyāplam ābālavrd dham Sce S, K. De, Ancient Indian Erotics and Erotic Literature (Calcutta: K L Mu. khopadhyay, 1959). 3. A conventionalized blending of the two modes is made in the adyapi smaramı formula thar dominates the Caurapañcāsıkā attributed to Bilhana; see my Phantasies of a Love-Thiel (New York Columbia University Press, 1971). The interplay of the two modes is domigant in Indian literature from the epic period, as well as later. Outstanding examples include the Nelopakhyana of the Mahabharata, the Valmikorāmāyana, and Käldāsa's Kumarasambhaza, as well as his plays. 4. See the introduction to my translation Bhartrehari: Poems (New York: Columbia University Press, 1967) It seems significant to me that the esthetic presentation of emotion in the Gitagovinda can be characterized by the same generalizations that I applied to the Bharthari collection. 5 The earliest known triuc to contrast what is vulgar (gråmya) from what is conducive to rasa was Dangın, in his Kõvyadarśa, edited and translated by V. N. Introduction 49 ·3 Jayadeva's Language for Love (cont.) Ayer (Madras: Ramaswamy Sastrulu, 1964), 162–64 Abhinavagupta used the ex. ample of the breasts of a woman exciting most profoundly when they are only half revealed; in the Dhvanyalokalocana (cdited with thc Balapriya, Varanasi: Kashi Sanskrit Series, 1940), p. 138, he says: gopyamanam sannäyıkakucayugalom iva maharghatam upayad dhvanyate | The material is taken from J. L Masson, "Obscenity in Sanskrit Literature," Mahfil, 7, nos. 3-4 (1971), PP. 197-207. 6. Scc J. L. Masson and M. V. Patwardhan, Santarasa and Abhinavagupta's Phi. losophy of Aesthetics (Poona: Bhandarkar Oriental Research Instituic, 1969), PP. 56 ff. 7. The perspective of the friend is later codified into the claborate esthetic theory of sathibhāra in Bengalı Vaishnavism; for the relevance of this theory to the Gitagovinda, scc Shashibhusan Dasgup:a, Obscure Religious Cults (Calcutta: K. L. Mukhopadhyay, 1969), pp. 125-26. 8. The technical term for such an opening verse is vastunirdesa. It is possible that the much-debated phrase nanda-nidesalah is Jayadeva's pun on the type of this verse, referring to the fact that the subject of the poem is nanda, "joy," which is experienced as Krishna himself in the final song of the Gitagovinda, where he is ad. dressed by the two cpithets Yadunandana and Hrdayānandana. 9 In his Kavijayadeva o śrīgitagovinda (Calcutta: Gurudás Mukhopādhyây, 1957, B$ 1362), Harekrishna Mukhopādhyāya devotes, an entire chapter (15) to the analysis of this verse. Each of the commentators gives it detailed consideration, 10 Kumbhakarna gives an elaborate statement on poetic propriety in support of this interpretation He glosses pandanıdeśatah with nandasamipăt. He points to the combination of śrngära and bhayanaka here. 11. Mänänka interprets the speech as the svagatam of Radhā, spoken from exces. sive love, as an alternative to understanding Nanda as the speaker. 12 This is the most frequent interpretation. It is related to the story that the child Krishna followed Nanda into the woods one evening at dusk and became afraid Sankaramiśra gives this story in its simplest form See Suniti Kumar Chatterji, Jayadeva, Makers of Indian Literature (New Delhi; Sahitya Akademi, 1973), pp. 15-18. 13 Castanyadāsa explains that the words spoken by Radha's friend are intended to bring joy (nanda); Krishna's foster father is thus removed from any involvement with che erotic relationship between Ridha and Krishna and is replaced by the conventional figure of the sakhi. 14 Cf. Brhadāranyaka Upanisud 1.42 so' bbhet tasmad ekāki.bibhet sa hayam iksam cakre yan mad anyan naste kasmān nu bıbhemit tata eväsya bhayam viyāya kasmäd hy abhesyat dritiyad var bhayam bhavati. He was afraid. Therefore one who is alone is afraid This one then thought to himself, "since there is nothing else than myself, of what am I afraid?" Thereupon his fear, verily, passed away, for of what should he have been afraid Assuredly it is from a second that fear arises. Introduction 50 ·Text and translation quoted from S Radhakrishnan, The Principal Upanisad: (New York: Harper, 1953), pp. 163-64 Although there is no evidence that Jayadeva con. sciously refers to this analysis of fear in the creative process, the dynamic role of fear in connecting isolation with pairing scems suggestive in interpreting the opening verse of the Gitagorinda. 15 In the second half of the poem it is increasingly clear that Krishna himself is the mysterious power of darkness, the essence of night in which Rädhi's love de velops through various stages of desertion to consummation, 16. Mänänka makes the point, which is followed by other commentators, that the word oriler of the dual compound is irregular in its priority (pirvanipata), Iskc naranarayanan, umămahestarau, kākamayuran, etc. 17. See section I above, notes 15-17. The subject of allegory, with relerence to the Gitagovinda, is treated by Lec Siegel in "Sacred and Profane Dimensions of Love in Indian Traditions as Exemplified in the Gilagovinda of Jayadeva" (unpublished Ph.D thesis, Oxford University, 1975), pp. 209-25, also in the short essay by Ranajit Sarkar, "Gitagor'ında Towards a Total Understanding," Publika van het In. stituut voor Indische talen en cultuuren, no. 2, Rijksuniversiteit te Gronigen, 1974, ·4 Krishna: Cosmic Cowherd Lover (cont.) legend is focal to the contrast between him and Siva, see Wendy O'Flaherty, Asceti. cism and Eroriasm in the Mythology of Siva (London: Oxford University Press, 1973). 2. The main sources for Krishna's legend in carly Sanskrit literaturc are the Afahabharata and certain Puranas, but the origins of many of his epithets and characteristics are found in Vedic literature. The following texts are referred to throughout this section in the editions cited: Atharra Veda. Atharvaveda Sanıhttă, edited by W. D. Whitney and R. Roth (Berlin: F. Dummler, 1856); translated by W. D. Whitney (1905; reprint, Delhi: Motilal Banarsidass, 1962). Bhagavata Purana Gita Press edition (Gorakhpur, 1962); translated into French by Eugène Burnouf, 5 vols. (Paris: Imprimerie Royale, 1840-98) and into English by 1. M. Sanyal, 5 vols. (Calcutta: Oriental Publishing and Datta Bose, 1930-34). Harivamis Critical edition, edued by P. L. Vaidya, 2 vols. (Poona: Bhandarkar Oriental Research Institute, 1969), translated into French by S. A Langlois (London: Parbury, Allen, 1834-35). Mahābhārata Critical edition, edited by V. S. Sukthankar, et al. (Poona: Bhandarkar Oriental Research Institute, 1933-66), translated by T A.B van Buitenen (Chicago University of Chicago Press, 1973- ), vols. 1 and 2, books 1-3. Matsya Purana. Edited by H N. Apte, Anandāśrama Sanskrit Series, no 54 (Poona: Anandäśrama Press, 1907); translated in the Sacred Books of the Hindus, vol. 17 (Allahabad. Pânını Office, 1916-17, reprint, New York, 1973). Rg Veda. The Hymns of the Rig-Veda, edited by Max Muller, 2 vols. (London: Trubner, 1877); translated into German by K. F. Geldner, 3 vols, Harvard Oriental Series, vols. 33-35 (Cambridge, Mass : Harvard University Press, 1951). Salapatha Brāhmana Edited by Albrecht Weber (1855, reprint, Varanasi Chow. khanba Sanshrit Series Office, 1964); translated by Julius Eggeling, Sacred Books of the East, vols. 12, 26, 41, 43, 44 (1882, reprint, Delhi: Motilal Banarsıdass, 1964) Vesnu Purana Gita Press edition (Gorakhpur, 1962); translated by H H Wilson, 5 vols (1840, reprint, Calcutta, 1961) 3 Mahābharata VI 33 30 = Bhagavadgitā 11.30. 4 See Gonda, aspects of Vişnuism, p 159; Hopkins, Epic Mythology, P 213. 5. See Visnu P. VI.2.17, where it says that singing of Kesava is the way of the Kali Yuga 6. See J. Gonda, Epithets in the Rgveda (The Hague Mouton, 1959) 7 The contrast between the conception of Krishna in the Gitagorinda and in the Bhagavata P is striking in terms of vocabulary and devotional attitude; see Thomas J Hopkins, "The Social Teaching of the Bhagavata Purana" and JAB van Buitenen, "On the Archaism of the Bhagavata Purana," both in Singer, Krishna, PP 3-40, also Tadpatrikar, "Krşna Problem" 8 See section 5 below. 9 Daniel H H Ingalls, An Anthology of Sanskrit Court Poetry, Harvard Oriental Series, vol. 44 (Cambridge, Mass.: Harvard University Press, 1965), intr. 62, p. 93. Introduction 52 ·10 Satapatha Brühmana XI.5 4.18; cf. the "honcy-doctrine" of the Brhadirunyaka Upunisad 11 5.16-19. In classical Hinda law a celibate student (brahmacärin) is or. dered to abstain from "honey, meat, perfumes, garlands, condiments, women, etc," Manusmrti 11.177: see The Laws of Manu, translated by G. Bühler, Sacred Books of the East, vol. 25 (Oxford: Clarendon Press, 1886), p. 62. 11. Scc Claude Lévi-Strauss, From Honey to Ashes, Introduction to a Science of Mythology, (New York: Harper and Row, 1973), vol. 2, pp. 122-23. In Indian literature, spring itself is considered an aphrodisiac; see, cg, Káldása's Kumārasam. bhava, critical edition, edited by Suryakanta (New Delhi: Sahitya Akademi, 1962), III 21-34. 12. Madhara and Madhusidana are both commonly used of Krishna throughout the Mahabharata and after; €8, Mahabharata 1.213 20, 30 ff., 214 15 ff.; cf. Gonda, Aspects of Visnuisni, pp 16 A, 237; Hopkins, Epic Mythology, pp. 192-93, 203; G. Dumézil, The Destiny of a King (Chicago: The University of Chicago Press, 1973), pp 81-83. A legend given in the Nüfyaśāstra, edited and translated by M Ghosh (Calcutta: Granthalaya, 1967), XXII.1-16, attributes the origin of drama to Krishna's battle with the demons Madhu and Kaitabha 13 Sec, €8, Hanıramsa 48.s ff.; Mahābhārata 1 160 14 See, 4.g., Rg Veda X 96, Gonda, Aspects of Vişnum, p. 107, 15 Cf. Alahabharata L.I 20-22, VI.339 ( = Bhagavadgită 119), VI 40 77 (=BG 18.77). 16. See, c.g., Bhagavata P X 37 17. See Krishna as Jaganniräsa, Mahabharata VI 33 25, 37 ( = BG XI.25, 37); sec Miśra, Cult of lagannatha, pp 57-58; section I, note 14 above. 18 See Mahübharata VI.26.5-9 ( = BG IV5-9), Matsya P. 47.8 f., Vişnu P. V.17.10 ff , Bhūgavala P 11 6 41 Earlıer references to the ten incarnations include: Matsya P 285 6-7 (maisyah kurmo tarahas at narasimho 'tha våmanah rāmo rămas ca krsnaś ca buddhah kalkitz ca kramát), Kșcmendra, Dašavataracarsta, Kavyarnālā, no 26 (Bombay Nirnayasagara Press, 1891); sec also H K. Sastri, "Two Statues of Pallava Kings and Five Pallava Inscriptions in a Rock-Temple at Mahabalipuram," Memoirs of the Archaeological Survey of India, no 26, plate 1, C, P. 5. "An Ajmer Stone Inscription," Epigraphica Indica, vol. 29, pp 179 f. The Harivamsa lest (ch. 31) differs somewhat. In the list of twenty-two incarnations in the Bhagavata P., the pair Balarama and Krishna are nineteenth and twentieth (1.3 23; cf. 117) See Gonda, Aspects of Vişnuism, PP. 124-64, Hopkins, Epic Mythol. ogy, pp. 209–19; Jacobi, “Incarnation," pp 193-97; Kosambi, "Avatāra Syncretism"; also Ollo Schrader, Introduction to the Pāñcarátra and the Ahirbudhnya Samhita (Madras: Adyar Library, 1916), PP 35-59 19 CE Edward C. Dimock, Jr., The Place of the Hidden Moon (Chicago: Uni. versity of Chicago Press, 1966), PP 192-95 20 See the glossary in the clothbound edition, sv adbhuta, śrngåra 21 Cf Alatsya P. 1.29 ff; Bhagavata P. VII 24 See Hopkins, Epic Mythology, pp. 201-2 22. CE. Gitagorinda 1 23; Mahabharata 1.16 10-11; Bhagavala P. XII.13.2. See Gonda, dspects of Vişnusm, pp 126-29, Klaus Ruping, Amrtamanthana und Kūrma-Avatara (Weisbaden: Harrassowitz, 1970). 23. CE Atharva Veda XII 1.48 (súkara); Visnu P. V 2923 (sukara); Bhagavala P. Introduction 53 ·4 Krishna: Cosmic Cowherd Lover (cont) III.18-19 (sükara). Sec Gonda, Aspects of Visnussm, pp. 129-45; V. $. Agrawala, Solar Symbolism of the Boar: Yajna-varāha-An Interpretation (Varanasi: Prithivi Prakashan, 1963). 24. Cf. Visnu P.I.17-21; Bhagavata P. VII.2-8. 25. Sec Rg Veda 1.154 1-6, 155.3-5; Salapatha Brāhmana 1.9 3.8 ff.; Gonda, Aspects of Visnuism, pp. 55-72, 145-46; F.B J. Kuiper, "The Three Strides of Vişnu," in Indological Studies on Honor of W. Norman Brown (New Haven: American Oriental Society, 1962), pp. 137-51; Wendy O'Flaherty, Hindu Myths (London: Penguin, 1975), Bibliographical Notes, pp. 328-29 26 Sec Bhagavata P. VIII.19-23. 27. See Mahabharata III.115-17; Bhagavata P. IX.15-17; Hopkins, Epic Mythology, PP. 184,211. 28. Sec Bhagavara P. IX.10-11.. 29. See Alahabharata 1.189.31; Visnu P. V.1 59-63. 30. See Visnu P. V.25; Bhagavata P. X.65, Hopkins, Epic Mythology, p 212. 31. Sce, cg, Matsya P. 47.247; and Agni Purana, Ānandåśrama Sanskrit Series, no. 41 (Poona: Anandaśrama Press, 1900) ch. 16, cf Bhagavata P. I.3 24; Sastri, "Pallava Statues," pp. 5-7 32. Sec Dimock, Hidden Moon, pp. 26-29. 33. See Mahabharata III.188–89; Bhagavata P. I 325; Gonda, Aspects of Visnuism, pp. 149-50. 34. Scc Harivamsa 50-64; Visnu P. V.6-14; Bhagavata P. X5-37; Balacarita in Plays Ascribed to Bhäsa, edited by C. R. Devadhar (Poona, Oriental Book Agency, 1962), pp. 512-60. See also Gonda, Aspecir of Visnuism, PP 154-64, Ruben, Krishna, Pp. 45 ff. 35. The more common reading of the refrain as jaya jaya deva hare ignores the word play and the significance of Jayadeva as an epithet 36. A reference to the Mahabharata as jaya, which comes at the beginning of the cpic (1.1 1), may not be relevant to the meaning of Jayadeva's signature and his epithet for Krishna, but it seems worth noting nārāyanam namaskrtya naram carva narottamam devim sarasvalim carra tato jayam udirayet ! 37. Scc Hopkins, Epic Mythology, PP 215, 217. 38. See Mahabharata III.194 15; Harivamsa 52.2, Bhagavata P. VIII.17-4; X.32 2. 39. See Harivamsa 524 40. See Pānını, Astädhyayi III.1.138, vārt 2: gavādısu vinde samjñāyas. In the form of Varāha, the Boar, Govinda is gām vindatr, "finder of earth", Mahabharata 1 19 11 41 See Mahābhārata 1.59 22, 42. Sec Mahabharata II 13 33, V 126 371 ; Harivamsa 27, 44-48, 65-78; Bhagavata P. X.1-4, 36-44 43. Sec Ruben, Krishna, pp 107-8. Introduction 54 ·44. Sce, c.8., Mahabharata 1.15; Hopkins, Epic Afythology, pp. 206, 208, 213-14. 45. Discussed in section 3; cf, Hariramia 49; Visnu P. 641F.; Bhagavanta P. X.51 ff. 46. See Alahabharata 1.31,10; Harivarisa 55-56; Bhugarsta P. X.16-17. 47. See Harivaṁsa 50.20-23, 48. See Rahabhårata 1.20-30; Gonda, Aspects of Vişnuism, PP 101-3 49. Sec Ruben, Krishna, pp. 112 ff. 50. Scc, c.8. Lévi-Strauss, Honey to Ashes; Yolanda and Robert Murphy, Women of the Forest (New York: Columbia University Press, 1975). 51. The Jumna has its confluence with the Ganges at Allahabad. It flows through Brindaban. It is also called Kalindanandini (GG 11.2), "daughter of Mt Kalında." CE. Harivanja 55.27 ff. 52. Cf. Hartramſa 6378-35; Vosne P. V.1347-55; Bhagat'ata P. 111,2.14; X.33; Balacarita II1.1-3. Scc V. Raghavan, Bhord's Šrngāru Prakūša (Madras: Punarvasu, 1963), pp. 561-73 53. Scc O'Flaherty, Alythology of Siva, pp 141-72; also the glossary in the clothbound edition of this book, s.v. ananga, kama, rats, and related references. 54. See the glossary in the clothbound edition of this book, s v. kanta, dayita, priya 55 Cf. Bhagavata P. VII.203 Also kartava, "deceuful," GG VI11.2°; cf. Kumārasambhava, cdited by Suryakanta (New Delhi: Sahitya Akademi, 1962), VIII 3. 56 This is given as a way to angrily address a nāyaka, see Natyaśāstra. XXIV.310. 5 Rādha. Consort of Krishna's Springtime Passion 1. Much of this material has been published in a more technical form in an article entitled, “Radha Consort of Krishna's Vernal Passion," Journal of the American Oriental Society. 95, no 4 (1975), 655-71 In my attempt to describe the nature of Radha's relation to Krishna in literature antedating die Gitugorinda, I have drawn on the work of several scholars See Saśıbhusan Dasgupta, Srirådhår kramabikásamdarśane o sūhulye (Calcutta: E Mukherji, 1953, s. 1359), A K Majumdar, "A Note on the Development of the Radha Cult," Annals of the Bhandarkar Institute, 36 (1955), pp 231-57, Harekrishna Mu. khopadhyāya, Kavijayadeva śrigitagorında (Calcutta Gurudās Mukhopadhyây, 1956, B s. 1362); B. Majumdar, Krsna in History and Legend (Calcutta: University of Calcutta, 1969), pp. 165-232, S L Katre, "Krnşa, Gopas, Gopis, and Radha," in P. K. Gode Commemoranon l'olunc, edited by H L Hariyappa and M M. Patkar (Poona, Oriental Book Agency, 1960), pp 83-92 In the Vaishnava literature that postdates the Gitagovında, Radha is a ubiquitous figure in relation to Krishna; since some excellent studies of these works exist, I do not deal with the material herc. Sce Shashubhusan Dasgupta, Obscure Religrous Cults (Calcutta: K. L. Mukhopadhyay, 1962), pp. 113-46; S. K De, Varsiara Faith and Movement in Bengal (Calcutta: K L. Mukhopadhyay, 1961); Edward C Dimock, lr, The Place of the Hidden .CZ... irela -- (Chicago: Uni- Moon. Er Afathurá (New Haven: Y ſ, ed, Krishna. Myths, Riter and dirtudes risus.. 56) I have also versity of Introduction 55 ·5 Radha: Consort of Krishna's Springtime Passion (cont.) omnitted references from two works that make some claim for inclusion Original verses on Rādhā quoted in Saduktıkarnāmrta (edited by S K. Banerji, Calcutta: K. L. Mukhopadhyay, 1965) are attributed to Jayadeva's contemporaries Umāpatidhara and Sarana (1 53.5, 1553, 1.61 2); another (1.58.4) is quoted below from Vakrokujīvita (2.56). Verses on Radha in the Krsnakarnámrta of Lilāśuka Bilva. mangala are numerous, but the dating of the work remains problematic (it is variously assigned to periods ranging from the ninth to the fifteenth century). See S. K. De, The Krsna-karnämrta, University of Dacca Oriental Publication Series, no. 5 (Dacca: University of Dacca, 1938), Francis Wilson, The Love of Krishna The Krsnakarnámrla of Lilásuka Bilramangala (Philadelphia. University of Pennsylvania Press, 1975). 2. H. Grassman, Worterbuch zum Rig-Veda (1872; reprint, Wiesbaden. Otto Harrassowitz, 1955), 1160-62; Bhagavata Purāna (Gorakhpur: Gita Press, 1962) 11.4.14; IV.757, 24 18, 31.11; IX.21.17; X 656. 3 Max Müller, ed., The Hymns of the Rig Veda, 2 vols. (London: Trubner, 1877) VIII.61.14; cf. I.30.5, etc; related epithets vasupati, vasudă, etc. 4 See J. Gonda, Aspects of Early Visnuism (1954; reprint, Delhi. Motilal Banarsidass, 1969), pp. 224-25; see also The Mahābhārata, critical edition, edited by V. S Sukthankar, et al (Poona: Bhandarkar Oriental Research Institute, 1933-36), 1.16. 5 Eg, R. C Artal, "A Note on Krsna and His Consort Rādhā," Anthropological Society of Bombay, 8, no. 5 (1907-9), 356–60; Sukumar Sen, "Etymology of the Name Rådhã," Indian Linguistics, 8 (1943), 434 Sen speculates that the word rädhū must have been a common noun with the mcaning of "beloved, desired woman." He supports his argument with reference to the Vedic rädhas meaning "a desired object" and its masculine cognate in Avestan rida, meaning "over" in Yasna 923. My colleague Professor Dale Bishop informs me that the passage is problematic, but if it is taken with a Gåthic passage (Yasna 299) where the only other reference to räda occurs, the contexts suggest that the word could mean something like "satisfaction" as an abstract; in any case, most scholarly interpretations indicate something or someone that "fulfills a need " 6 A, A. Macdonell and A. B. Keith, Vedic Index (1912, reprint, Delhi: Motilal Banarsidass, 1967), vol. I, p. 417 Atharva Veda XIX.7.3(c-d): rádhe sjšákhe suhórónurădhá wyéssă suneksairam aristam múlam || Atharvaveda Samhita, edited by W. D Whitney and R. Roth (Berlin F Dummler, 1856), p. 356. Although Whitney reports all manuscripts examined to read rádhe (fem dual) and commentaries to explain this as meaning that rädhi is another name for vifūķha, he feels that it is an interpolation based on a later misunderstand. ing of anuradhi as meaning,"the one after (anu) or following rūdhi" He therefore changes the seading to radho and translates it "be the tso Visihhas bestowal (radhas)." W. D. Whitney, trans, Atharia-Veda Samhiti (1905; reprint, Delhi: Moulal Banarsidass, 1962), vol II, P 908 If one follows the manuscript evidence and reads rudhe, i can be understood that the two stars called Visakha arc identified with a dual radha. The identification is supported by the fifth century lexical work Amarakosa, 1322 ridhi visakhi fuse tu adhyang ou srautsthayü, etc. Amarasimha, The Namalıngütusasunam (Amarakosa), edited by Pandit Sivadatra (Bombay: Nirnayasagara Press, 1944), P 3. Introduction 50 ·7. Rajendra Mitira, ed., Taituriya Brålmana Bibliotheca Indica, no. 125 (Calcutta: Asiatic Society of Bengal, 1855), p 4. 8. Tattiriya Samhith, translated by A, B, Keith, Harvard Oriental Series, vols. 18-19 (Cambridge, Mass.: Harvard University Press, 1914). 9, Mahabharata X111.135 60(c), naksarranemir naksatri; in the episode of the burning of Khåndava forest (1.214 ff.) Krishna is repeatedly addressed as Madhara, and also Afadhusudana; see section 4, notes 9-12 above, csp. Gonda, Aspects of Vişnguism, pp. 16 ff., 237. 10. F. E. Pargiter, Andent Indian Historical Tradision (London: Oxford Uni. versity Press, 1922), p. 135, 11. Amarakosa, 1.3.22; the authors of the Brahmavaivaria P. incorporate Rädha's naksatrà associations into the story of her heavenly birth and descent; sec Walter Ruben, "The Krsnacarita in the Harivamsa and Certain Puranas," Journal of the American Oriental Society, 61 (1941), 126-27 12. This Radha has no apparent connection with the epic figure named Radha, who is the wife of the charioteer Adhiratha and the foster-mother of Kunti's son Karna. Mahabharata 1.104 14(b) and 181.38(a): tam utstilam tada garbham rådhàbharta mahāyalah |- putratve kalpayāmāsa sabharyah sutanandah || Radha's renowned husband [Adhiratha), son of a charioteer, Rescued the abandoned child and he and his wife made him their own son. ko hi rådhåsulam karnam sakto yodhayitum rane i anyaira rämäd dronád va krpad väpi saradratah || Who can fight in battle with Rādha's son Karna Other than Parasurama, Drona, Krpa, cr Saradvat? 13 Sec Dimock, Place of the Hidden Moon, pp. 32-35; B Majumdar, Krsna in History and Legend, Pp. 121-91 14. References to Rådhå in these Puranas are given in tentative chronological order. Matsya Purana, edued by H. N Apte, Anandāśrama Sanskrit Series, no 54 (Poona: Anandásrama Press, 1907), XIII.3 In verses 24-53 of this section, Devi ennumerates her various names at different holy places in response to Dakşa's question as to what names are to be invoked at the tirthas. Verse 38 is quoted by Jiva Gosvamın in bus commentary on Bhagavata X 21.17. stvakunde árānanda nandini devikára! rukmani dväravatyam tu radhi vrndāvane vane || 38 || At Sivakunda she is Sivanandi, at Devikātate she is Nandini; At Dväravati she is Rukmini, in the forest at Vrndāvana she is Ridhã. Linga Purāna, edited by P. J Vidyasagara (Calcutta: Valmiki Press, 1885), UL. tarardhe 48 14. The verse is one of a series of mantras (485-26) in imitation of the Gāyatri, all ending pracodayat, in which various gods and goddesses are in voked; 48.12 inyokes Vishnu, 48 13 Lakşmi. samuddhrtayai vidmahe vişnungikena dhimahi I. tan no rädhá pracodayat || 14 || We know about one whom Vishnu himself redeems, we meditate on her Then let Rådhå inspire us! Introduction 57 ·5 Rādha: Consort of Krishna's Springtime Passion (cont.) Varāha Purana, edited by Hrshikeśa Sastri, Bibliotheca Indica, no. 109 (Calcutta Asiatic Society of Bengal, 1887), 164 33-35 Krishna's encounter with Rādhá here follows his slaying of the demon Arışta. Note that Arista appears in apposition to the naksatra Mila in the Atharva Veda passage quoted above in note 7 latra rädhā samāílisya krsnom aklisţakaranam svanāmnā viditanı kundam krtam tirtham aduratah l 33 }} radhakundam itt khyātam sarvapapaharam śubham ariffarādhakundăbhyam sanat phalom avápnuyat rājasüyāśvamedhänām nātra käryyā vicarana go hatyabrahmahatyāyah păpam ksipraři vinasyatı | 34:35 || Since Radhã embraced tireless Krishna there, The tank was known by her name and a holy place was created nearby. It was known as "Rādha's tank," removing all sins, auspicious. With ablution from the Arista tank and the Rädhà tank One may doubtless attain the reward of Rajasūya and Aśvamedha rites- It quickly destroys the sin of cow killing and even Brahman killing. Brahmavaivarta Purana, edited by V. G. Apte, Anandáśrama Sanskrit Series, no. 102 (Poona: Anandāśrama Press, 1935), translated by Rajendra Nath Sen, Sacred Books of the Hindus, vol. 24 (Allahabad. Pănini Office, 1922); Krsna-janma-khanda, adhyāyas 2-5, 15, 17, 27-30, 52, 53, 57, 58, 66-68, 92–98, 110, 111, 123-28. Rádhá occupies a leading position in the section devoted to Krishna's birth, This elaborate section seems to be as late as the sixteenth century in its present form, but since it is an obvious compilation of various strands of the Radhi legend it furnishes many relevant suggestions about the nature of the figure and her relationship to Krishna. See Cheever Mackenzie Brown, God as Mother. A Feminine Theology in India (Hartford, Vt.: Claude Stark, 1974). An older version of this Purana may be as early as the eighth century, see A. J. Rawal, “Some Problems Regarding the Brahmavaivartapurāna," Purana, 14, no. 2 (1972), 107-24 Padma Purana, edited with Hindi paraphrase by S S Sarma (Bareli. Samskrtisamsthāna, 1968); Patàla-khanda (IV), 52, Sriradha-janmaştami-mahatmya This section is noted several times in the attempts of the Gosvamins to fix Radha's place in established textual traditions, but the section itself seems to me to be a crude interpolation aimed at clevating Rådha's position in a more orthodox Vishnu cult Rädha's lowly birth as a cowherdess is rationalized by explaining that she is called .. Patala-khanda; sec A. K. Majumdar, "Note on the Rādha Cult," PP 245-46. For discussions of Puranic chronology, see A. D. Pusalker, Studies in the Epics and Puranas (Bombay: Bharatiya Vidya Bhavan, 1963), pp. 205-30; R C. Hazra, "Studies in the Puranic Records on Hindu Rites and Customs," University of Discos Bulletin, no. 20 (Dacca, 1940); M. Wintermitz, Geschichte der indischen Litterature (Leipzig: C F. Amelangs Verlag, 1909), vol 1, pp. 440-83 In The Purana Inder (Madras: University of Madras, 1951-55) under "Radha" V.R.R. Dikshitar lists additional references to Ridha in Brahmanda Purana (III.36 56; 42.21, 47-48; 43.21 and 29: 44-29) and Väyu Purana (105.52), but these could not be located in editions Introduction 58 ·available to me. The late date and derivative nature of treatments of Rådhå in Devidhügavala (translated by Swami Vijñananda in Sacred Books of the Hindus, vol. 23; Allahabad: Panini Office, 1922, Chapter IX, PP. 797–1008) and Mahabhăgavela (edited by M. I. Desai; Bombay: Gujarati Printing Press, 1913) has made me omit them from the list; sce A. K. Majumdar, "Note on the Radbá Cult," pp. 246-47; also, R. D. Hazra, "Tlic Mahābhagavata-purana," Indian Historical Quarterly, 28 (1952), 17-28. 15. Bhagavata Purana (Gita Press edition) X.30 28: anayårůdhito ninan bhagavan harir isvarah yan no riháya gorindah prito yam anayad rahah || Lord Hari, God, was certainly satisfied by her- For, leaving us, Govinda, the larcr, led her in secret. 16. Bhagarata Purūna, Murshidabad edition, with the commentaries of Sridhara. svāmin, Sanitana Gosvamin, Jiva Gosvamin, and Visvanatha Cakravarti (Ber. hampur: Rädhäraman Press, 1888, BS 1294) Later commentators identify the figure of the solitary gopi with hladini-sakti, the means by which Krishna gives bliss to his devarecs; see Dimock, Place of the Hidden Moon, pp. 134, 203-4 It is worth noting again that in the Bhagavata, the rasa dance is an autumnal rite where the emphasis is on Krishna's ability to love all the cowherdesses simultaneously, whereas Krishna's love with Rādha is an crotic duct enacted in springtime. Following the Bhagavata identification, other commentators claim reference to Rădha in similar passages in other texts, eg, Harivamsa, critical edition, edited by P. L Vaidya (Poona: Bhandarkar Oriental Research Institute, 1969), 6.33. hahet kurvatas tasya prahrstās tū varanganāh| jagrhur nihsrtām vänım sâmna damodareritām || The seventeenth-century Maharastrian commentator Nilakantha explains the verse as Krishna's call for Radha, see the edition of R Kinjawadekar (Poona: Catrasala Press, 1936), 11.2033. Also, Visnu Purana (Gorakhpur: Gita Press, 1962) V.13 33-46, commenting on Bhagavata X 32 8, Sanātana Gosvamın refers to this passage. 17. Charlotte Vaudeville, "Evolution of Love-Symbolısın in Bhagavatism," Journal of the American Oriental Society, 82 (1962), 31-40, see also Jean Filliozat, "Les Dates du Bhagavarapurána et du Bhagavatamáhātmya," in Indological Studies in Honor of W Norman Brown, American Oriental Series, vol. 47 (New Haven; American Oriental Society, 1962), pp 70-77, Thomas J Hopkins, The Social Teaching of the Bhagavata Perana," and JA B van Buitener, "On the Archaism of the Bhagavata Purana.” in Milton Singer, ed, Kashna Myths, Rites, and Attitudes (Honolulu. East-West Center, 1966), PP 3-40. 18. "The Harivamsa episode of Krishna's marriage to Nila is not known in the Northern Recension and is given by Vaidya as Appendix I, no 12 Local traditions contribute many variants to events and figures in the Krishna story; see Walter Ruben, Krishna. Konkordanz und Kommentar der Motive Seines Heldenlebens, Istanbuler Schriften, no 17 (Istanbul, 1944). 19 See J.SM Hooper, Hymns of the Alvārs (Calcutta. Association Press, 1929), pp. 55, 62, V.V.R. Dikshitar, Silappadıkāram (London: Oxford University Press, 1939), P. 229 20. Occurrences of the name Rādha in prose portions of Laluatistara (tena khals punar bhiksarah samayena sujātāyā grāmikaduhslurdāsi ràdh, nama kúlagatābhūt), Introduction 59 ·5 Radha: Consort of Krishna's Springtime Passion (cont.) edited by P. L. Vaidya (Darbhanga, 1958) and the vulgate of Pañcatantra (kır parar tu rådhå nāma me bhāryā gopakulaprasută prathamam asit să tvam atrāva. tirna) edited by K. P, Parab (Bombay. Nirnayasagara Press, 1950, p. 54) are dificult to date. 21. On dating, see A. B Keith, History of Sanskrit Literature (1920; reprint, London: Oxford University Press, 1956), PP, 223-24. For Satlasaī, see vulgate, en. titled Gathasaptašati, edited with the commentary of Gangadharabhatta by P. Durgāprasad and K. P. Parab, Kávyamālä, no. 21 (Bombay: Nirnayasāgara Press, 1933), 1.89; and critical text, Saptašatakam des Häla, edited with German translation by Albrecht Weber, Abhandlungen fur die Kunde des Morgenländes, 5, no. 3 (1870; reprint, Nendeln, Liechtenstein: Kraus Reprint, 1966), 1.86: muhamāruena tam kanha goraam rähräë avanento | etānan vallavinam annanam vi goraam harasa || 1.89 (Weber 186) 11 The Sanskrit version would be: mukhamarutena tvam krsna gorajo rādhikāya apanayan | eråsām ballavinām anyāsām api gauravam harası II In another verse (2 28; Weber, 131) an unnamed gopi is singled out and associated with singing and spring, the alliterative pattern of the verse also makes it relevant to Gitagovinda. mahu māsamārnāhaamahyarajhamkaranibbhore rannel gaar virahakkharavaddhapahiamanamohanam govi || "In woods full of humming bees attacked by winds of the honeyed nonth of spring, a gopi sings a seductive chant to bind a traveler's heart with words of her neglected love" 22 Dated according to the dating of Vakpati's patron, Yasovarma of Kanau), by Kalhana in the Rajatarangini Gandavaho A Historical Poem in Präkrt, edited by S. P. Pandit, Bombay Sanskrit Series, no 34 (Bombay. Central Book Depot, 1887), V. 22: naharehā rāhā-kārani on karunan harantu vo sarasa | vaccha-ıthalanm kotthuha-kiranżanti om kanhassa il Pandit's Sanskrit version reads nakharekha rudhakaraná (rādhasă gopya nirnutih karajaprahārāh) karunānimittam (samsāraduhkham) harantu (nāśayantu) sarasa Sündra) ruksuistule Kunstar sakrranus anrandi krsnarya. 23. Bharta Närāyana is dated to the first half of the seventh century by D. D. Kosambi in his introduction to Subhāşılarainakosa, edited by Kosambi and V. V. Gokhale, Harvard Oriental Series, no. 42 (Cambridge, Mass: Harvard Unncrsity Press, 1957), P 1xxx111, but the only basis for dating is the citations to his work by Vimana and Anandavardhana, which places him before the ninth centuryi see A. B Keith, The Sanskrit Drama (1934, reprint London - Oxford University Press, 1959), p. 212. Venisamharc of Bharta Narayana, edited by Julius Grill (Leipzig: Fues's Verlag, 1871), nandi 2: 1 Introduction 60 ·gucchantim anugacchato 'stukaluşam kanisadvise rady kálindzah pulinese kelikapitām at siya ruse rasani Latpidapratimánireistapudasyodbhiaromodgater aksunno'nunayah prasannadaytidrstasya rušnátu rah || This mandi, like the two others accompanying it in most editions, could have been added to the text at any time, but the subject of Rādha's sulking and Krishna's pacifying her is sufficiently relevant to the theme of Draupadi's insults and Bhima's soothing her with revenge to be part of the original play. It is noteworthy two that after the three nandi verses, the stirradhara goes on to praise Vishnu and to inform the audience that Krishna has undertaken to act as mediator between the Kauravas and Pandavas. 24. Dhvanyaloka of Anandavardhana, edited, with the commentary of Abhinavs. gupla, by P. Durgáprasid and K. P. Parab, Kävyamali, no 25 (Bombay: Nir. Nayasagara Press, 1891), 26, 341, critical text and translation by K. Krishnamoorthy (Dharwar: Karnatak University, 1974), 25, 340. teşum gopavadhuvilasastihdam rådhorahahsāksinan ksemanis bhadra kalindasailatanayūtìre lutüvesmanām | vicchinne smaratalpakalpanamrducchedopayoge 'dhına se jane garathibhavant vigalannilatvisah pallavah || 26 || This verse is attributed to the poetess Vidya in the Subhasitaratnakosa (808). The y cited here are by Daniel H H larvard Oriental Series, vol. 44 duräradha radhé subhaga yad anenapi mi patas tavaitat pranešajaghanavasanenáśru panlam | kathoram stricctas tad alan upacarair viranta he kriyal kalyanamı so harir anunayeso eram udah 11 343 }} It seems significant that Anandavardhana is the earliest writer to illustrate his the ories with examples from existing Sanskrit and Prakrit literature rather than composing his own Abhinavagupta, in commenting on these two verses, attributes the first to Krishna after he has left Mathura for Dváraka; he says the second is Rādha's words to Krishna 25. Dhvanyalokalocana of Abhinavagupta, commentary on the two Dhvanyaloka verses quoted in noic 24, another reference to Rādhả quoted in the Locana on 14 (Kavyamala ed, p 25) yate dväravalis tada madhuripan laddattakampānatam in? 11 V. Raghavan notes that in his Abhinavabharati, Abhinavagupta quotes from a wurk, now lost, entitled Rödkávpralambha, Bhoja categorizes ihe work as a rässkänka. See V. Raghavan, Bhoza's Songāra Prakasa (Madras Punarvasu, 1963), P 567; idem, "Writers Quoted in the Abhinavabhārati," Journal of Oriental Re search, Madras, 6 (1932) $ce also the Vakrokujirits of Kuntaka, dated mud tenth to eleventh century (edited by S, K. Dc, 3d ed; Calcutta: K. L. Mukhopadhyay, 1961), chapters 1-3. Introduction 61 ·5 Rādha: Consort of Krishna's Springtime Passion (cont.) The verse tesām gopavadhuo, quoted from Dhvanyaloka (2.6), is cited illustratively in the svopajñavrtti on 3.3-4; the verse yate dvaravatim, quoted from the Locang, is cited in the svopajñavrtti on 259, with the variants (a) addattasaņpadanām (b) kālindijalakelivanjulalatām ålambye. 26. Kavyamināmsa of Rajasekhara, edited by C. D. Dalal and R. A. Shastry, Gaekwad's Oriental Series, no. 1 (Baroda: Central Library, 1916), p. 71. Two verses comparing the breaths of Sıva and Hari are quoted in adhyāya 13 following the Comment atha culyadehitulyasya bhıdāk. ... tasyava vastuno visayantarayojanid anyarūpāpattir visayapanvarlah. ye simantitagătrabhasmarajaso ye kumbhakadveșino ye lidhah śrovanāšrayena phaninā ye candrasasiyadruhah! te kupyad girjāvibhaktavapusas cittavyathāsāksinah sthanor daksinanāsikāputabkuvah sväsānılāh pânzu z'ah || ye kirnakvathirodarābjamadhavo ye mlapitorahsrajo ye täpät taralena talpaphanınā pilapratāpojghitak | te rädhäsmrtisäksinah kamalaya sasüyam ákarnità gādhāntardavathoh prataprasaralāh svàsā kareh pāntu vah || Sec Subhastaratnakosa 136, with variants. 27 Damayantikatha is the oldest extant campu-kávya; Keith, History of Sanskrit Literaturc, PP. 332-33 Damayantikatha (also called Nalacampū) of Trivikrama Bhatta, edited by N B. Parvanikar, P. Durgāprasad, and P. Sivadatta, with the commentary of Candapala (Bombay: Nirnayasagara Press, 1931), p. 108 (chapter 4). kevalam anavaratasıksıtavatdagdhyakalaparadhatmıkätrapāparāparihtlya gunino gurün parapuruse māyāyını krtakesvadhe dhrtamandarāge ragam badhnati The sense of this passage is based on a series of puns. "She being not very much taught [or, "not newly taught in sexual pleasures"] in the arts of cunning [or, "passion") and committing a fault of giving up modesty (aparidha-åtmika, rädha. aimikā means "as Radha did"), ignoring the virtuous clders, set her passion on the highest man (or, "a stranger, other than her husband"), Krishna (masacin also means "erickster"], slayer of demon Kesi (kria-kes-vadhe; kriake 'svadhe means "who is artificial, who confers evil"), upholder of Mt. Mandara (or, "whose passion was inactive"]." For the Yeśastilakacampükāvya the dating is firm; at the end of the text itself Somadeva says that he composed the work in såka 881 (AD. 959); verse from Yašasulakacampaikävya of Somadeva, edited, with the commentary of Srutadeva Sürı, by M P. Sıvadatta and K. P. Parab, Kavyamålā, no 70 (Bombay. Nirnayasa. gara Press, 1903). P 142. The example of Radha is cited in chapter 4, while the king is narrating the love of Amrtamati: tatha hi-puräpi kim na reme ganga saha maheśvarena, rädha mürayanena, brhaspatrpani dvijаrajena, tārā ca válına | Sec K. K. Handıqui, Yasastılaka and Indian Culture (Sholapur: Jaina Samskrut Samrakshaka Sangha, 1949), pp. 1-21. 28 Three copper-plate inscriptions of Vikpatı-Muñja, dated v.s 1031 (A.D. 974), U.S. 1039 (A.D 982), V.S. 1043 (A.D 986); vs. 103r plate: N. J. Kirtane, "On Three Malwa Inscriptions," Indian Antiquary, 6 (1877), 48-53; V.S 1038, 1043 plates: K. N. Introduction 62 ·Dikshit, "Three Copper-Plate Inscriptions from Gaonsi," Epígraphica Indica, 23, no. 17, (1935), 108, 109, 112. yal laksmivadanendiena na sukhitam yan nårdritari väridher våra yan na nijena nähhisurasipadmena jantın gatam yac chesāhiphanásahasramadkuraivàsair na caíväsitam tad rådhār'irahaturan muraripor velladrapuh pârse rah || On the relation beiween Vakpatı-Munja and Bhoja, ace Kirtanc, pp. 49-50. Dikshit notes, "The most important information contained in these plates is regarding the migration of Brahmanas from various parts of the country to Málvā where they were recipients of donations at the hands of the Paramara prince. In several instances the donces seem to have migrated all the way from Bengal. ..." (p. 103). 29. Sarasvatikanthäbharana of Bhoja, edited, with the commentary of Ramasimba on l-111 and of Jagaddhara on JV, by K. Durgaprasád and W. L. S. Pansıkar, Kävyamali, no. 94 (Bombay: Nirnayasagara Press, 1934). rätävadyadhirajya visar aturasavidvyàjaväkksmåpakārā rākā paksmäbhasesä nayanananayanasvá(sü) khayā slavyamara | râma vyastasthiraiva tadinananahitah srik karaksāradhara rådhā raksastu mahyam sivamamamavayèlavidyavalåră || 2 294 il kuialanı rädhe sukhito 'si kamsa kamsah kua nu să râdha | it püriprativacanair vilaksahaso hani jayatt || 2.351 || kanakakalasasvacche ràdhāpayodharamandale navajaladhara yamām atmadyutım pratybımbatam | antasicayaprintabhrăniya muhur muhur utksipan jayati janılavridahăsch priyahasto harsh (1 3 110 11 This verse is cited again as 5 17, same as Subhásıtaratnakosa, 147 (Kosambi and Gokhale ed., p. 29); Hemacandra's Kavyanušāsana 2 110, with varjants (Parikh and Kulkarni cd, cited in note 31, p 115). gchad yātà saritam udakam hänkā nāghise monksyāmitt rayası yamunátiravirudgrhana gosamdayi víası mpināny eva govardhanädrer na tvam rädhe drsa mapattia devakinandanasya 11 4 177 | tiläio miasane rakkhuu tam rāhia thanavarthe | harino pad hamasamagamasaphasavasarchım veviro hattho 11 5235 || The Sanskrit version reads. Tilaytlo nivasane raksatu tvář rådhıkayah stanaprsthe hareh prathamasamagam asadhvasaprasarair veparašilo hastah 11 pratyapro.hrtagokulasya sayanad utsvapnamudhasya me sā gotraskhalanād apatu ca duvi rādheu bhitor ita rålrāv asvapato divä сa vijane laksmit cabhyasyato rädhām prasmaratak sriyam ramayatak khedo hereh pātu vah || 5 448 |! helodastamanidharasya tanulām alokya dosno harer hastenāri satate 'vatambya caranáv áropya tatpadayok šaloddhärasahāyatām nigamisor asprstagovardhana rādhāyah suaram jayanti gagane vandhyåh karabhränlayah || 5.493 || 30. Dašavatăracarita by Ksemendra, edited by P. Durgaprasād and K. P. Parab, Kavyamálā, no. 26 (Bombay. Nirnayasāgara Press, 1891), VIII 83, 170, 171, 176, Be. Introduction 63 ·s Rādha: Consort of Krishna's Springtime Passion (cont.) causc thc context seems important, the entire passage VIII.169-76 is quoted fol. lowing VII 83. It is this passage which Sukumar Sen considers to be the procotype of the Gitagorynda, sec History of Bengali Literature (Delhi: Sähitya Akademi, 1960), pp. 15-16. prityai bubhara krsnasya syūmunicayacumbnah | futi madhukuraszer'a rüdheridhikarullabha || 83 || latah prabháte sarnaddhari ratham úruhya sinugah mathuram yayur akrirasani kursanajanārdanah || 169 ! katham rådham anămantryāgalo 'ham iti madharah 1 Aralin mlinatûm antam prajan bheje vinihivasan || 170 gucchan gokulagidhakuñjagahaniny alokayan kesavah sorkantham evlilinano l'anabhura sakhyeva ruddhäñcalah | rüdhaya na na neti nitiharane vaiklavyalaksyäksarah sasmāra smarasadhvasüdbhuracano ravoktiſ?]nktù girah II 19111 govindasya gatasya kansanagarim e'yāpia viyogågninā snigdhaśyāmalakülalīnahanıni godavarigahvarc (?1 / romanthasthitagoganaih parcayad skarnam akarnitam guplam gokulapallave gunagonam gopyah saràgå jaguh 11 172 || - lalıtarıläsakalustokhakhelanalalanàlobhanaíobhanayauvanamānicanavamadane) alskulakokulakuvalayakajalakälakalındasutāvivalajjalakältyakuladamane kesikisoranahāsuramaranadârunagokuladurtaridar anagovardhanadharane kasya na nayanayugam ratusane majjati manastjataralatarange vararamaniramane || 173 || udgiyamáne guasāgarasya gune gune răgarasena saureh| gopānganā gadharasanurāgā mushur muhur mohahata babhivuh || 174 1! govinde gurusamnidhar paravašaveśüd anaktvå gate suprānām bakulasya fitalatale s'atram kurangidršām | svapnālınganasamgale 'ngalatikáviksepalaksyä, muhur mugdha varicaka muſica munca kıtavely accetur uccair girah || 175 || rādha madhavaviprayogargalajjīvopamānair muhur bisparh pinapayod harāgragalitarh phulatkadambakula | acchinnaivasanena vegagatıná vyäkiryamanath purah sarvāšāpraubaddhamohamalınā prāvrnnavevabhavat || 176 || 31. Subhasıtaratnakosa compiled by Vidyakara (cited in note 23) Verses 131; 136 = Kavyamımām sa verse quoted above, with variants in the first and second padas. (a) ye samtāpılanābhīpadmamadhavo ye snäpitorahsrajo (b) pritapratīpophatah); 139, 147 = Sarasvatikanthābharana 3,11 quoted above, with variant in the fourth pada (d) janstavridanamrapriya hasito), 808 = Dhvanyaloka 26 quoted above, with variants in the second and third padas (b) kalındarāzaº, (c) smaratal pakalpanavidhº 980 Translations are by Ingalls, quoted from Sanskrit Court Poetry ete laksmana janakivirahinam mam khedayanty ambudā marmāniva ca ghattayanty alam ami krürāh kadambānilahuttham vyährtapūrvajanavıraho yo rådhayā viksıtah sersyam sankıtayā sa vah sukhayatu svapnāyamāno harsh || 131 || agre gacchata dhenudugdokalaśānādāyagopye grham dugdhe vaskayanikule punar iyam râdha sanair jāsyatt ity anyavyapadesaguptahrdayah kurvan viviktam vrajan devah kırananandasunur asuvam krsnah sa musnātu vah || 139 || Introduction 64 ·ralkyäkärpafikaih pataccaraiatasyatorukanthabalaprałyādistahimagamirtirisadaprasnigdhakanthodaraih siyante nagareșt någarajanapratyusanidrănudo rådhamadhavayoh paraspararahakprostávanägitayah 11 980] Verse 980 is attributed to the Bengali poet Dimboka, who, like Jayadeva, is quoted in Saduktikarnámrta; sec D.H.H. Ingalls, "A Sanskrit Poetry of Village and Field: Yogeśvara and His Fellow Poets," journal of the American Oriental Society, 74 (1954), 119-31. 32. Dated fourth quarter of the cleventh century, according to the dates of Vikramaditya VI, the Chalukya king whom Bilhana served as vidyāpati and in włrose honor Vikramánkadevecarita was composed Vikramānkadevacanta of Bilhana, edited by Georg Bühler, Bombay Sanskrit Scrics, no. 14 (Bombay: Central Book Depot, 1875), 1.5, XV111.87. sandran mudun yacchatu nandako vah solläsalaksmipratibimbagarbhah) kuriann ajasram yamunāpraváhasalilarådhāsmaranam murāreh || 1.5 || dolaloladghanajaghanaya radhaya yatra bhagnah krsnakridănganavițapıno nādhunāpy ucсhvasant | jal pakridamathitamathurāsüncakrena kecil tasmin vrndāvanapari sare vasara yena nitäh || XVIII 87 || Sec Barbara Stoler Miller, Phantasies of a Love-Thief The Cauraparcărika Altributed to Bilhana (New York: Columbia University Press, 1971), pp. 188-91, which outline Bilhana's travels. 33. IA P L. Vaidya, Prakrit Grammar of Hemacandra, Revised Edizon, Bombay Sanskrit and Prakrit Series, no 60 (Poona, Bhandarkar Oriental Research Institute, 1958), Appendix, pp. 190-91, 271-72; illustrative verses from Hemacandra are included in section describing characteristics of Apabhramśa: adhyāya 8, 4420.2, 4 225. harr naccāvu panganai urmhar pădiu lou emvahim räha-padharaham jam bhāra tam hou || 4 420 2||| The Sanskrit version reads. harsh naratak prāngane usmaye pátitah lokah Jidānim radhāpayodharayoh yat (prati) bháti tad bhavatu || ekamekvaum jar ut goedi hari sutthu savváyarena to vi drchi jahim kahtm vi nihil ko sakkar samvarem v daddha-nayanā nehım paluta || 4 422.5|| The Sanskrit version reads. ckaikam yadyapı paiyatı hanh suştu sarvadarena tathāpı drsih yatra kvāpı radhal kah šaknon samvaritum nayane siehena paryaste )). In another work attributed to Hemacandra, the Kavyānusasana (edited, with Alam küracudămanı and Viveka, by R C Parikh and V. M Kulkarni; Bombay: Sri Mahävira Jaina Vidyalaya, 1964), 2.8 (example 107) is the verse teşām gopavadhe ...quoted from the Dhvanyaloka, 26, occurring also in Vakroktijiusta, 256 and Subhāsiturainokosa, 808, 2.1 (example 110) is the verse kanakakalošaº quoted frorn Sarasvatikanthäbharana, 3 110, 229 (example 131) is the verse ete laksmana ... quoted from Subhasitarat nakosa, 131. 34. Naisadhiyacarita of Sriharşa, edited, with the commentary of Nārāyana, by P. Sivadatta and WLS Pansikar (9th ed, Bombay. Nirnayasāgara Press, 1992), 27.83. Introduction 65 ·5 Radha: Consort of Krishna's Springtime Passion (cont.) prinavatpranayirådha na radhaputrašalrusokhiti sadrši se 1 sripriyasya sadrg eva tava srivatsam atmahrdi dhartum ajasram || 35. Dated according to dating of Govardhana's patron Lakşmanasena of Bengal (ca. A.D. 1185-1905); in Gilagovinda 1.4, Jayadeva praises him for his erotic com. positions. Aryasaptaiati of Govardhana, edited, with the commentary of Anantapandita, by P. Durgaprasad and K, P. Parab, Kavyamálä, no. : (Bombay: Nir. nayasagara Press, 1886). madhumathanamaulimale sakhi fulayasi tulasi kım mudha rådham yat tara padam adasiyam surabhayitum saurabhodbhedah || 431 || rājyābhisekasallaksättamaulch kathāsu krsmasya garvabharamantharāksi paśyari padapankajam radha | . 1. 36. Jayadeva certainy knew Kalidasa's Kumürasambhava, and his conception of the significance of Radha's suffering may have been influenced by the image of Parvati's austerities preceding her union with Siva. 37 Candi is also an epithet of Devi, the great goddess, with whom comparison is implied in the use of the term. 38 See Bharata's Nătyaśāstra, edited and translated by M. Ghosh (Calcutta: Gran. thalaya, 1967), XXIV.210-24; see also Dimock, Place of the Hidden Moon, pp. 215- 20. Each state is defined in quotations from the Natyasastra in the glossary to the Sanskrit text in the clothbound edition. The eighth of the classical states, that of a prostiabhartrka, one whose lover is away in a distant place, is inappropriate to the context of the Gitagovinda and is not ascribed to Rådha. 39 A detailed discussion of the significance of external manifestations of emotion in Indian esthetic theo is found in the introduction to my Phantasies of a Love-Thief, pp. 10-11. 40 Vañcitā is a variant designation for the state more usually called vepralobdha 41. Although Jayadeva does not use the term abhısānikā, he clearly refers to it in his use of the defining characteristic of this state, which is abandoned modesty. 42. See mock, Place oj'tre Hlađen Moon, PP 33-35. Introduction 66 ·Gitagovinda Translation ·THE FIRST PART Joyful Krishna "Clouds thicken the sky, Tamala trecs darken the forest. The night frightens him. Radhā, you take him home!" They leave at Nanda's order, Passing trees in thickets on the way, Until secret passions of Rādha and Madhava Triumph on the Jumna riverbank. Jayadeva, wandering king of bards Who sing at Padmavati's lotus fect, Was obsessed in his heart By rhythms of the goddess of speech, And he made this lyrıcal poem From tales of the passionate play When Krishna loved Sri. 2 Umāpaudhara is prodigal with speech, Sarana is renowned for his subtle flowing sounds, But only Jayadeva divines the pure design of words, Dhayi is famed as king of poets for his musical car, But no one rivals master Govardhana For poems of erouc mood and sacred truth. 3 If remembering Hari enriches your heart, l If his arts of seduction arouse you, Listen to Jayadeva's speech In these sweet soft lyrical songs. 4 i Joyful Krishna 69 ·of The First Song, sing with Räga "Málava" e gomma In seas that rage as the acon of chaos collapses, You keep the holy Veda like a ship straight on course. You take form as the Fish, Krishna. Triumph, Hari, Lord of the World! 5 Where the world rests on your vast back, Thick scars show the weight of bearing carth. You take form as the Tortoise, Krishna. Triumph, Hari, Lord of the World! 6 The carth clings to the tip of your tusk Like a speck of dust caught on the crescent moon. You take form as the Boar, Krishna. Triumph, Hari, Lord of the World! 7 Nails on your soft lotus hand are wondrous claws Tearing the gold-robed body of black bee Hiraṇyakasipu. You take form as the Man-lion, Krishna. Triumph, Hari, Lord of the World! 8 Wondrous dwarf, when you cheat demon Balı with wide steps, Water falls from your lotus toenails to purify creatures. You take form as the Dwarf, Krishna. Triumph, Hari, Lord of the World! 9 You wash evil from the world in a flood of warriors' blood, And the pain of existence is eased. You take form as the axman Priest, Krishna. Triumph, Hari, Lord of the World! 10 Incited by gods who guard the directions in battle, You hurl Rāvana's ten demon heads to the skies. You take form as the prince Rāma, Krishna. Triumph, Hari, Lord of the World! 11 1 Joyful Krishna 70 ·The robe on your bright body is colored with rain clouds, And Jumpa walers roiling in fear of your plow's attack, You take form as the plowman Balasāma, Krishna. Triumph, Hari, Lord of the Worldt 12 Moved by deep compassion, you condemn the Vedic way That ordains animal slaughter in rites of sacrifice. You take form as the enlightened Buddha, Krishna. Triumph, Hari, Lord of the World! 13 You raise your sword like a fiery mctcor Slashing barbarian hordes to death. You take form as the avenger Kalkı, Krishna. Triumph, Hari, Lord of the World! 14 Listen to the perfect invocation of poet Jayadeva, Joyously evoking the essence of existence! You take the tenfold cosmic form, Krishna. Triumph, Hari, Lord of the World! 15 For upholding the Vedas, For supporting the earth, For raising the world, For tearing the demon asunder, For cheating Bali, For destroying the warrior class, For conquering Ravana, For welding the plow, For spreading compassion, For routing the barbarians, Homage to you, Krishna, In your ten incarnate forms! 16 • Joyful Krishna 71 ·The Second Song, sung with Raga "Gurjari" eston You rest on the circle of Sri's brcast, Wearing your carrings, Fondling wanton forest garlands. Triumph, God of Triumph, Hari! 17 The sun's jewel light cncircles you As you break through thc bond of existence A wild Himalayan goose on lakes in minds of holy men. Triumph, God of Triumph, Hari! 18 You defcat the venomous serpent Kaliya, Exciting your Yadu kinsmen Like sunlight inciting lotuses to bloom. Triumph, God of Triumph, Harı! 19 You ride your fierce eagle Garuda To battle demons Madhu and Mura and Naraka, Leaving the other gods free to play. Triumph, God of Triumph, Hari! 20 Watching with long omniscient lotus-petal eyes, You free us from bonds of existence, Preserving life in the world's three realms. Triumph, God of Triumph, Harı! 21 Janaka's daugliter Sītā adorns you. You conquer demon Düşana. You kill ten-headed Rāvana in battle Triumph, God of Triumph, Hanı! 22 Your beauty is fresh as rain clouds You hold the mountain to churn elıxır from the sea. Your eyes are night birds drinking from Śrī's moon face. Triumph, God of Triumph, Hari! 23 1 Joyful Krishna 72

·Poet Jayadeva joyously sings
This
song
of invocation
In an auspicious prayer.
Triumph, God of Triumph, Hari!
24
As he rests in Sri's embrace,
On the soft slope of her breast,
The saffroned chest of Madhu's killer
Is stained with red marks of passion
And sweat from farigue of tumultuous loving.
May his broad chest bring you pleasure tool
25
I Joyful Krishna 73

·When spring came, tender-limbed Ridhā wandered Like a flowering creeper in the forest wilderness, Secking Krishna in his many haunts. The god of love increased her ordeal, Tormenting her with fevered thoughts, And her friend sang to heighten the mood. 26 - The Third Song, sung with Räga "Vasanta" ilmu 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. 27 Lonely wives of travelers whine in love's mad fantasies. Bees swarm over flowers clustered to fill mimosa branches. When spring's mood is rich, Hari roams here To dance with young women, friend- A cruel time for deserted lovers. 28 Tamāla trees' fresh leaves absorb strong scents of deer musk. Flame-tree petals, shining nails of Love, tear at young hearts. When spring's mood is rich, Hari roams here To dance with young women, friend- A cruel time for deserted lovers. 29 Gleaming saffron flower pisals are golden scepters of Love. Trumpet flowers like wanton bees are arrows in Love's quiver. When spring's mood is rich, Hari roams here To dance with young women, friend- A cruel time for deserted lovers. 30 - 1 Joyful Krishna 74 ·Tender buds bloom into laughter as creatures abandon modesty. Cactus spikes pierce the sky to wound deserted lovers. When spring's mood is rich, Hari roams here To dance with young women, friend~ A cruel time for deserted lovers. 31 Scents of twining creepers mingle with perfumes of fresh garlands. Intimate bonds with young things bewilder even hermit hearts. When spring's mood is rich, Hari roams here To dance with young women, friend A cruel time for deserted loyers. 32 ing Budding mango trees tremble from the embrace of rising vines. Brindaban forest is washed by meandering Jumna river waters. When spring's mood is rich, Hari roams here To dance with young women, friend A cruel time for deserted lovers. 33 Jayadeva's song evokes the potent memory of Hari's feet, Coloring the forest in springtime mood heightened by Love's presence. When spring's mood is rich, Harı roams here To dance with young women, friend- A cruel time for deserted lovers. 34 Wind perfumes the forests with fine pollen Shaken loose from newly blossomed jasmine As it blows Love's cactus-fragrant breath To torture every heart it touches here. 35 Crying sounds of cuckvos, 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. 36 1 Joyful Krishna 75 ·Pointing to Mura's defeater nearby Delighting in his seductive game Of reveling in many women's cmbraces, Her friend sang to make Rādhū look back. 37 - The Fourth Song, sung with Räga "Rāmakari" y con 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. 38 One cowherdess with heavy breasts embraces Hari lovingly And celebrates him in a melody of love. Hari revels here as the crowd of charming girls Revels in seducing him to play. 39 + Another simple girl, lured by his wanton quivering look, Meditates intently on the lotus face of Madhu's killer. Hari revels here as the crowd of charming girls Revels in seducing him to play. 40 A girl with curving hips, bending to whisper in his ear, Cherishes her kiss on her lover's tingling cheek. Hari revels here as the crowd of charming girls Revels in seducing him to play. 41 Eager for the art of his love on the Jumna riverbank, a girl Pulls his silk cloth toward a thicket of reeds with her hand. Hari revels here as the crowd of charming girls Revels in seducing him to play. 42 Hari praises a girl drunk from dancing in the rite of love, With beating palms and ringing bangles echoing his flute's low tone. Hari revels here as the crowd of charming girls Revels in seducing him to play. 43 i Joyful Krishna 76 ·He hugs onc, he kisses another, he caresses another dark beauty. He stares at one's suggestive smilcs, hc mimics a'willful girl. Hari reyels here as the crowd of charming girls Revels in scducing him to play. 44 The wondrous mystcry of Krishna's sexual play in Brindaban forest Is Jayadeva's song. Let its celebration spread Krishna's favors! Hari revcls licrc as the crowd of charming girls Revels in seducing him to play. 45 When he quickens all things To create bliss in the world, His soft black sinucus lotus limbs Begin the festival of love And beautiful cowherd girls wildly Wind him in their bodies. Friend, in spring young Hari plays Like erotic mood incarnate. 96 Winds from sandalwood mountains Blow now toward Himalayan peaks, Longing to plunge in the snows After weeks of writhing In the hot bellics of ground snakes. Melodious voices of cuckoos Raise their joyful sound When they spy the buds tips of smooth mango branches, 7 "Joyful Krishna" is the first part in Gitagovinda Joyful Krishna 77

·THE SECOND PART
San
Careless Krishna
Whilc Hari roamed in the forest
Making love to all the women,
Rādha's hold on him loosened,
And envy drove her away.
But anywhere she cried to retreat
In her thicket of wild vines,
Sounds of bees buzzing circles overhead
Depressed her
She told her friend the secret.
1
mof The Fifth Song, sung with Räga "Gurjari" kitom
Sweet notes from his alluring flute ccho nectar from his lips.
His restless eyes glance, his hcad sways, carrings play at his cheeks.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me.
2
A circle of peacock plumes caressed by moonlight crowns his hair.
A rainbow colors the fine cloth on his cloud-dark body.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me
3
Kissing mouths of round-hipped cowherd girls whets his lust.
Brilliant smiles flash from the ruby-red buds of his sweet lips.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me,
4
Careless Krishna 78

·Vines of his grcat throbbing arms circle a thousand cowherdesses.
Jevvel rays from his hands and feet and chest break the dark night.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking mc.
5
His sandalpaste browmark outshines the moon in a mass of clouds.
His cruel heart is a hard door bruising circles of swelling breasts.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me.
6
jeweled earrings in sea-serpent form adorn bis sublime cheeks.
His trailing yellow cloth is a retinue of sages, gods, and spirits.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me.
7
Meeting me under a flowering tree, he calms my fear of dark time,
Delighting me deeply by quickly glancing looks at my heart.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me,
8
Jayadeva's song
evokes an image of Madhu's beautıful foe
Fit for worthy men who keep the memory of Hari's feet.
My heart recalls Hari here in his love dance,
Playing seductively, laughing, mocking me.
9
11 Careless Krishna 79

·My heart values his yulgar ways, Refuses to admit my rage, Feels strangely clated, And keeps denying his guilt. When he stcals away without me To indulge his craving For more young women, My perverse heart Only wants Krishna back. What can I do? 10 - The Sixth Song, sung with Räga "Mālava" }dom I reach the lonely forest hut where he secretly lies at night. My trembling eyes scarch for him as he laughs in a mood of passion. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his ficklc love to change. II I shy from him when we meet; he coaxes me with flattering words. I smile at him tenderly as he loosens the silken cloth on my hips. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. I2 I fall on the bed of tender ferns; he lies on my breasts forever. I embrace him, kiss him; he clings to me drinking my lips. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. 13 My eyes close languidly as I feel the flesh quver op his cheek. My body is moist with sweat; he is shaking from the wine of lust. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. I murmur like a cuckoo; he masters love's secret rite. My hair is a tangle of wilted flowers; my breasts bear his nailmarks. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. 15 II Careless Krishna 80 ·Jeuvel anklets sing at my feet as he reaches the height of passion. My belt falls noisily; he draws back my hair to kiss me. Friend, bring Keśi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. 16 I savor passion's joyful time; his lotus eyes are barely open. My body falls like a limp vinc; Madhu's foc delights in my love. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. 17 Jayadeva sings about Rādhā's fantasy of making love with Madhu's killer. Let the story of a lonely cowherdess spread joy in his graceful play. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad waiting for his fickle love to change. 18 The enchanting Aute in his hand Lies fallen under coy glances; Sweat of love wets his cheeks; His bewildered face is smiling- Wlien Krishoa sces me watching him Playing in the forest In a crowd of village beauties, I feel the joy of desire. 19 Wind from a fakeside garden Coaxing buds on new aśoka branches Into clusters of starlet flowers Is only fanning the flames to burn mc. This mountain Of new mango blossoms Humming with roving bumblebees Is no comfort to me now, friend. 20 "Careless Krishna” is the second part in Gitagounda 11 Careless Krishna, 81

·THE THIRD PART
Bewildered Krishna
Krishna, demon Kamsa's foe,
Feeling Rādhā bind his heart with chains
Of memories buried in other wordly lives,
Abandoned the beautiful cowherd girls.
I
As he searched for Rādhikā in vain,
Arrows of love pierced his weary mind
And Mādhava repented as he suffered
In a thicket on the Jumna riverbank.
2
-The Seventh Song, sing with Räga "Gurjari" }
She saw me surrounded in the crowd of women,
And went away.
I was too ashamed,
Too afraid to stop her.
Damn me! My wanton ways
Made her leave in anger.
3
What will she do, what will she say to me
For deserting her this long?
I have little use for wealth or people
Or my life or my home.
Damn mel My wanton ways
Made her leave in anger.
III Bewildered Krishna 82

·I brood on her brow curving Over her anger-shadowed face, Like a red lotus Shadowed by a bee hovering above. Damn mel My wanton ways Made her leave in anger. 5 my heart's slecpless state I wildly enjoy her loving me. Why do I follow her now in the woods? Why do I cry in vain? Damn me! My wanton ways Made her leave in anger, 6 Frail Rādhā, I know jealousy Wastes your heart. But I can't beg your forgiveness When I don't know where you are. Damn me! My wanton ways Made her leave in anger. 7 You haunt me, Appearing, disappearing again. Why do you deny me Winding em! you once gave me Damn me! My wanton ways Made her leave in anger. 8 Forgive me now! I won't do this to you again! Give me a vision, beautiful Radhā! I burn with passion of love, Damn me! My wanton ways Made her leave in anger. 9 111 Bewildered Krishna 83 ·Hari's state is painted With deep emotion by Jayadeva- The poct from Kindubilva village, The moon rising out of the sea. Damn mel My wanton ways Made her Icavc in anger. 10 Lotus stalks garland my heart, Not a necklace of snakes! Blue lily petals circle my neck, Not a streak of poison! Sandalwood powder, not ash, Is smeared on my lovelorn bodys Love-god, don't attack, mistaking me for Siva! you rush at me in rage? Why do 11 Don't lift your mango-blossom arrow! Don't aim your bowl Our games prove your triumph, Love. Striking weak victims is empty valor. Radha's doe eyes broke my heart With a volley of glances Impelled by love Nothing can arause me now! 22 Glancing arrows your brow's bow conceals May cause pain in my soft mortal core. Your heavy black sinuous braid May perversely whip me to death. Your luscious red berry lips, frail Rādha, May spread a strange delirium. But how do breasts in perfect circles Play havoc with my life? 13 III Bewildered Krishna 84

·Har joyful responses to my touch,
Trembling liquid movemeats of her eyes,
Fragrance from her lotus mouth,
A sweet ambiguous stream of words,
Nectar from her red berry lipsa
Even when the sensuous objects are gone,
My mind holds on to her in a trance.
How does the wound of her desertion decpen?
14
Her arched brow is his bow,
Her darting glances are arrows,
Her carlobe is the bowstring--
Why are the weapons guarded
In Love's living goddess of triumph?
The world is already vanquished.
15
"Bewildered Krishna" is the third part in Gitagovinda
III Bewildered Krishna 85

·THE FOURTH PART
Tender Krishna
In a clump of reeds on the Jumna riverbank
Where Mādhava waited helplessly,
Reeling under the burden of ardent love,
Radhika's friend spoke to him.
3
- The Eighth Song, sung with Raga "Karnata" hitam
She slanders sandalbalm and moonbeams-weariness confuses her.
She feels venom from nests of deadly snakes in sandal mountain winds.
Lying dejected by your desertion, fearing Love's arrows,
She clings to you in fantasy, Mādhava.
2
Trying to protect you from the endless fall of Love's arrows,
She shields her heart's soft mortal core with moist lotus petals.
Lying dejected by your desertion, fearing Love's arrows,
She clings to you in fantasy, Mādhava,
3
She covets a couch of Love's arrows to practice her seductive art
She makes her flower bed a penance to win joy in your embrace.
Lying dejected by your desertion, fearing Love's arrows,
She clings to you in fantasy, Madhava.
4
She raises her sublime lotus face, clouded and streaked with tears,
Like the moon dripping with nectar from cuts of the echipse's teeth.
Lying dejected by your desertion, fearing Love's arrows,
She clings to you in fantasy, Madhava.
5
IV Tender Krishna 86

·She secretly draws you with deer musk to resemble the god of love, Riding a sea monster, aiming mango-blossom arrows-she worships you. Lying dejected by your desertion, fcaring Love's arrows, She clings to you in fantasy, Madhava. 6 She cries out the words, "Midhava, I fall at your feet! When your face turns away, even moonlight scorches my body." Lying dejected by your desertion, fearing Love's arrows, She clings to you in fantasy, Mādhava. 7 She evokes you in deep meditation to reach your distant form. She laments, laughs, collapses, cries, trembles, utters her pain. Lying dejected by your desertion, fearing Love's arrows, She clings to you in fantasy, Madhava. 8 If your hcart hopes to dance to the haunting song of Jayadeva, Study what her friend said about Rādhā suffering Hari's desertion. Lying dejected by your desertion, fearing Love's arrows, She clings to you in fantasy, Mādhava, 9 IV Tender Krishna 87 ·Her house becomes a wild jungle, Her band of loving friends a snare. Sighs fan her burning pain To flames that rage like forest fire, Suffering your desertion, She takes form as a whining doe And turns Love into Death Disguised as a tiger hunting prey. liin IO - The Ninth Song, sung in Râga "Desākhya" y home An exquisite garland lying on her breasts Is a burden to the frail wasted girl. Krishna, Rādhikā suffers in your desertion. II Moist sandalbalm smoothed on her body Feels like dread poison to her. Krishna, Radhikā suffers in your desertion, I2 The strong wind of her own sighing Feels like the burning fire of love. Krishna, Rādhikā suffers in your desertion. '13 Her eyes shed tears everywhere Like dew from lotuses with broken stems. Krishna, Rādhikā suffers in your deseruion. 14 Her eyes see a couch of tender shoots, But she imagines a ritual bed of flames Krishna, Rādhikā suffers in your desertion 15 She presses her palm against her cheek, Wan as a crescent moon in the evening. Krishna, Rādhikā suffers in your desertion. 16 IV Tender Krishna 88 ·"Hari! Haril" she chants passionately, As if destined !o dic through harsh neglect. Krishna, Ridhiki suffers in your desertion. May singing Jayadeva's song Give pleasure to the worshipper at Krishna's feet! Krishna, Ridhikà suffers in your desertion. 17 18 She bristles with pain, sucks in breath, Cries, shudders, gasps, Broods deep, reels, stammers, Falls, raises herself, then ſaints. When fevers of passion rage so high, A frail girl may live by your charm, If you feel sympathy, Krishna, Play godly healer! Or Death may take her, Divine physician of her heart, The love-sick girl can only be healed With elixir from your body. Free Rādha from her torment, Krishna Or Than Indra's dread thunderbolt 29 you are crueler 20 While ber body lies sick From smoldering fever of love, Her heart suffers strange slow suffocation In mirages of sandalvalm, moonliglıt, lutus pools. When exhaustion forces her to meditate on you, On the cool body of her solitary lover, She feels secretly revived For a moment the feeble girl breathes life. She found your neglect in love unbearable beforc, Desparing of you clused your syes cycn for a moment. How will she live through this long desertion, Watching flowers on tips of mango branches? *Tender Krishna" is the fourth part in Gitagovinda 21 72 i Tender Krishna 19 ·THE FIFTH PART Lotus-eyed Krishna Longing for Love I'll stay here, you go to R3dhā! Appease her with my words and bring her to me!" Commanded by Madhu's foe, her friend Went to repear his words in Ridhaa I - The Tenth Song, sing with Râga "Deśavarādi” foto - Sandalwood mountain winds blow, Spreadıng passion. Flowers bloom in profusion, Tearing deserted lovers' hearts. Wildflower-garlanded Krishna Suffers in your desertion, friend. 2 Cool moon rays scorch him. Threatening death. Love's arrow falls And he laments his weakness. Wildflower-garlanded Krishna Suffers in your desertion, friend. 3 Bees swarm, buzzing sounds of love, Making him cover his ears. Your neglect affects his heart, Inflicting pain night after night. Wildflower-garlanded Krishna Suffers in your desertion, friend + v Loss-eyed Krishna Longing for Love 90

·t
He dwells in dense forest wilds,
Rejecting his luxurious house.
He tosses on his bed of earth,
Frantically calling your name.
Wildflower-garlanded Krishna
Suffers in your desertion, friend.
5
Poet Jayadeva sings
To describe Krishna's desolation.
When
your
heart feels his strong desire,
Hari will rise to favor
you.
Wildflower-garlanded Krishna
Suffers in your desertion, friend.
6
gr
v Lotus-eyed Krishna Longing for Love

·Madhava still waits for you In Love's most sacred thicket, Where you perfected love together. He meditates on you without sleeping, Muttering a series of magical prayers. He craves the rich elixir that flows From embracing your full breasts. - The Eleventh Song, sung with Räga "Gurjari" - He ventures in secret to savor your passion, dressed for love's delight. Radhā, don't let full hips idle! Follow the lord of your heart! In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 8. He plays your name to call you on his sweet reed flute. He cherishes breeze-blown pollen that touched your fragile body. In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 9 When a bird feather falls or a leaf stirs, he imagines your coming. He makes the bed of love; he cyes your pathway anxiously. In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 10 Leave your noisy anklets! They clang like traitors in love play. Go to the darkened thicket, friend! Hide in a cloak of night! In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. Your garlands fall on Krishna's chest like white cranes on a dark cloud. Shining lightning over him, Rādhã, you rule in the climax of love. In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 12 v Lotus-eyed Krishna Longing for Love 92 ·Loosen your clothes, untie your belt, open your loins! Rādha, your gift of delight is like treasure in a bed of vines, In woods on the wind-swept Jumna bank, Krishna waits in wildfower garlands. 13 Hari is proud. This night is about to end now. Speed my promise to him! Fulfill the desire of Madhu's foc! In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 14 While Jayadeva sings his enticing song to worship Hari, Bow to Haril He loves your favor-his heart is joyful and gentle. In woods on the wind-swept Jumna bank, Krishna waits in wildflower garlands. 15 Sighing incessantly, he pours out his grief. He endlessly searches the empty directions. Each time he enters the forest thicket, Humming to himself, he gasps for breath, He makes your bed of love again and again, Staring at it in empty confusion. Lovely Rádhā, your lover suffers Passion's mental pain. 16 Your spitefulness ebbed As the hot-rayed sun set Krishna's mad desire Deepened with the darkness. The pitiful cry of lonely cuckoos Keeps echoing my plea, "Delay is useless, you fool It is time for lovers to meet!" . 17 Lotus-eyed Krishna Longing for Love 93

·Two lovers meeting in darkness
Embrace and kiss
And claw as desire rises
To dizzying heights of love.
When familiar voices reveal
That they ventured into the dark
To betray cach other,
The mood is mixed with shame.
18
As you cast your frightened glance
On the dark path,
As you stop at every tree,
Measuring your steps slowly,
As you secretly move
With love surging through your limbs,
Krishna is watching you, Rādhā!
Let him celebrate your coming!
19
“Lotus-eyed Krishna Longing for Love" is the fifth part in Gitagovinda
y Lotus-eyed Krishna Longing for Love 94

·THE SIXTH PART
Indolent Krishna
Sceing Rādhã in her retscat of vines,
Powerless to ſcave, impassioned too long,
Her friend described her state
While Krishna Jay helpless with love.
+
1
- The Twelfth Song, sung with Rāga "Nata" fiton
In her loneliness she sces you everywhere
Drinking springflower honey from other lips.
Lord Hari,
Radhā suffers in her retreat.
2
Rushing in her haste to meet you,
She stumbles after a few steps and falls,
Lord Hari,
Rādhà suffers in her retreat.
3
Weaving bracelets from supple lotus shoots
As symbols of your skillful love, she keeps alive.
Lord Hari,
Rādha suffers in her retreat.
4
Staring at her ornaments' natural grace,
She fancies, “I am Krishna, Madhu's foe."
Lord Hari,
Rādhá suffers in her retreat,
5
VI Indolent Krishna 98

·"Why won't Hari come quickly to meet me?" Shc incessantly asks her friend. Lord Hari, Rådhå suffers in her retreat. 6 She embraces, she kisses cloud-like forms Of the vast dark night. “Hari has comc," she says. Lord Hari, Rådhă suffers in her retreat. While you idle here, modesty abandons her, She laments, sobs as she waits to love you. Lord Hari, Rādhā suffers in her retreat. 8 May poct Jayadeva's song Bring joy to sensitive men! Lord Hari, Radhā suffers in her retreat. 9 Her body bristling with longing, Her brcath sucking in words of confusion, Her voice cracking in deep cold fear- Obsessed by intense thoughts of passion, Rādhā sinks in a sca of erotic mood, Clinging to you in her meditation, cheat! TO She ornaments her limbs When a leaf quivers or a feather falls. Suspecting your coming, She spreads out the bed And waits long in meditation. Making her bed of ornaments and fantasies, She evokes a hundred details of you In her own graceful play, But the frail girl will not survive Tonight without you. "Indolent Krishna” is the sixth part in Gilagovinda vi Indolent Krishna 96 ·THE SEVENTH PART Cunning Krishna As night came The mood displayed cratered stains, Seeming to faunt its guilo In betraying secret paths Of adulterous women, Lighting depths of Brindaban forest With moonbeam ncts- A spot of sandalwood powder On the face of a virgin sky, I While the moon rose And Madhava idled, Lonely Rādha Cred her pain aloud In priful sobbing ** The Thirteenth Song, sung with Raga "Mālava" fiore Just when we promised to meet, Hari avoided the woods. The flawless beauty of my youth is barren now. Whom can I seek for rcfuge here? My friend's advice deceives me. 3 I followed him at night to depths of the forest. He pierced my heart with arrows of love. Whom can I seek for refuge here? My friend's advicc deceives me. 4 VIL Cunning K 97 ·Death is better than living in my barren body. Why do I blankly endure love's desolating fire? Whom can I seek for refuge herc? My friend's advice deceives me. 5 The sweet spring night torments my loneliness- Some other girl now enjoys Hari's favor. Whom can I seek for refuge here? My friend's advice deceives me. 6 Every bangle and jewel I wear pains me, Carrying the fire of Hari's desertion. Whom can I seek for refuge here? My friend's advice deceives me. 7 Even a garland strikes at the heart of my fragile body With hard irony, like Love's graceful arrow. Whom can I seek for refuge here? My friend's advice deceives me. 8 I wait among countless forest reeds; Madhu's killer does not recall me, even in his heart. Whom can I seek for refuge here? My friend's advice deceives me. 9 Jayadeva's speech takes refuge at Hari's feet. Keep it in your heart like a tender girl skillful in love. Whom can I seek for refuge here? My friend's advice deceives me. TO Has he waylaid some loving girl? Do his friends hold him by clever tricks? Is he roaming blindly near the dark forest? Or does ny lover's anguished mind so tangle the path That he cannot come into this thicket of vines And sweet swamp reeds where we promised to meet? 11 VII Cunning Krishna 98 ·8 When Ridhi saw her friend come back Without Madhava, Downcast and conguc-tied, Suspicion raised a vision of some girl Delighting Krishna, And she told her friend. 12 - The Fourteenth Song, sung wish Raga "Vasanta" film na She is richly arrayed in ornaments for the battle of love; Tangles of flowers lie wilted in her loose hair. Some young voluptuous beauty Revels with the enemy of Madhu. 13 She is visibly excited by embracing Hari; Her necklaces tremble on full, hard breasts. Some young voluptuous beauty Revels with the enemy of Madhu, 14 Curling locks caress her moon face; She is weary from ardently drinking his lips. Some young voluptuous beauty Revels with the enemy of Madhu. 15 Quivering earrings graze her cheeks, Her belt sounds with her hips' rolling motion. Some young voluptuous beauty Revels with the enemy of Madhu. 76 She laughs bashfully when her lover looks at her; The taste of passion echoes from her murmuring, Some young voluptuous beauty Revels with the enemy of Madhu. 17 vir Cunning Krishna 99

·Her body writhes with tingling flesh and trembling.
The ghost of Love expands inside with her sighing.
Some young voluptuous beauty
Revels with the cnemy of Madhu.
18
Drops of sweat wet the graceful body
Fallen limp on his chest in passionate battle.
Some young voluptuous beauty
Revels with the enemy of Madhu.
19
May Hari's delight in Jayadeva's song
Bring an end to this dark time.
Some young voluptuous beauty
Revels with the enemy of Madhu.
20
vil Cunning Krishna 100

·The loncly moon, Like the lotus face of Mura's foc, Wan in love's desolation, Is calming the surface of But the moon is Love's friend It still inflicts his torments On my heart my mind. 21 - The Fifteenth Song, sung with Räga "Gurjari" Her rapt face shows the passion her lips feel kissing him; With deer musk he draws the form of a stag on the moon. In woods behind a sandbank on the Jumna river, Mura's foe makes love in triumph now. 22 He lays an amaranth blossom in clouds of hair massed on her soft face- A shimmer of lightning shines in the forest where Love goes hunting. In woods behind a sandbank on the Jumna river, Mura's foe makes love in triumph now. 23 He smears the domes of her swelling breasts with shining deer musk, He makes star clusters with pearls and a moonmark with his nail. In woods behind a sandbank on the lumna river, Mura's foc makes love in triumph now. 24 The dark sapphire bangle he slips over each lotus-pctal hand Encircles her arm's cool pale supple stalk like a swarm of bees. In woods behind a sandbank on the Jumna river, Mura's foe makes love in triumph now. 25 Her broad hips are a temple of passion holding Love's golden throne; He lays a girdle of gemstones there to mark the gate of triumph. In woods behind a sandbank on the Jumna ríver, Mura's foe makes love in triumph now. 26 VII Cunning Krishna 101

·He applics a shining coat of lac to feet lying on his heart
Like tender shoots tipped with pearls to honor Lakşmi's place inside.
In woods behind a sandbank on the Jumna river,
Mura's foe makes love in triumph now.
27
While Balarāma's fickle brother is delighting some pretty girl,
Why does barren disgust haunt my bower of branches, tell me friend?
In woods behind a sandbank on the Jumna river,
Mura's foc makes love in triumph now.
28
Jayadeva, king of poets, echoes Hari's merit in the mood of his song
Let evil dark-age rhythms cease at the feet of Madhu's foe!
In woods behind a sandbank on the Jumna river,
Mura's foe makes love in triumph now.
29
VII Cunning Krishna 102

·Friend, if the pitiless rogue won't come Why should it pain my messenger? He wantonly deligars in loving many women. Why is this your fault? Seel His tendcracss in love Draws my heart to meet him. It is trying to break away From the pain of longing for him. 30 meniny The Sixteenth Song, song with Raga "Defékhya" est une His eyes flirt like blue night lilies in the wind. The bed of tender shoots won't burn her, Wildflower-garlanded Krishna Caresses her, friend. His soft mouth moves like an open lotus. Arrows of love won't wound her. Wildhower.garlanded Krishna Carcsscs her, friend 32 His mellow speech is elixir of honey. Sandal mountain winds won't scorch her. Wildflower-garlanded Krishna Caresses her, friend. 33 His hands and feet gleam like hibiscus blossoms. Cold moon rays won't make her writhe, Wildflower-garlanded Krishna Caresses her, friend, 34 His color deepens like rain-tieavy thunderheads. Long desertion won't tear at her heart. Wildfower-garlanded Krishna Caresses her, friend. 35 y Cunning Krushna 103 ·His bright cloth shines gold on black touchstone. Her servants' tcasing won't make her sigh. Wildflower-garlanded Krishna Carcsses her, friend. His tender youth touches all creatures. She won't feel the pain of terrible pity. Wildflower-garlanded Krishna Caresses her, friend. 37 Through words that Jayadeva sings May Hari possess your heart! Wildflower-garlanded Krishna Caresses her, friend. 38 Sandalwood mountain wind, As you blow southern breczes To spread the bliss of love, Soothe me! End the paradox! Lifebreath of the world, If you bring me Mādhava For a moment, You may take my life! 39 Friends are hostile, Cool wind is like fire, Moon nectar is poison, Krishna torments me in my heart. But even when he is cruel I am forced to take him back. Women with night-lily eyes feel love In a paradox of passion-bound infinity. go VII Cunning Krishna 104

·Command my torment, sandal mountain wind!
Takc
my lifebreath with arrows, Lovel
I will not go home for refuge again!
Jumna river, sister of Death,
Why should you be kind?
Drown
my
limbs with waves!
Let my body's burning be quenched!
41
"Cunning Krishna" is the seventh part in Gilagovinda
vir Cunning Krishna 105

·THE EIGHTH PART Abashed Krishna After struggling through the night, She seemed wasted by the arrows of love. She denounced her lover bitterly As he bowed before her, pleading forgiveness. I - The Seventeenth Song, sung with Räga "Bhairavi" |zoom Bloodshot from a sleepless night of passion, listless now, Your cyes express the mood of awakened love. Damn you, Mādhaval Go! Keśava, leave me! Don't plead your lies with me! Go after her, Krishna She will ease your despair. 2 Dark from kissing her kohl-blackened eyes, At dawn your lips match your body's color, Krishna. Damn you, Madhava! Go! Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will ease your despair. 3 Etched with scratches of sharp nails in the battle of love, Your body tells the triumph of passion in gold writing on sapphire. Damn you, Madhava! Go! Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will ease your despair. 4 VIII Abashed Krishna 106 ·Drops of red lac from her lotus fect wet your sublimc breast. They force buds from the tree of love to bloom on your skin. Damn you, Madhaval Gol Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will case your despair. 5 6 The tecthmark she left on your lip creates anguish in my heart. Why does it evoke the union of your body with mine now? Damn you, Mūdhaval Go! Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will ease your despair. Dark Krishna, your heart must be baser black than your skin. How can you deceive a faithful creature tortured by fevers of Love? Damn you, Mūdhaval Gol Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will case your despair. 7 Why am I shocked that you roam in the woods to consume weak girls? The fate of Putanā shows your cruel childhood bent for killing women. Damn you, Madhaval Gol Keśava, leave me! Don't plead your lies with me! Go after her, Krishna! She will ease your despair. 8 . Don't plead your lies with me! Go after her, Krishna! She will ease your despair. 9 WI' Abashed Krishna 107

·The red stains her lac-painted feet
Lovingly left on your heart
Look to me like ficry passion
Exposing itself
on your
skin.
Cheat, the image I have of you now
Flaunting our love's break
Causcs me more shame
Than sorrow,
IO
"Abashed Krishna" is the cighth part in Gitagovinda
VIII Abashed Krishna 108

·THE NINTH PART
Languishing Krishna
Then, when she felt wasted by love,
Broken by her passion's intensity,
Despondent, haunted by Hari's
Response to her quarreling,
Her friend spoke to her.
T
-of The Eighteenth Song, sung mh Rūga "Gurjari" film
Hari comes when spring winds, bearing honey, blow.
What greater pleasure exists in the world, friend?
Don't turn wounded pride on Mädhaval
He is proud too, sullen Ridha.
2
Your swollen breasts are riper than palm fruits.
Why do you waste their rich flavor
Don't turn wounded pride on Madhava!
He is proud 100, sullen Rādhã
3
How often must I repeat the refrain
Don't recoil when Hari longs to charm you!
Don't turn wounded pride on Madhava!
He is proud too, sullen Radha
4
Why do you cry in hollow despair?
Your girlfriends are laughing at you.
Don't turn wounded pride on Madhava!
He is proud too, sullen Rädhä.
5
Ix Langnishing Krishna 109

·Sce Hari on his cool couch of moist lotuses! Reward your eyes with this fruit! Don't curn wounded pride on Mādhaval He is proud too, sullen Radhā. 6 Why conjure heavy despair in your heart? Listen to me tell how he regrets betraying you. Don't turn wounded pride on Madhava! He is proud too, sullen Ridha. 7 Let Hari come! Let him speak sweet words! Why condemn your heart to loneliness? Don't turn wounded pride on Mādhava! He is proud too, sullen Rādhā. 8 May Jayadeva's lilting song Please sensitive men who hear Hari's story! Don't turn wounded pride on Madhaval He is proud too, sullen Rādhā. 9 When he is tender you are harsh, When he is pliant you are rigid, When he is passionate you are hateful, When he looks expectant you turn away, You leave when he is loving. Your perverseness justly Turns your sandalbalm to poison, Cool moon rays to heat, ice to fire, Joys of loveplay to torments of hell 10 "Languishing Krishna" is the ninth part in Gitagovinda IX Languishing Krishna 110 ·THE TENTH PART 1) Four Quickening Arms As night came, he approached Radhā, Finding the force of her anger softened, Her face weak from endless siglung. Au dusk she stared in shame at her friend's face As Hari stammered his blissful words. 1 The Nineteenth Song, sung wuh Räga "Dejavarádi kilan Let If you speak, moonlight gleaming on your teeth Dispełs the dread darkness of fear. your moon face lure my nigbtbird eyes To taste nectar from your quivering lips! Rādhã, cherished love, Abandon your baseless pridel Love's fire burns my heart Bring wine in your lotus mouch! Z If you foci enraged at me, Radhā, Inflict arrow-wounds with your sharp nails! Bind me in your arms! Bite me with your teeth! Or do whalever excites your pleasure! Radhã, cherished love, Abandon your baseless pride! Love's fire burns my heart Bring svine in your lotis mouthi 3 * Four Quickening Arms TI ·You arc my ornament, my life, My jewel in the sea of existence. Be yielding to me forever, My heart fervently pleads! Rādhā, cherished lovc, Abandon your baseless pridel Love's fire burns my heart- Bring wine in your lotus mouth! 4 Frail Rádhà, even with dark lotus pupils, Your angry eyes are like scarlet lilies. As your arrows of love arouse emotion, My black form responds with red passion. Rādhā, cherished love, Abandon your baseless pride! Love's fire burns my heart Bring wine in your lotus mouthi 5 Let pearls quivering on full breasts Move the depths of your heart! Let a girdle ringing on round hips Proclaim the command of Love! Rādhã, cherished love, Abandon your baseless pride! Love's fire burns my heart Bring wine in your lotus mouth! 6 Your hibiscus-blossom foot colors my heart As your beauty fills the stage of love. Speak, soft voiced Rādhā! Let me dye your feet With the rich liquid of gleaming red lac! Rādhā, cherished love, Abandon your baseless pride! Love's fire burns my heart Bring wine in your lotus mouth! 7 x Four Quickening Arms 112 ·Place your foot on my heid A sublime flower destroying poison of love! Let your foot quell the harsh sun Burning its fiery form in mc to torment Love. Radha, cherished love, Abandon your baseless pridel Love's fire burns my heart Bring wine in your lotus mouth! 8 This graceful loving coaxing Mura's foe spoke to Radhikā Triumphs in the joy Jayadeva sings To delight his muse Padmavati. Rādhà, cherished love, Abandon your baseless pride! Love's fire burns my heart- Bring wine in your lotus mouth! 9 Fretful Rādhā, don't suspect me! A rival has no place When your voluptuous breasts and hips Always occupy my heart. Only the ghost of Love is putent enough To penetrate my subtle core. When I start to press your heavy breasts, Fulfill our destined sitel ID Punish me, lovely fooll Bite me with your cruel teeth! Chain me with your creeper arms! Crush me with your hard breastsi Angry goddess, don't weaken with joy! Let Love's despised arrows Pierce me to sap my lifc's power! 11 * Four Quickening Arms 113

·Your useless silence tortures me, frail Rádhā.
Sing sweet lyrics in the mode of love!
Tender girl, destroy my pain with
your eyes!
Beautiful Rādhā, don't be indifferent!
Don't elude mel I am deeply devoted to you.
Lovely fool, I am here as your lover.
IZ
Your moist lips glow
Like crimson autumn blossoms;
The skin of your cheek
Is a honey-colored flower.
Fierce Rādhā, your eyes glower
Like gleaming dark lotuses;
Your pose is a sesame flower;
Your teeth are white jasmine.
Love's flower arms conquer worlds
By worshipping your face.
13
Your eyes are lazy with wine, like Madālasā.
Your face glows like the moonlight nymph Indumatī.
Your gait pleases every creature, like Manorarnā.
Your thighs are plantains in motion, like Rambhā.
Your passion is the mystic rite of Kalāvati.
Your brows form the sensual line of Citralekhā.
Frail Rādhā, as you walk on earth,
You bear the young beauty of heavenly nymphs.
14
"Four Quickening Arms" is the tenth part in Gitagovinda
x Four Quickening Arms 114

·THE ELEVENTH PART
Blissful Krishna
Soothing Radhā with his pleas,
Keśava dressed elaborately
And went to lie on his thicket bed.
As night fell to blind prying eyes,
Radhá dressed in gleaming ornaments
And one woman urged her to move quickly.
I
* The Twentieth Song, suing with Raga "Vasanta" jsou
He made himself soothe you with flattery.
He made himself fall limp at your feet.
Now he waits for sensual play in his bed
On a bank of sweet swamp seeds.
Madhu's tormentor
Is faithful to you, fool.
Follow him, Rādhikal
Your full hips and breasts are heavy to bear.
Approach with anklets ringing!
Their sound inspires lingering feet,
Run with the gait of a wild goose!
Madhu's tormentor
Is faithful to you, fool.
Follow him, Rādhika!
1
3
XI Blissful Krishna 115

·Listen to enticing sounds of honey bees Buzzing to bewilder tender women! Sympathize when a flock of cuckoos Sing Love's commands like bards. Madhu's tormentor is faithful to you, fool. Follow him, Radhikal 4 A mass of vines with thickly clustered shoots Quivering in the wind like a hand Seems to be gesturing to your tapering thighs To quickcn your pace. Stop loitering here! Madhu's tormentor Is faithful to you, fool. Follow him, Radhikal % Strong waves of love throbbing in you Suggest that you feel Hari's embrace. Ask your rounded breasts if they wear Seductive pearls or drops of pure water! Madhu's tormentor Is faithful to you, fool. Follow him, Rādhika! 6 Your friends know your armed body is ready For passionate battle, fierce Rādhā, By the war-drum cat of your clanging girdle. Meet his rich mood without shame! Madhu's tormentor Is faithful to you, fool. Follow him, Rādhikā! As you cling to your friend in graceful play, Nails on your hand are arrows of love- Let your singing bangles go to him! Wake Harı! Claim his intimacy! Madhu's tormentor Is faithful to you, fool. Follow him, Radhukā! 8 X1 Blissful Krishna 116 ·Jayadeva's singing devalues necklaces; It solves the paradox of beauty, May it always adorn the throats Of men who devore their hearts to Hari! Madhu's tormentor Is faithful to you, fool. Follow him, Rādhikal g. "She will look at me, tell me a tale of love, Fecl pleasure in every limb from my embraces, Delight in meeting me, friend," he says anxiously. Your lover looks for you, trembles, bristles, Ropices, sweats, advances, falls faint In the thicket buried in darkness. 10 Night is putting black koht on their eyes, Tamála-flower clusters on their cars, Dark lotus wreaths on their heads, Leaf designs of musk on their breasts.. In every thicker, friend, The night's dark cherished cloak Embraces limbs of beautiful adultresses Whose hearts rush to meet their lovers. TI As saffron-bright bodies Of women rushing to meet lovers Streak the night With clusters of light, Night spreads darkness as dense As tamāla leaves, Making a touchstone To test the gold of love. 12 x1 Blissful Krishna 117 ·Secing Hari light the deep thicket With brilliant jewel necklaces, a pendant, A golden rope belt, armlets, and wrist bands, Rādhā modestly stopped at the entrance, But her friend urged her on. 13 of The Twenty-first Song, sung with Räga "Varådi" 1:35 Revel in wild luxury on the sweet thicket floor! Your laughing face begs ardently for his love. Rādhà, enter Madhava's intimate world! 14 Revel in a thick bed of red petals plucked as offerings! Strings of pearls are quivering on your rounded breasts. Rādha, cnter Mādhava's intimate world! 15 Revel in a bright retreat heaped with powers Your tender body is flowering. Rādhā, enter Mādhava's intimate world! 16 Revel in the fragrant chill of gusting sandal-forest winds! Your sensual singing captures thc mood. Rädhä, enter Madhava's intimate world! 17 Revel where swarming bees drunk on honey buzz soft tones! Your emotion is rich in the mood of love. Rādbā, enter Madhava's intimate world! Revel where cries of flocking cuckoos sweetly sound! Your teeth glow like seeds of ripe pomegranate. Rādhā, enter Mādhava's intimate world! 19 Revel in tangles of new shoots growing on creeping vines! Your voluptuous hips have languished too long. Rådhā, enter Madhava's intimate world! 20 XI Blissful Krishna 118

·Consecratc your joyful union with Padmavatif
Enemy of Mura, grant a hundred holy blessings
Whilc poet-king Jayadeva is singing!
Rādhā, enter Madhava's intimate world!
21
Bearing you in his mind so long
Has wearied him, inflamed him with love.
He longs to drink your sweet berry lips' nectar.
Ornament his body with yours
now!
He worships your lotus feet-a slave bought
With Sri's flashing glance. Why are you afraid?
22
XIBlissful Krishna 119

·Her restless eyes were on Govinda With mixed alarm and bliss As she entered his place To the swect sound of ringing anklets. 23 - The Twenty-second song, sung with Räga "Varadi" fiton All his decp-locked emotions broke when he saw Radha's face, Like sea waves cresting when the full moon appears. She saw her passion reach the soul of Hari's mood The weight of joy strained his face; Love's ghost haunted him. 24 He toyed with ropes of clear pearls lying on his chest, Like the dark Jumna current churning shining swells of foam. She saw her passion reach the soul of Hari's mood- The weight of joy strained his face; Love's ghost haunted him. 25 The soft black curve of his body was wrapped in fine silk cloth, Like a dark lotus root wrapped in vells of yellow pollen. She saw her passion reach the soul of Hari's mood- The weight of joy strained his face; Love's ghost haunted him. 26 Her passion rose when glances played on his seductive face, Like an autumn pond when wagtails mate in lotus blossom hollows. She saw her passion reach the soul of Hari's mood- The weight of joy strained his face; Love's ghost haunted him. 27 Earrings caressing his lotus face caught the brilliant sunlight. Flushed lips flashing a smıle aroused the lust of passion. She saw her passion reach the soul of Hari's mood- The wesght of joy strained his face; Lovc's ghost haunted him 28 Flowers tangled his hair like moonbeams caught in cloudbreaks. His sandal browmark was the moon's circle rising in darkness She saw her passion reach the soul of Hari's mood The weight of joy strained his face; Love's ghost haunted him 29 x1 Blissful Krishna 120 ·His body hair bristled to the art of her sensual play. Gleaming jewels ornamented his graceful form. She saw her passion reach the soul of Hari's mood The weight of joy strained his face; Love's ghost haunted him. 30 Jayadeva's singing doubles the power of Krishna's adornments. Worship Hari in your heart and consummate his favor! She saw her passion reach the soul of Hari's mood- The weight of joy strained his face; Love's ghost haunted him. 31 Her eyes transgressed their bounds- Straining to reach beyond her cars, They fell on him with trembling pupils. When Rādha's eyes met her lover, Heavy tears of joy Fell like streaming sweat. 32 She neared the edge of his bed, Masking her smile by pretending to scratch As her friends swarmed outside When she saw her lover's face Graced by arrows of Love, Even Rādhā's modesty left in shame. 33 "Blissful Krishna" is the eleventh part in Gitagovinda xi Blissful Krishna 121

·THE TWELFTH PART
Ecstatic Krishna
When her friends had gonc,
Smiles spread on Rādha's lips
While love's deep fantasies
Struggled with her modesty.
Secing the mood in Radhā's heart,
Hari spoke to his love;
Her cycs were fixed
On his bed of buds and tender shoots,
1
of The Twenty-shird Song, sung with Räga "Vrbhāsa" letom
Leave lotus footprints on my bed of tender shoors, loving Rādhāl
Let my place be ravaged by your tender feet!
Nārāyaṇa is faithful now. Love me, Radhika!
2
I stroke your foot with my lotus hand-You have come far.
Set your golden anklet on my bed like the sun.
Nārāyana is faithful now. Love me, Radhikā!
3
your face!
Consent to my love; let elixir pour frorn
To end our separation I bare my chest of the silk that bars your breast.
Nārāyana is faithful now. Love me, Rādhikā!
4
Throbbing breasts aching for loving embrace are hard to touch.
Rest these vessels on my chest! Quench love's burning firel
Nārāyaṇa is faithful now. Love me, Rādhikā!
5
XI: Ecstatic Knishna 122

·Offer your lips' nectar to revive a dying slave, Radhā! His cbsessed mind and listless body burn in love's desolation, Nārāyaṇa is faithful now. Love me, Rādhikā! 6 Rādhā, make your jeweled girdle cords echo the tone of your voice! Soothe the long torture my ears have suffered from cuckoo's shrill cries! Nārāyaṇa is faithful now. Love me, Radhikā! 7 Your eyes are ashamed now to see me tortured by baseless anger; Glance at me and end my passion's despair! Nārāyaṇa is faithful now. Love me, Radhikā! 8 Each verse of Jayadeva's song echoes the delight of Madhu's foe. Let emotion rise to a joyful mood of love in sensitive men! Nārāyaṇa is faithful now. Love me, Rādhikā! 9 Displaying her passion In loveplay as the battle began, She launched a bold offensive Above him And triumphed over her lover. Her hips were still, Her vine-like arm was slack, Her chest was heaving, Her eyes were closed. Why does a mood of manly force Succeed for women in love? IO xil Ecstatic Krishna 123 ·Then, as he idled after passionate love, Rādhā, wanting him to ornament her, Freely told her lover, Secure in her power over him. II - The Twenty-fourth Song, sung with Raga "Rāmakari" ) --- Yadava hero, your hand is cooler than sandalbalm on my breast; Paint a leaf design with deer musk here on Love's ritual vessell She told the joyful Yadu hero, playing to delight her heart. 12 Lover, draw kohl glossier than a swarm of black bees on my eyes! Your lips kissed away the lampblack bow that shoots arrows of Love. She told the joyful Yadu hero, playing to delight her heart. 13 My ears reflect the restless gleam of doe eyes, graceful Lord. Hang carrings on their magic circles to form snares for love. Shc told the joyful Yadu hero, playing to delight her heart. 14 Pın back the teasing lock of hair on my smooth lotus face! It fell before me to mime a gleaming line of black bees. She told the joyful Yadu hero, playing to delight her heart. 15 Make a mark with liquid deer musk on my moonlit brow! Make a moon shadow, Krishna! The sweat drops are dried. She told the joyful Yadu hero, playing to delight her heart 16 Fıx flowers in shining hair loosened by loveplay, Krishna! Make a flywhisk outshining peacock plumage to be the banner of Love. She told the joyful Yadu hero, playing to delight her heart. 17 My beautiful loins are a deep cavern to take the thrusts of love Cover them with jeweled girdles, cloths, and ornaments, Krishna! She told the joyful Yadu hero, playing to delight her heart. 18 XI Ecstatic Krishna 124 ·Make your heart sympathetic to Jayadeva's splendid specchi Recalling Hari's feet is elixir against fevers of this dark time. She told the joyful Yadu hero, playing to delight her hcart. 19 P "Paint a leaf on my breasts! Pur color on my cheeks! Lay a girdle on my hips! Twine my heavy braid with flowers! Fix rows of bangles on my hands And jeweled anklets on my feet!" Her yellow-robed lover Did what Rödhā said. 20 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. 21 Bhojadeva's heir, Rāmadevi's son, fayadeva, Expresses the power of poetry In che Gicagouinda. Let his poem be in the voice Of devotees like sage Parāśara. 22 "Ecstatic Krishna" is the twelfth part in Gitagovinda xit Ecstatic Krishna 225 ·Gitagovinda Sanskrit Text ·श्रीजयदेवकविविरचितम् गीतगोविन्दम् ॥ प्रथमः सर्गः ॥ । सामोददामोदरः। मेधै मेंदुरमम्बरं वनभुवः श्यामासमालद्रुमैर् नक्तं भीतरयं त्वमेव तदिमं राधे गृहं प्रापय । इत्यं नन्दनिदेशतश्चलितयोः प्रत्यध्वअनुमं राधामाधवयोर्जयन्ति यमुनाकूले रहाकेलयः ॥ १ ॥ वाग्देवताचरितचित्रितचिनसमा पद्मावतीचरणचारणचक्रवर्ती । श्रीवासुदेवरतिकेलिकथासमेतम् एतं करोति जयदेवकविः प्रबन्धम् ॥ २ ॥ वाचः पल्लवयत्युमापतिधरः सन्दर्भशुद्धिं गिर जानीते जयदेव एव शरणः श्लाघ्यो दुरूहद्भुते । शृङ्गारोतरसत्प्रमेयरचनैराचार्यगोवर्धन- स्पर्धी कोऽपि न विश्रुतः श्रुतिधरो धोयी कविक्ष्मापतिः ॥३॥ यदि हरिस्मरणे सरसं मनो यदि विलासकलासु कुतूहलम् । मधुरकोमलकान्तपदावली शृणु तदा जयदेवसरस्वतीम् ॥ ४ ॥ मालवरागेग गीयते ।। गीतम् १ ।। प्रलयपयोधिजले धृतवानसि वेदम् । विहितवहिनचरित्रमखेदम् ॥ केशव धृतमीनशरीर जय जगदीश हरे ॥५॥ Gitagournda: Sanskrit Text 129 ·क्षितिरतिविपुलतरे तव तिष्ठति पृष्ठे । धरणिधरणकिणचक्रगरिठे ॥ केशव धृतकच्छपरूप जय जगदीश हरे वसति दशनशिखरे धरणी तय लमा । शशिनि कलकलेव निममा ॥ केशव धृतशूकररूप जय जगदीश हरे ॥७॥ तव करकमलबरे नखमद्भुतशृङ्गम् । दलितहिरण्यकशिपुतनुभृगम् ॥ केशव धृतनरहरिरूप जय जगदीश हरे ॥ ८ ॥ छलयसि विक्रमणे बलिमद्भुतवामन । पदनखनीरजनितजनपाचन ॥ केशव धृतवामनरूप जय जगदीश हरे ॥९॥ क्षत्रियरुधिरमये जगदपगतपापम् । स्नपयसि पयसि शमितभवतापम् ।। केशव धृतभूगुपतिरूप जय जगदीश हरे ॥१०॥ वितरसि दिक्षु रणे दिक्पतिकमनीयम् । दशमुखमौलिबलिं रमणीयम् ।। केशव धृतरामशरीर जय जगदीश हरे ॥ ११ ॥ वहसि वपुषि विशदे वसनं जलदाभम् । हलहतिभीतिमिलितयमुनाभम् ।। केशव धृतहलधररूप जय जगदीश हरे ॥ १२ ॥ Gitagovinda: Sanskrit Text 130 ·निन्दसि यज्ञविधेरहह श्रुतिजातम् । सदयहृदयदर्शितपशुपातम् ॥ केशव धृतबुद्धशरीर जय जगदीश हरे ॥ १३ ॥ म्लेच्छनिवहनिधने कलयसि करवालम् । धूमकेतुमिव किमपि करालम् ॥ केशव धृतकल्किशरीर जय जगदीश हरे श्रीजयदेवकवेरिदमुदितमुदारम् । शृणु सुखद शुभदं भवसारम् ।। केमन धृतदशविधरूप जय जगदीश हरे ॥१५॥ वेदानुद्धरते जगन्निवहते भूगोलमुद्विधते दैत्यं दारयते बलि छल्यते क्षत्रक्षयं कुर्वते । पौलस्त्यं जयते हलं कलयते कारुण्यमातन्वते म्लेच्छान्मूर्च्यते दशाकृतिकृते कृष्णाय तुभ्यं नमः ॥ १६ ॥ ॥ गुर्जरीरागेग गीयते ॥ गीतम् २ ॥ श्रितकमलाकुचमण्डल धृतकुण्डल ए। कलितललितवनमाल जय जयदेव हरे ॥१७॥ दिनमणिमण्डलमण्डन भवखण्डन ए। मुनिजनमानसहंस जय जयदेव हरे ॥१८॥ कालियविषधरगञ्जन जनरञ्जन ए। यदुकुलनलिनदिनेश जय जयदेव हरे ॥१९॥ मधुमुरनरकविनाशन गरुडासन ए । मुरकुलकेलिनिदान जय जयदेव हरे ॥२०॥ Gitagovinda Sanskrit Text 131 ·अमलकमलदललोचन भवमोचन ए । त्रिभुवनभवननिधान जय जयदेव हरे ॥२१ ॥ जनकसुताकृतभूषण जितदूषण ए। समरशमितदशकण्ठ जय जयदेव हरे ॥ २२ ॥ अभिनवजलधरसुन्दर धृतमन्दर ए । श्रीमुखचन्द्रचकोर जय जयदेव हरे ॥ २३ ॥ श्रीजयदेवकवेरिदं कुरुते मुदम् ए । मङ्गलमुज्ज्वलगीतं जय जयदेव हरे ॥ २४ ॥ पद्मापयोधरतटीपरिरम्भलम- काश्मीरमुद्रितमुरो मधुसूदनस्य । व्यक्तानुरागमिव खेलदनमखेद- स्वेदाम्बुपूरमनुपूरयतु प्रियं वः ॥ २५ ॥ वसन्ते वासन्तीकुमुममुकुमारैरवयवैर् भ्रमन्ती कान्तारे बहुविहितकृष्णानुसरणाम् । अमन्दं कन्दर्पज्वरजनितचिन्ताकुलतया बलहाधा राधां सरसमिदमूचे सहचरी ॥ २६ ॥ ॥ वसन्तरागण गीयते ॥ गीतम् ३ ॥ ललितलवालतापरिशीलनकोमलमलयसमीरे । मधुकरनिकरकरम्बितकोकिलकूजितकुञ्जकुटीरे ॥ विहरति हरिरिह सरसवसन्ते नृत्यति युवतिजनेन समं सखि विरहिजनस्य दुरन्ते ॥ ध्रुवम् ॥ २७ ॥ Gitagorinda: Sanskrit Text 132 ·उन्मदमदनमनोरथपथिकवधूजनजनितविलापे । अलिकुलसंकुलकुसुमसमूहनिराकुलपकुलकलापे ॥ विह० ॥ २८ ॥ मृगमदसौरभरभसवशंवदनवदलमालतमाले । युवजनहृदयविदारणमनसिजनसरुचिकिंशुकजाले ॥ विह. ॥२९॥ मदनमहीपतिकनकदण्डरुचिकेशरकुसुमविकासे । मिलितशिलीमुखपाटलिपटलकृतस्मरतूणविलासे ॥ विह० ॥३०॥ विगलितलज्जितजगदवलोकनतरुणकरुणकृतहासे । विरहिनिकृन्तनकुन्तमुलाकृति केतकदन्तुरिताशे ॥ विह० ॥ ३१ ॥ माधविकापरिमलललिते नवमालिकजातिसुगन्धी। मुनिमनसामपि मोहनकारिणि तरुणाकारणबन्धौ ॥ विह० ॥ ३२ ॥ स्फुरदतिमुक्तलतापरिरम्भणमुकुलितपुलकितचूते । वृन्दावनविपिने परिसरपरिगतयमुनाजलपूते ॥ विह० ॥ ३३ ॥ श्रीजयदेवभणितमिदमुदयति हरिचरणस्मृतिसारम् । सरसवसन्तसमयवनवर्णनमनुगतमदनविकारम् ॥ विह०. ॥ ३४ ॥ दरविदलितमल्लीवल्लिचञ्चत्पराग- प्रकटितपटवासर्वासयन् काननानि । इह हि दहति चेतः केतकीगन्धवन्धुः प्रसरदसमबाणप्राणवद्गन्धवाहः ॥ ३५ ॥ उन्मीलन्मधुगन्धलुब्धमधुपव्याधूतचूताकुर- क्रीडकोकिलकाकलीकलकलैरुद्वगीर्णकर्णज्वराः । नीयन्ते पथिकैः कथंकथमपि ध्यानावधानक्षण- प्राप्तप्राणसभासमागमरसोल्लासैरमी वासराः Gitagovında Sansknt Teri 133 ·अनेकनारीपरिरम्भसम्भ्रम- स्फुरन्मनोहारिविलासलालसम् । मुरारिमारादुपदर्शयन्त्यसो सखी समक्षं पुनराह राधिकाम् ॥ ३७॥ ॥ रामकरीरागेश गीयते ॥ गीतम् ४ ॥ चन्दनचर्चितनीलकलेवरपीतवसनवनमाली । केलिचलन्मणिकुण्डलमण्डितगण्डयुगस्मितशाली ॥ हरिरिह मुग्धवधूनिकरे विलासिनि विलसति केलिपरे ॥ ध्रुवम् ॥ ३८ ॥ ॥ ३९ ॥ पीनपयोधरभारभरेण हरिं परिरभ्य सरागम् । गोपवधूर गायति काचिदुदश्चितपञ्चमरागम् ॥ हरिरिह० कापि विलासविलोलविलोचनखेलनजनितमनोजम् । ध्यायति मुग्धवधरधिकं मधुसूदनवदनसरोजम् ।। हरिरिह. 15 ॥ ४० ॥ ॥ ११ ॥ कापि कपोलतले मिलिता लपितुं किमपि श्रुतिमूले । चारु चुचुम्ब नितम्बवती दयित पुलकैरनुकूले ॥ हरिरिह. केलिकलाकुतुकेन च काचिदमुं यमुनाजलकूले । मजुलवजुलकुञ्जगतं विचकर्ष करेण दुकूले ॥ हरिरिह० ॥ ४२ ॥ फरतलतालतरलवलयावलिकलितकलस्वनवंशे । रासरसे सहनृत्यपरा हरिणा युवतिः प्रशशंसे || हरिरिह. ॥ ४३ ॥ सिष्यति कामपि चुम्मति कामपि कामपि रमयति रामाम् । पश्यति सस्मितचापरामपरामनुगच्छति यामाम् ॥ हरिरिह. ॥ ४४ ॥ Gitagotinda: Sanskrit Teri 134 ·6 77 .. श्रीजयदेवकवेरिदमदूतकेशवकेलिरहस्यम् । वृन्दावनविपिने ललितं वितनोतु शुमानि यशस्यम् ॥ हरिरिह ॥४५॥ विधेषामनुरजनेन जनयन्नानन्दमिन्दीवर- श्रेणीश्यामलकोमलैरुपनयनरनहोत्सवम् । स्वच्छन्दं अजसुन्दरीमिरमितः प्रत्यगमालिशितः शृङ्गारः सखि मूर्तिमानिव मधी मुग्धो हरिः क्रीडति ॥१६॥ अद्योत्सनवसद्भुजङ्गकवलक्लेशादिवेशाचलं प्रालेयप्लवनेच्छ्यानुसरति श्रीखण्डशैलानिलः । किं च निग्धरसालमौलिमुकुलान्यालोक्य होदयाद् उन्मोलन्ति कुहूः कुरिति कलोचाला: पिकानां गिरः इति धीगीतगोविन्द सामोददामोदरो नाम प्रथमः सर्गः।। .. Gitagovinda Sanskrit Text 135 ·॥ द्वितीयः सर्गः ॥ । अक्लेशकेशवः । विहरति वने राधा साधारणप्रणये हरौ विगलितनिजोत्कर्षादीविशेन गतान्यतः । फचिदपि लताकुले गुञ्जन्मधुव्रतमण्डली- मुखरशिखरे लीना दीनाप्युवाच रहः सखीम् ॥१॥ ॥ गुर्जरीरागण गीयते ॥ गीतम् ५ ॥ । संचरदधरसुधामधुरध्वनिमुखरितमोहनवंशम् । चलितगञ्चलचञ्चलमौलिकपोलविलोलवतंसम् ।। रासे हरिमिह विहितविलासं स्मरति मनो मम कृतपरिहासम् ॥ ध्रुवम् ॥२॥ चन्द्रकलारुमयूरशिखण्डकमण्डलवलयितकेशम् । प्रचुरपुरन्दरधनुरनुरञ्जितमेदुरमुदिरसुवेशम् ।। रासे० गोपकदम्बनितम्बवतीमुखचुम्बनलम्भितलोभम् । बन्धुजीवमधुराधरपल्लवमुल्लसिलस्मितशोभम् ॥ रासे० विपुलपुरकभुजपलबवलयितबलवयुवतिसहसम् । फरचरणोरसि मणिगणभूषणकिरणविमिन्नतमिसम् ॥ रासे० जरदपटलबलदिन्दुबिनिन्दकचन्दनतिलकललाटम् । पीनघनस्तनमण्डलमर्दन निर्दयहृदयकपाटम् ॥ रासे० मणिमयमकरमनोहरकुण्डलमण्डितगण्डमुदारम् । पीतवसनमनुगतमुनिमनुजसुरासुरवरपरिवारम् ॥ रासे० विशदकदम्बतले मिलितं कलिकलुषमयं शमयन्तम् । मामपि किमपि तरसदनमा मनसा रमयन्तम् ॥ रासे० Gitagovindi: Sanskrit Text 136 ·श्रीजयदेवभणितमतिमुन्दरमोहनमधुरिपुरूपम् । हरिचरणस्मरणं प्रति संप्रति पुण्यवतामनुरूपम् ॥ रासे० गणयति गुणग्राम भामं प्रमादपि नेहते वहति च परीलोपं दोपं विमुश्चति दूरतः । युवतिषु वलस्तृष्णे कृष्णे विहारिणि मां विना पुनरपि मनो वाम कामं करोति करोमि किम् ॥१०॥ ।। मालवरागेण गीयते ।। गीतम् ६ ॥ निभृतनिकुनगृहं गतया निशि रहसि निलीय वसन्तम् । चक्तिविलोकितसकलदिशा रतिरभसरसेन हसन्तम् ।। सखि हे केशिमथनमुदारं रमय मया सह मदनमनोरथभावितया सविकारम् ।। ध्रुवम् ॥ ११ ॥ प्रथमसमागमलज्जितया पटुचाटुशतैरनुकूलम् । मृदुमधुरस्मितभाषितया शिथिलीकृतजघनदुकूलम् ।। सखि० ॥ १२ ॥ ॥ १३ ॥ किसलयशयननिवेशितया चिरमुरसि ममैव शयानम् । कृतपरिरम्भणचुम्बनया परिरभ्य कृताधरपानम् ।। सखि० - अलसनिमीलितलोचनया पुलकावलिललितकपोलम् । श्रमजलसकलकलेवरया वरमदनमदादतिलोलम् ॥ सखि० ॥ १४ ॥ कोकिलकलरवकूजितया जितमनसिजतन्त्रविचारम् । स्थकुसुमाकुलकुन्तलया नखलिखितघनस्तनभारम् ॥ सखि० चरणरणितमणिनू पुरया परिपूरितसुरतवितानम् । मुखरविशृङ्खलमेखल्या सकचग्रहचुम्बनदानम् ।। सखि० Grragovinda Sanskrit Text 137 ·रतिसुखसमयरसालसया दरमुकुलितनयनसरोजम् । निःसहनिपतिततनुलतया मधुसूदनमुदितमनोजम् । सखि० श्रीजयदेवणितमिदमतिशयमधुरिपुनिधुवनशीलम् । सुखमुत्कण्ठितगोपवधूकथितं वितनोतु सलीलम् ॥ सखि० ॥ १८ ॥ । हसनस्तविलासर्वशमनृजभूवल्लिमहल्लवी- वृन्दोत्सारिहगन्तवीक्षितमतिस्वेदागण्डस्थलम् । मामुद्रीक्ष्य विलक्षितं स्मितसुधामुग्धानतं कानने गोविन्दं ब्रजसुन्दरीगणवृतं पश्यामि हृष्यामि च ॥ १९ ॥ दुरालोकस्तोकस्तबकनवकाशोकलतिका- विकासः कासारोपवनपवनोऽपि व्यथयति । अपि आम्यद्भीरणितरमणीया न मुकुल. प्रतिश्चूतानां सखि शिखरिणीयं सुखयति ॥ २० ॥ इति श्रीगीतगोविन्दे अक्लेशकेशवो नाम द्वितीयः सर्गः ॥ Gita govinda: Sansknt Text 138 ·U ॥ ॥ तृतीयः सर्गः ॥ । मुग्धमधुसूदनः । कंसारिरपि संसारवासनाबन्धशृङ्गलाम् । राधामाधाय हृदये तत्याज नसुन्दरीः ॥१॥ इतस्ततस्तामनुसृत्य राधिकामनाबाणवणखिनमानसः । कृतानुतापः स कलिन्दनन्दिनीतटान्तकुले विपसाद माधवः ॥ २॥ । गुर्जरीरागेग गीयते ॥ गीतम् मामियं चलिता विलोक्य वृतं वधूनिचयेन । सापराधतया मयापि न बारितातिभयेन । हरिहरि हतादरतया गता सा कुपितेव ॥ ध्रुवम् ॥ ३ ॥ किं करिष्यति किं वदिष्यति सा चिरं विरहेण । किं धनेन जनेन किं मम जीवितेन गृहेण ॥ हरिहरि० ॥ ४ ॥ चिन्तयामि तदाननं कुटिलच कोपभरेण । शोणपद्ममिवोपरि भ्रमताकुलं भ्रमरेण ॥ हरिहरि० तामहं हृदि संगतामनिशं भृशं रमयामि । किं वनेऽनुसरामि तामिह किं वृथा विलपामि || हरिहरि० तन्वि खिन्नमसूयया हृदयं तवाकलयामि । तन्न वेनि कुतो गतासि न तेन तेऽनुनयामि ॥ हरिहरि० दृश्यसे पुरतो गतागतमेव मे विदधासि । किं पुरेव ससंभ्रमं परिरम्भणं न ददासि ॥ हरिहरि० ॥८॥ क्षम्यतामपरं कदापि तवेश न करोमि । देहि सुन्दरि दर्शनं मम मन्मथेन दुनोमि ॥ हरिहरि० Gitagomnda: Sanskrt Text 139 ·वर्णितं जयदेवकेन हरेरिदं प्रवणेन । किन्दुबिल्वसमुद्रसम्भवरोहिणीरमणेन । हरिहरि० ॥ १० ॥ हदि विसलताहारो नायं भुजङ्गमनायकः कुवल्यदल श्रेणी कण्ठे न सा गरलद्युतिः । मलयजरजो नेदं भस्म प्रियारहिते मयि प्रहर न हरमान्त्याना कुधा किमु धावसि ॥११॥ पाणौ मा कुरु चूतसायकममुं मा चापमारोपय क्रीडानिर्जितविश्व मूर्छितजनाघातेन किं पौरुषम् । तस्या एवं मृगीदृशो मनसिजप्रेसत्कटाक्षाशुग- श्रेणीजर्जरितं मनागपि मनो नाद्यापि संधुक्षते ॥ १२ ॥ भूचापे निहितः कटाक्षविशिखो निर्मातु मर्मव्यथां श्यामात्मा कुटिल: करोतु कबरीभारोऽपि मारोद्यमम् । मोहं तावदयं च तन्वि तनुतां बिम्बाधरो रागवान् सवृत्तस्तनमण्डलस्तव कयं प्राणैर्मम क्रीडति ॥ ॥ १३ ॥ तानि स्पर्शसुखानि ते च तरलाः स्निग्धा दृशोर्विभ्रमास् तद्वनाम्बुजसौरभं स च सुधास्यन्दी गिरां वक्रिमा । सा विम्बाधरमाधुरीति विषयासङ्गेऽपि चेन्मानसं तस्यां लमसमाधि हन्त विरहव्याधिः कथं वर्धते ॥ १४ ॥ भ्रूपल्वं धनुरपाङ्गतरङ्गितानि बाणा गुणः श्रवणपालिरिति स्मरेण । तस्यामताजयजङ्गमदेवतायाम् अस्त्राणि निर्जितजगन्ति किमर्पितानि ॥ १५ ॥ इति श्रीगीतगोविन्दे मुग्धमधुसूदनो नाम तृतीयः सर्गः ॥ Gitagovinda: Sanskrit Text 140 ·॥ चतुर्थः सर्गः॥, । स्निग्धमधुसूदनः। यमुनातीरवानीरनिकुञ्ज मन्दमास्थितम् । प्राह प्रेमभरोद्धान्तं माधवं राधिकासरवी ॥१॥ । कर्णाटरागण गीयते ॥ गीतम् ८ ॥ निन्दति चन्दनमिन्दुकिरणमनु विन्दति खेदमधीरम् । व्यालनिलयमिलनेन गरलमिव कलयति मलयसमीरम् ॥ सा विरहे तव दीना माधव मनसिजविशिखभयादिव भावनया त्वयि लीना ।। ध्रुवम् ॥ २ ॥ अविरलनिपतितमदनशरादिव भवदवनाय विशालम् । स्वहृदयमर्मणि वर्म करोति सजलनलिनीदलजालम् ॥ सा वि० ॥ ३ ॥ कुसुमविशिखशरतल्पमनल्पविलासकलाकमनीयम् । व्रतमिव तव परिरम्भसुखाय करोति कुसुमशयनीयम् ॥ सा वि० वहति च गलितविलोचनजलभग्माननकनलमुदारम् । विधुमिव विकटविधुन्तुददन्तदलनगलितामृतधारम् ॥ सा वि० विलिखति रहसि कुरङ्गमदेन भवन्तमममगरभूतम् । प्रणमति मकरमधो विनिधाय करे च शरं नवचूतम् || सा वि० ॥ ६ ॥ प्रतिपदमिदमपि निगदति माधव तव चरणे पतिताहम् । त्वयि विमुखे मयि सपदि सुधानिधिरपि ननुते तनुदाहम् ॥ सा वि० ॥ ७ ॥ ध्यानलयेन पुरः परिकल्प्य भवन्तमतीव दुरापम् । विलपति हसति विषीदति रोदिति चञ्चति मुश्चति तापम् ।। मा वि०॥ ८ ॥ Gitagounda: Sanskrı Text 141 ·श्रीजयदेवमणितमिदमधिकं यदि मनसा नटनीयम् । हरिविरहाकुलबालवयुवतिसखीवचनं पठनीयम् ॥ सा वि० आवासो विपिनायते प्रियसखीमालापि जालायते तापोऽपि श्वसितेन दावदहनज्वालाकलापायते । सापि त्वद्विरहेण हन्त हरिणीरूपायते हा कथं कन्दर्पोऽपि यमायते विरचयशार्दूलविक्रीडितम् ॥ १० ॥ ॥ देशाख्यरागेग गीयते ॥ गीतम् ९ ॥ स्तनविनिहितमपि हारमुदारम् । सा मनुते कृशतनुरतिभारम् ।। राधिका विरहे तब केशव ।। ध्रुवम् ॥ ११ ॥ ० ॥ १२ ॥ ॥ १४ ॥ सरसमसृणमपि मलयजपकम् । पश्यति विषमिव वपुषि सशकम् ।। राधिका श्वसितपवनमनुपमपरिणाहम् । मदनदहनमिव वहति सदाहम् ॥ राधिका दिशि दिशि किरति सजलकणजालम् । नयननलिनमिव विगलितनालम् ॥ राधिका० नयनविषयमपि किसलयतल्पम् । कलयति विहितहुताशविकल्पम् ॥ राधिका० त्यजति न पाणितलेन कपोलम् । बालशशिनमिव सायमलोलम् ॥ राधिका हरिरिति हरिरिति जपति सकामम् । विरहविहितमरणेव निकामम् ।। राधिका ॥ १५ ॥ ॥ १६ ॥ Gitagovinda. Sanskrit Text 142 ·श्रीजयदेवमाणितमिति गीतम् । सुखयतु केशवपदमुपनीतम् ॥ राधिका० ॥ १८ ॥ सा रोमांचति सीत्करोति विलपत्युत्कम्पते ताम्यति ध्यायत्युद्धमति प्रमीलति पतत्युद्याति मूर्छत्यपि । एतावत्यतनुज्वरे बरतनु वेन किं ते रसात् स्ववैद्यप्रतिम प्रसीदसि यदि त्यतोऽन्यथा नान्तकः स्मरातुरां दैवतवैद्यहृद्य त्वदङ्गसङ्गामृतमात्रसाध्याम् । विमुक्तबाधां कुरुषे न राधामुपेन्द्र वज्रादपि दारुणोऽसि ॥२०॥ कन्दर्पज्वरसंज्वरतुरतनोराश्चर्यमस्याश्चिरं चेतश्चन्दनचन्द्रमाकमलिनीचिन्तासु संताम्यति । किंतु क्लान्तिवशेन शीतलतनुं त्वामेकमेव प्रियं ध्यायन्ती रहसि स्थिता कथमपि क्षीणा क्षणं प्राणिति ॥२१॥ क्षणमपि विरहः पुरा न सेहे नयननिमीलनखिन्नया यया ते । श्वसिति कथमसौ रसालशाखां चिरविरहेण विलोक्य पुष्पितायाम् ॥२२॥ इति श्रीगीतगोविन्दे मिन्धमाधवो नाम चतुर्थः सर्गः ॥ Grta govinda Sanskni Text 143 ·॥ पञ्चमः सर्गः ॥ । साकांक्षपुण्डरीकाक्षः। अहमिह निवसामि याहि राधाम् अनुनय मद्वचनेन चानयेथाः । इति मधुरिपुणा सखी नियुक्ता स्वयमिदमेत्य पुनर्जगाद राधाम् ॥१॥ ॥ देशवरागीरागण गीयते ॥ गीतम् १० ॥ वहति मलयसमीरे मदनमुपनिधाय । स्फुटति कुसुमनिकरे विरहिहृदयदलनाय । तव विरहे वनमाली सखि सीदति ॥ ध्रुवम् ॥२॥ दहति शिशिरमयूखे मरणमनुकरोति । पतति मदनविशिखे विलपति विकलतरोऽति ॥ तव वि० तव वि० ध्वनति मधुपसमूहे श्रवणमपिदधाति । मनसि वलितविरहे निशि निशि रुजमुपयाति ॥ तव वि० ॥ ४ ॥ वसति विपिनविताने त्यजति ललितधाम । लठति धरणिशयने बहु विलपति तव नाम ।। भणति कविजयदेवे विरहिविलसितेन । मनसि रभसविभवे हरिख्दयतु सुकृतेन ॥ तव वि० ॥ ६ ॥ पूर्व यत्र सम त्वया रतिपतेरासादिताः सिद्धयस् तस्मिन्नेव निकुञ्जमन्मथमहातीर्थे पुनर्माधवः । ध्यायंस्त्वामनिशं जपन्नपि तवैवालापमन्त्रावली भूयस्त्वत्कुचकुम्भनिर्भरपरीरम्भामृत वाञ्छति ॥ ७॥ Gitagovinda. Sanskrit Text 144 ·11 गुर्जरीरागंग गीयते ॥ गीतम् ११ ॥ रतिसुखसारे गतमभिसारे मदनमनोहरवेशम्। न कुर नितम्बिनि गमनविलम्बनमनुसर वे हृदयेशम् ।। धीरसमीरे यमुनातीरे वसति वने वनमाली || ध्रुवम् ॥ ८ ॥ नामसमेतं कृतसंकेतं वादयते मृदुवेणुम् । बहु मनुते ननु ते तनुसंगतपवनचलितमपि रेणुम् ॥ धीर० ॥९॥ पतति पतत्रे विचलति पत्रे शक्तिभवदुपयानम् । रचयति शयनं सक्तिनयनं पश्यति तव पन्थानम् ॥ धीर० मुखरमधीरं त्यज मजीरं रिपुमिव केलिमुलोलम् । चल सखि कुञ्ज सतिमिरपुजं शीलय नीलनिचोलम् ॥ धीर० ॥ ११ ॥ उरसि मुरारेरुपहितहारे घन इव तरलबलाके । तडिदिव पीते रतिविपरीते राजसि मुकृतविपाके ॥ धीर० विगलितवसनं परिहतरसनं घटय जघनमपिधानम् । किसलयशयने पकजनयने निधिमिव हर्पनिदानम् ॥ धीर० ॥ १३ ॥ हरिरभिमानी रजनिरिदानीमियमपि याति विरामम् । कुरु मम वचनं सत्वररचनं पूरय मधुरिपुकामम् ॥ धीर० ॥ १४॥ श्रीजयदेवे कृतहरिसेवे भणति परमरमणीयम् । प्रमुदितहदयं हरिमतिसदयं नमत सुकृतकमनीयम् ॥ धीर० विकिरति मुहुः श्वामानाशाः पुरो मुहुरीक्षते प्रविशति मुहुः कुनं गुञ्जन्मुहुर्बहु ताम्यति । रचयति मुहुः शय्या पर्याकुलं मुहुरीक्षते मदनकदनक्लान्तः कान्ते प्रियस्तव वर्तते ॥ १६ ॥ Grtagovinda Sanskrit Text 145 ·त्वद्वाम्येन समं समप्रमधुना तिग्मांशुरस्तं गतो गोविन्दस्य मनोरथेन च समं प्राप्तं तमः सान्द्रताम् । कोकानां करुणस्वनेन सदृशी दीर्घा मदभ्यर्थना तन्मुग्धे विफलं विलम्बनमसौ रम्योऽमिसारक्षण: आश्लपादनु चुम्बनादनु नखोल्लेखानु स्वान्तज- प्रोबोधादनु संभ्रमादनु रतारम्भादनु प्रीतयोः । अन्या गतयोर्भमान्मिलितयोः समापगे नतोर् दम्पत्योरिह को न को न तमसि वीडाविमिश्रो रसः ॥ १८ ॥ सभयचकित विन्यस्यन्ती दृशं तिमिरे पथि प्रतितरु मुहुः स्थित्वा मन्दं पदानि वितन्वतीम् । कथमपि रहः प्राप्तामझेरनगतरनिभिः सुमुखि सुभगः पश्यन्स त्वामुपैतु कृतार्थताम् ॥ १९ ॥ : इति श्रीगीतगोविन्देऽभिसारिकावर्णने साकाक्षपुण्डरीकाक्षो नाम पञ्चमः सर्गः ॥ Giza govinda: Sanskrit Text 146 ·॥ पठः सर्गः ॥ । कुण्ठवैकुण्ठः । अथ तां गन्तुमशक्तां चिरमनुरक्ता लतागृहे दृष्ट्वा । तचरितं गोविन्दे मनसिजमन्दे सखी प्राह ॥१॥ ॥ नटरागण गीयते ।। गीतम् १२ ॥ पश्यति दिशि दिशि रहसि भवन्तम् । तदधरमधुरमधूनि पिबन्तम् ॥ नाथ हरे सीदति राधा वासगृहे ॥ ध्रुवम् ॥ २ ॥ त्वदभिसरणरभसेन वलन्ती। पतति पदानि क्रियन्ति चलन्ती ।। नाथ हरे० विहितविशदबिसकिसलयवलया। जीवति परमिह तव रतिकलया ।। नाथ हरे० ॥४॥ मुहुरक्लोकितमण्डनलीला । मधुरिपुरहमिति भावनशीला || नाथ हरे० ॥५॥ त्वरितमुपैति न कथममिसारम् । हरिरिति वदति सखीमनुवारम् ॥ नाथ हरे० ॥६॥ श्लिष्यति चुम्बति जलधरकल्पम् । हरिरुपगत इति तिमिरमनल्पम् ।। नाथ हरे० भवति विलम्बिनि विगलितलजा । विलपति रोदिति वासकसज्जा ।। नाथ हरे० ॥ ८ ॥ श्रीजयदेवकवेरिदमुदितम् । रसिकजनं तनुतामतिमुदितम् ॥ नाथ हरे० ॥ ९ ॥ Gitagovında Sanskru Text 147 ·विपुलपुलकपालिः स्फीतसीत्कारमन्त- जनितजडिमकाकुत्र्याकुलं ब्याहरन्ती । तव कितव विधायामन्दकन्दर्पचिन्तां रसजलधिनिममा ध्यानलमा मृगाक्षी ॥ १० ॥ अङ्गेष्वाभरणं करोति बहुशः पत्रेऽपि संचारिणि प्राप्त त्वां परिशकते वितनुते शय्यां निरं ध्यायति । इत्याकल्पविकल्पतल्परचनासंकल्पलीलाशत- व्यासक्तापि विना त्वया वरतर्नुनैषा निशां नेष्यति ॥ ११ ॥ इति श्रीगीतगोविन्दे वासकसजावर्णने कुण्ठवैकुण्ठो नाम पष्टः सर्गः ॥ Gitagouinda: Sanskrit Tert 148 ·।। सप्तमः सर्गः ॥ नागरनारायणः। अत्रान्तरे च कुलटाकुलवमपात- संजातपातक इव स्फुटलान्छनश्रीः । वृन्दावनान्तरमदीपयदंशुजालेर दिक्सुन्दरीवदनचन्दनविन्दुरिन्दुः ॥१॥ प्रसरति शशधरविम्बे विहितविलम्चे च माधवे विधुरा । विरचितविविधविलापं सा परितापं चकारोच्चैः ॥२॥ ॥ मालवरागण गीयते । गीतम् १३ ॥ कथितसमयेऽपि हरिरहह न ययौ वनम् । मम विफलमिदममलरूपमपि यौवनम् ।। यामि हे कमिह शरणं सखी जनवचनवञ्चिता ॥ ध्रुवम् ॥ ३ ॥ यदनुगमनाय निशि गहनमपि शीलितम् । तेन मम हृदयमिदमसमशरकीलितम् ॥ यामि हे० मम मरणमेव बरमतिवितथकेतना । किमिह विषहामि विरहानलमचेतना ॥ यामि हे. मामहह विधुरयति मधुरमधुयामिनी । कापि हरिमनुभवति कृतसुकृतकामिनी || यामि हे. अहह कलयामि वलयादिमणिभूषणम् । हरिविरहदहनवहनेन बहुदूषणम् ॥ यामि है। ॥ ७॥ कुसुममुकुमारतनुमतनुधरलीलया । स्रगपि हृदि हन्ति मामतिविषमशीलया ॥ यामि हे. Gtagovinda Sanskrit Text 149 ·अहमिह निवसामि नगणितवनवेतसा । स्मरति मधुसूदनो मामपि न चेतसा ।। यामि हे. हरिचरणशरणजयदेवकविभारती । वसतु हदि युवतिरिव कोमलकलावती ॥ यामि है। ॥ १० ॥ तत्ति कामपि कामिनीममिसृतः किं वा फलाकेलिभिर् पद्धी बन्धुमिरन्धकारिणि वनोपान्ते किमु आम्यति । कान्तः क्लान्तमना मनागपि पथि प्रस्थातुमेवाक्षमः संकेतीकृतमजुवजुललताकुजेऽपि यनागतः ॥ ११ ॥ अथागतां माधवमन्तरेण सखीमियं वीक्ष्य विपादमूकाम् । विशमाना रमितं कयापि जनार्दनं दृष्टवदेतदाह ॥ १२ ॥ । पसन्तरागण गीयते ॥ गीतम् १४ ॥ स्मरसमरोचितविरचितवेशा । गलितकुसुमदरविलुलितकेशा ॥ कापि मधुरिपुणा विलसति युवतिरधिकगुणा ॥ ध्रुवम् ॥१३॥ हरिपरिरम्भणयलितविकारा । कुचकलशोपरि तरलितहारा कापि० ॥ १४ ॥ विचलदलकललिताननचन्द्रा । तदधरपानरभसकृततन्द्रा ॥ कापि० ॥ १५ ॥ चञ्चलकुण्डलदलितकपोला । मुखरितरसनजधनगतिलोला । कापि० दयितविलोकितलज्जितहसिता । बहुविधकूजितरतिरसरसिता || कापि० Gitagovinda. Sanskrit Text 750 ·विपुलपुलकपथुवेपथुभगा। श्वसितनिमीलितविकसदनद्रा ।। कापि० 1॥ १८ ॥ श्रमजलकणभरमुभगशरीरा! परिपतितोरसि रतिरणधीरा ॥ कापि० ॥ १९ ॥ श्रीजयदेवभणितहरिरमितम् । कलिकलुपं जनयतु परिशमितम् ॥ कापि० ॥२०॥ विरहपाण्डुमुरारिमुखाम्बुजद्युतिरिय तिरयन्नपि चेतनाम् । विधुरतीव तनोति मनोमुवः सुहृदये हृदये मदनव्यथाम् ॥२१॥ ॥ गुर्जरीरागण गीयते ॥ गीतम् १५॥ समुदितमद ने रमणीवदने चुम्बनवलिताधरे । मृगमदतिलकं लिखति सपुलकं मृगमिव रजनीकरे ॥ रमते यमुनापुलिनवने विजयी मुरारिरधुना ॥ ध्रुवम् ॥ २२ ॥ धनचयरुचिरे रचयति चिकुरे तरलिततरुणानने । कुरवककुसुमं चपलासुपमं रतिपतिमृगकानने । रमते० ॥ २३ ॥ घटयति सुघने कुचयुगगगने मृगमदरुचिरूपिते । मणिसरममलं तारकपटलं नवपदशशिभूषिते ।। रमते. ॥ २४ ॥ जितविसशकले मृदुभुजयुगले करतलनलिनीदले । मरकतवलयं मधुकरनिचयं वितरति हिमशीतले ॥ रमते. रतिगृहजघने विपुलापधने मनसिजकनकासने । मणिमयरसनं तोरणहसनं विक्रिति कृतवासने ॥ रमते. ॥२६॥ Gitagovinda. Sanskri Text 159 ·चरणकिसलये कमलानिलये नखमणिगणपूजिते । बहिरपवरणं यावकभरणं जनयति हृदि योजिते ॥ रमते. ॥२७॥ रमयति मुदृशं कामपि सुभृशं खलहलधरसोदरे । किमफलमवसं चिरमिह विरसं वद सखि विटपोदरे ।। रमते. ॥ २८ ॥ इह रसभणने कृतहरिगुणने मधुरिपुपदसेवके । कलियुगचरितं न वसतु दुरितं कविनृपजयदेवके ॥ रमते० ॥ २९ ॥ नायातः सखि निर्दयो यदि शठस्त्वं दूति किं दूयसे स्वच्छन्द बहुवल्लभः स रमते किं तत्र ते दूपणम् । पश्याद्य प्रियसंगमाय दयितस्याकृष्यमाणं गुणैर् उत्कण्ठार्तिभरादिव स्फुटदिदं चेतः स्वयं यास्यति ॥३०॥ ॥ देशाख्यरागण गीयते ॥ गीतम् १६ ॥ अनिलतरलकुवलयनयनेन । तपति न सा किसलयशयनेन ॥ सखि या रमिता वनमालिना ॥ ध्रुवम् ॥ ३१ ॥ विकसितसरसिजललितमुखेन । स्फुटति न सा मनसिजविशिखेन ॥ सखि या० ॥ ३२ ॥ अमृतमधुरमृदुतरवचनेन । ज्वलति न सा मलयजपवनेन । सखि या० स्थलजलरुहरुचिकरचरणेन । लुठति न सा हिमकरकिरणेन ॥ सखि या० ॥ ३४ ॥ सजलजलदसमुदयरुचिरेण । दलति न सा हृदि चिरविरहेण ।। सखि या० ॥ ३५ ॥ Gitagovinda: Sanskrit Tert 152 ·कनकनिकपरुचिशुचिवसनेन । श्वसिति न सा परिजनहसनेन । सखि या० सफलभुवनजनवरतरुणेन । वहति न सा रुजमतिकरुणेन । सखि या० ॥ ३७॥ श्रीजयदेवभणितवचनेन । प्रविशतु हरिरपि हृदयमनेन || सखि या० मनोभवानन्दन चन्दनानिल प्रसीद रे दक्षिण मुश्च चामताम् । क्षणे जगप्राण विधाय माधवं पुरो मम प्राणहरो भविष्यसि ॥ ३९ ॥ रिपुरिव सखीसंवासोऽयं शिखीव हिमानिलो विषमिव सुधारश्मियस्मिन्दुनोति मनोगते । हृदयमदये तस्मिन्नेवं पुनर्वलते बलात् कुवल्यदृशां वामः कामो निकामनिरशः ॥ ४० ॥ बाधां विधेहि मलयानिल पञ्चबाण प्राणान्गृहाण न गृहं पुनराश्रयिष्ये । किं ते कृतान्तभगिनि क्षमया तरङ्गैर् अङ्गानि सिञ्च मम शाम्यतु देहदाहः ॥ ४१ ।। इति श्रीगीतगोविन्दे विप्रलब्धावर्णने नागरनारायणो नाम सममः. मर्गः ।। Gitagovinda: Sanskrit Text 153 ·॥ अष्टमः सर्गः ॥ । विलक्ष्यलक्ष्मीपतिः । अथ कथमपि यामिनीं विनीय स्मरशरजर्जरितापि सा प्रभाते । अनुनयवचनं वदन्तमग्रे प्रणतमपि प्रियमाह साभ्यसूयम् ॥१॥ ॥ भैरवीरागण गीयते ॥ गीतम् १७ ॥ रजनिजनितगुरुजागररागकपायितमलसनिवेशम् । वहति नयनमनुरागमिव स्फुटमुदितरसाभिनिवेशम् ॥ हरिहरि याहि माधव याहि केशव मा वद कैतववादं तामनुसर सरसीरहलोचन या तव हरति विषादम् ॥ ध्रुवम् ॥ २ ॥ कज्जलमलिनविलोचनचुम्बनविरचितनीलिमरूपम् । दशनवसनमरणं तव कृष्ण तनोति तनोरनुरूपम् ।। हरिहरि० वपुरनुहरति तव स्मरसगरखरनखरक्षतरेखम् । मरकतशकलकलितकलधौतलिपरिव रतिजयलेखम् ॥ हरिहरि० ॥४॥ चरणकमलगलदलतकसिक्तमिदं तव हृदयमुदारम् । दर्शयतीव बहिर्मदनगुमनवक्सिस्यपरिवारम् ॥ हरिहरि० दशनपदं भवद्धरगतं मम जनयति चेतसि खेदम् । कथयति कथमधुनापि मया सह तव वपुरेतदभेदम् ॥ हरिहरि० बहिरिव मलिनतरं तव कृष्ण मनोऽपि भविष्यति नूनम् । कथमथ वच्चयसे जनमनुगतमसमशरज्वरदूनम् ॥ हरिहरि० ॥ ७॥ भ्रमति भवानबलाकवलाय वनेषु किमत्र विचित्रम् । प्रथयति पूतनिकैव वधूवधर्दियबालचरित्रम् ॥ हरिहरि० ॥ ८ ॥ Gitagovinda: Sanskrit Text 154 ·श्रीजयदेवभणितरतिवश्चितखण्डितयुवतिविलापम् । शृणुत सुधामधुरं विबुधा विबुधालयतोऽपि दुरापम् ।। हरिहरि० ॥९॥ तके पश्यन्त्याः प्रसरदनुराग बहिरिव प्रियापादालनच्छुरितमरुपच्छायहृदयम् । ममाघ प्रख्यातप्रणयभरमझेन कितव त्वदालोकः शोकादपि किमपि लज्जां जनयति ॥१०॥ इति श्रीगीतगोविन्दे सण्डितावर्णने विलक्ष्यलक्ष्मीपतिनाम अष्टमः सर्गः ॥ Gitagovinda. Sanskrit Tert I55 ·॥ नवमः सर्गः॥ । मन्दमुकुन्दः। तामथ मन्मथखिन्नां रतिरसभिन्नां विषादसम्पन्नाम् । अनुचिन्तितहरिचरितां कलहान्तरितामुवाच सखी ॥१॥ गुर्जरीरागण गीयते ॥ गौतम् १८ ॥ हरिरभिसरति वहति मधुपवने । किमपरमधिकसुख सखि भुवने ॥ माधवे मा कुरु मानिनि मानमये ॥ ध्रुवम् ॥२॥ तालफलादपि गुरुमतिसरसम् । किं विफलीकुरुपे कुचकलशम् ॥ माध० ॥ ३ ॥ कति न कथितमिदमनुपदमचिरम् । मा परिहर हरिमतिशयरुचिरम् ॥ माध० ॥४॥ किमिति विषीदसि रोदिषि विकला । विहसति युवतिसभा तव सकला ॥ माध० ॥ ५ ॥ सजलनलिनीदलशीतलशयने । हरिमवलोकय सफलय नयने || माध० ॥६॥ जनयसि मनसि किमिति गुरुखेदम् । शृणु मम वचनमनीहितभेदम् ॥ माध० हरिस्पयातु वदतु बहुमधुरम् । किमिति करोषि हृदयमतिविधुरम् ॥ माध० ॥ ८॥ श्रीजयदेवमणितमतिललितम् । मुखयतु रसिकजन हरिचरितम् || माध० Gitagorinda: Sanskrit Ter 156

·सिन्धे यत्परषासि यत्प्रणमति स्तब्धासि यद्रागिणि
द्वेषस्थासि यदुन्गुरखे विमुखतां यातासि तस्मिन्प्रिये ।
युक्तं तद्विपरीतकारिणि तव श्रीखण्डचर्चा विष
शीतांशुस्तपनो हिमं हुतवहा क्रीडामुदो यातनाः
इति श्रीगीतगोविन्दे फलहान्तरितावर्णने मन्दमुकुन्दो नाम नवमः सर्गः ॥
Gitagovında Sanskrit Tere 157

·॥ दशमः सर्गः ॥ । चतुरचतुर्भुजः । अत्रान्तरे मसूणरोषवशामसीम- निःश्वासनिःसहमुखीं सुमुखीमुपेत्य । सबीडमीक्षितसखीवदनां दिनान्ते सानन्दगद्गदपदं हरिरित्युवाच ॥ १ ॥ ॥ देशवराडीरागण गीयते ।। गीतम् १९ ॥ वदसि यदि किंचिदपि दन्तरुचिकौमुदी हरति दरतिमिरमतिघोरम् । स्फुरदधरसीधवे तव वदनचन्द्रमा रोचयतु लोचनचकोरम् ॥ प्रिये चारुशीले मुञ्च मयि मानमनिदानं सपदि मदनानलो दहति मम मानसं देहि मुखकमलमधुपानम् ।। ध्रुवम् ॥ २ ॥ सत्यमेवासि यदि सुदति मयि कोपिनी देहि खरनखरशरघातम् । घटय भुजबन्धनं जनय रदखण्डनं येन वा भवति सुखजातम् ।। प्रिये० त्वमसि मम भूषणं त्वमसि मम जीवनं त्वमसि मम भवजलधिरत्नम् । भवतु भवतीह मयि सततमनुरोधिनी तत्र मम हृदयमतियत्नम् ॥ प्रिये० ॥ ४ ॥ नीलनलिनाभमपि तन्वि तव लोचनं धारयति कोकनदरूपम् । कुसुमशरबाणभावेन यदि रञ्जयसि कृष्णमिदमेतदनुरूपम् ।। प्रिये. ॥ ५॥ स्फुरतु कुचकुम्भयोरुपरि मणिमञ्जरी रञ्जयतु तव हृदयदेशम् । रसतु रसनापि तव धनजघनमण्डले घोषयतु मन्मथनिदेशम् ।। प्रिये. स्थलकमलगञ्जनं मम हृदयरञ्जनं जनितरतिरङ्गपरभागम् । गण मसणवाणि करवाणि पदपङ्कजं सरसलसदलतकरागम् || प्रिये ॥ ७ ॥ स्मरगरलखण्डनं मम शिरसि मण्डनं देहि पदपल्लवमुदारम् । ज्वलति मयि दारुणो मदनकदनास्यो हरतु तदुपाहितविकारम् ॥ प्रिये० ॥ ८ ॥ Gitagorinda: Sanskrit Text is ·इति चटुलचाटुपटुचारु मुरवैरिणो राधिकामधि वचनजातम् । जयति पद्मावतीरमणजयदेवकविभारतीभणितमतिशातम् ॥ प्रिये ॥२॥ परिहर कृतात शहां त्वया सततं धन- स्तनजघनयाकान्ते स्वान्ते परानवकाशिनि । विशति वितनोरन्यो धन्यो न कोऽपि ममान्तरं स्तनभरपरीरम्भारम्भे विधेहि विधेयताम् ॥१०॥ मुन्धे विधेहि मयि निर्दयदन्तदंश- दोलिबन्धनिविडस्तनपीडनानि । चण्डि त्वमेव मुदमच न पञ्चबाण- चण्डालकाण्डदलनादसवः प्रयान्तु ॥ ११ ॥ व्यथयति वृथा मौनं तन्वि प्रपञ्चय पञ्चम तरुणि मधुरालापैतापं विनोदय दृष्टिभिः । सुमुखि विमुखीभावं तावद्विमुच्च न मुच्च मां स्वयमतिशयसिग्धो मुग्धे प्रियोऽहमुपस्थितः ॥१२॥ बन्धकद्युतिवान्धवोऽयमधरः स्निग्धो मधूकच्छविर गण्डश्चण्डि चकास्ति नीलनलिनश्रीमोचनं लोचनम् । नासाभ्येति तिलप्रसूनपदवीं कुन्दाभदन्ति प्रिये प्रायस्त्वन्मुखसेवया विजयते विश्व स पुष्यायुधः ॥ १३ ॥ दृशौ तव मदालसे वदनमिन्दुसंदीपकं गतिर्जनमनोरमा विधुतरम्भमूख्र्यम् । रतिस्तव कलावती रुचिरचित्रलेखे ध्रुवाव् अहो विबुधयौवतं वहसि तन्वि पृथ्वीगता ॥१४॥ इति श्रीगीतगोविन्द मानिनीवर्णने चतुरचतुर्भुजो नाम दशमः सर्गः ॥ Gicagouinda Sanskrit Text 159 ·। एकादशः सर्गः॥ । सानन्ददामोदरः। सुचिरमनुनयेन प्रीणयित्वा मृगाक्षी गतवति कृतवेशे केशवे कुञ्जशय्याम् । रचितरुचिरभूषां दृष्टिमोषे प्रदोघे स्फुरति निरवसादां कापि राधां जगाद ॥ १ ॥ ॥ वसन्तरागण गीयते गीतम् २० ॥ विरचितचाटुवचनरचनं चरणे रचितप्रणिपातम् । संप्रति मजुलबजुलसीमनि केलिशयनमनुयातम् ॥ मुग्धे मधुमथनमनुगतमनुसर राधिके || ध्रुवम् ॥ २ ॥ घनजधनस्तनभारभरे दरमन्थरचरणविहारम् । मुखरितमणिमञ्जीरमुपैहि विधेहि मरालविकारम् ॥ मुग्धे० शृणु रमणीयतरं तरुणीजनमोहनमधुपविरावम् । कुसुमशरासनशासनबन्दिनि पिकनिकरे भज भावम् ॥ मुग्धे० अनिल तरलकिसलयनिकरण करेण लतानिकुरम्बम् । प्रेरणमिव करभोरु करोति गति प्रतिमुच्च विलम्बम् ॥ मुग्धे० स्फुरितमनङ्गतरङ्गवशादिव सूचितहरिपरिरम्भम् । पृच्छ मनोहरहारविमलजलधारममुं कुचकुम्भम् ॥ मुग्धे० अधिगतमखिलसखीभिरिदं तव वपुरपि रतिरणसज्जम् । चण्डि रसितरशनारवाडिण्डिममभिसर सरसमलजम् ॥ मुन्धे० स्मरशरसुभगनखेन करेण सखीमवलम्व्य सलीलम् । चल वलयकणितैरवबोध्य हरिमपि निजगतिशीलम् ॥ मुग्धे० ॥४॥ . ॥ ५॥ - Gitagorunda: Sanskrit Text 160 ·श्रीजयदेवमणितमधरीकृतहारमुदासितवामम् । हरिविनिहितमनसामधितिष्ठतु कण्ठतटीमविरामम् ॥ मुग्धे० ॥९॥ सा मां द्रक्ष्यति वक्ष्यति सारकथां प्रत्यहमालिनः प्रीति यास्यति रेस्यते सखि समागत्येति चिन्ताकुलः । स त्वां पश्यति वेपते पुलकयत्यानन्दति स्थिति प्रत्युद्गच्छति मूर्च्छति स्थिरतमःपुझे निकुञ्ज प्रियः ॥ १० ॥ अक्षणोनिक्षिपदञ्जन श्रवणयोस्तापिच्छगुच्छावली मर्षि श्यामसरोजदाम कुचयोः कस्तूरिकापत्रकम् । धूर्तानामभिसारसत्वरहदा विष्वनिकुञ्जे सखि ध्वान्तं नीलनिचोलचारु सुदृशां प्रत्यगमालिकति ॥ ११ ॥ काश्मीरगौरवपुषामभिसारिकाणाम् आपद्धरेखमभितो रुचिमञ्जरीभिः । एततमालदलनीलतमं तमिस्र तत्प्रेमहेमनिकपोपलतां तनोति ॥ १२ ॥ हारावलीतरलकाश्चनकाश्चिदाम- केयूरकङ्कणमणिद्युतिदीपितस्य । द्वारे निकुञ्जनिलयस्यहरि निरीक्ष्य ब्रीडावतीमथ सखी निजगाद राधाम् ॥ १३ ॥ ॥ वराडीरागेण गीयते ॥ गीतम् २१ ॥ मजुतरकुञ्जतलकेलिसदने । विलस रतिरभसहसितबदने ॥ प्रविश राधे माधवसमीपमिह ॥ ध्रुवम् ॥ १४ ॥ Gitagovinda: Sansknt Text T67 ·नवभवदशोकदलशयनसारे । विलस कुचकलशतरलहारे 11 प्रविश. ॥ १५ ॥ ॥ १६ ॥ कुसुमचयरचितशुचिवासगेहे । विलस कुसुमसुकुमारदेहे ॥ प्रविश० चलमलयवनपवनसुरभिशीते । विलस रसवलितललितगीते ॥ प्रविश० ॥ १७ ॥ मधुमुदितमधुपकुलकलितरावे । विलस मदनरससरसभावे ।। प्रविश० ॥ १९ ॥ मधुरतरपिकनिकरनिनदमुखरे । विलस दशनरुचिरुचिरशिखरे ॥ प्रविश० विततबहुबल्लिनवपल्लवघने । विलस चिरमलसपीनजघने ॥ प्रविश० ॥ २० ॥ विहितपद्मावतीसुखसमाजे । कुरु मुरारे मङ्गलशतानि भणति जयदेवकविराजे ॥ प्रविश . ॥ २१ ॥ त्वां चितेन चिरं वहन्नयमतिश्रान्तो भृशं तापितः फन्दप तु पातुमिच्छाति सुधासंबधविम्बाधरम् । अस्याङ्गं तदलंकुरु क्षणमिह भूक्षेपलक्ष्मीलव- क्रीते दास इवोपसेवितपदाम्भोजे कुतः सम्भ्रमः ॥ २२ ॥ सा ससाध्वससानन्दं गोविन्दे लोललोचना । सिआनमजुमञ्जीरं प्रविवेश निवेशनम् ॥२३॥ Gitagovinda- Sanskrit Text 162 ·1- ॥ वग़हीरागंग गीयते ॥ गीतम् १२ ॥ राधावदनविलोकनविकसितविविधविकारविभङ्गम् । जलनिधिमिव विधुमण्डलदर्शनतरलिततुतरम् ॥ हरिमेकरसं चिरममिलपितविलासं सा ददर्श गुरुहर्षवशंक्दवदनमनहनिवासम् ॥ ध्रुवम् ॥२४ ॥ हारममलतरतारमुरसि दध परिरभ्य विदूरम् । स्फुटतरफेनकदम्बकरम्बितमिव यमुनाजलपूरम् If हरि० श्यामलमृदुलकलेवरमण्डलमधिगतगौरदुकूलम् । नीलनलिनमिव पीतपरागपटलभरवलयितमूलम् ।। हरि० ॥२६॥ तरलहगचलचलनमनोहरवदनजनितरतिरागम् । स्फुटकमलोदरखेलितखानयुगमिव शरदि तडागम् ॥ हरि० ॥२७॥ बदनकमलपरिशीलनमिलितमिहिरसमकुण्डलशोभम् । स्मितरुचिरुचिरसमुल्लसिताधरपल्लवकृतरतिलोभम् ॥ हरि० ॥ २८ ॥ शशिकिरणच्छरितोदरजलधरसुन्दरसकुसुमकेशम् । तिमिरोदितविधुमण्डलनिर्मलमलयजतिलकनिवेशम् ॥ हरि० ॥ २९॥ विपुलपुलकभरदन्तुरितं रतिकेलिकलाभिरधीरम् । मणिगणकिरणसमूहसमुज्ज्वलभूषणमुभगशरीरम् ।। हरि० ॥३०॥ श्रीजयदेवभणितविभवद्विगुणीकृतभूषणभारम् । प्रणमत हृदि सुचिरं विनिधाय हरिं सुकृतोदयसारम् ।। हरि० अतिक्रम्यापाङ्गं श्रवणपथपर्यन्तगमन- प्रयासेनेवाक्ष्णोस्तरलतरतारं पतितयोः । इदानी राधायाः प्रियतमसमालोकसमये पपात स्वेदाम्बुप्रसर इव हर्षाश्रुनिकरः ॥ ३२ ॥ Gitagounda. Sanskrit Text_163 ·भजन्त्यास्तल्पान्तं कृतकपटकण्डूतिपिहित- मित याते गेहाद्वहिरवहितालीपरिजने । प्रियास्यं पश्यन्त्याः स्मरशरसमाकूतसुभगं सलज्जा लज्जापि व्यगमदिव दूरं मृगशः इति श्रीगीतगोविन्दे राधिकामिलने सानन्ददामोदरो नामैकादशः सर्गः॥ Gitagovinda: Sanskri Ters 164 ·॥ द्वादशः सर्गः ॥ । सुप्रीतपीताम्बरः । गतयति सखीवृन्देऽमन्दत्रपाभरनिर्भर- स्मरपरवशाकूतस्फीतस्मितमापिताधराम् । सरसमनसं दृष्ट्वा राधा मुहुर्नवपल्लव- प्रसवशयने निक्षिप्ताक्षीमुवाच हरिः प्रियाम् ॥१॥ ॥ विभासरागण गीयते ॥ गीतम् २३ ।। किसलयशयनतले कुरु कामिनि चरणनलिनविनिवेशम् । तव पदपल्लववैरिपराभवमिदमनुभवतु मुवेशम् ।। क्षणमधुना नारायणमनुगतमनुसर राधिके || ध्रुवम् ॥ २॥ करकमलेन करोमि चरणमहमागमितासि विदूरम् । क्षणमुपकुरु शयनोपरि मामिव नूपुरमनुगतिशूरम् ।। क्षण० वदनसुधानिधिगलितममृतमिव रचय वचनमनुकूलम् । विरहमिवामनयामि पयोधररोधकमुरसि दुकूलम् ॥ क्षण ॥४॥ प्रियपरिरम्भणरभसवलितमिव पुलकितमतिदुरवापम् । दुरसि कुचकलशं विनिवेशय शोषय मनसिजतापम् ॥ क्षण। अधरसुधारसमुपनय भाविनि जीवय मृतमिव दासम् । त्वयि विनिहितमनसं विरहानलदग्धवपुषमविलासम् ॥ क्षण. शशिमुखि मुखरय मणिरशनागुणमनुगुणकण्ठनिनादम् । श्रुतियुगले पिकस्तविकले मम शमय चिरादवसादम् ॥ क्षण ॥ ७॥ मामतिविफलरुषा विकलीकृतमवलोकितुमधुनेदम् । मौलितलज्जितमिव नयनं तव विरम विसृज रतिवेदम् ॥ क्षण. ॥८॥ Gitagor'ında: Sanskri Tezi 165 ·श्रीजयदेवभणितमिदमनुपदनिगदितमधुरिपुमोदम् । जनयतु रसिकजनेषु मनोरमरतिरसभावविनोदम् ॥ क्षण. माराके रतिकेलिसंकुलरणारम्भे तया साहस- प्रायं कान्तजयाय किश्चिदुपरि प्रारम्भि यत्सम्भ्रमात् । निष्पन्दा जघनस्थली शिथिलिता दोर्वलिरुत्कम्पितं वक्षो मीलितमक्षि पौरुषरसः स्त्रीणां कुतः सिध्यति ॥ १० ॥ अथ कान्तं रतिक्लान्तमपि मण्डनवाञ्छ्या । निजगाद निराबाधा राधा स्वाधीनभर्तृका ॥ ११ ॥ ॥ रामकरीरागण गीयते ॥ गीतम् २४ ।। कुरु यदुनन्दन चन्दनशिशिरतरेण करेण पयोधरे । मृगमदपत्रकमत्र मनोभवमङ्गलकलशसहोदरे ।। निजगाद सा यदुनन्दने क्रीडति हृदयानन्दने ॥ ध्रुपम् ॥ १२ ।। अलिकुलगञ्जनमञ्जनकं रतिनायकसायकमोचने । त्वदधरचुम्बनलम्बितकजलमुज्ज्वलय प्रिय लोचने ॥ निज० ॥ १३ ॥ नयनकुरतरङ्गविकासनिरासकरे श्रुतिमण्डले । मनसिजपाशविलासधरे शुभवेश निवेशय कुण्डले ॥ निज० ॥ १४ ॥ भ्रमरचयं रचयन्तमुपरि रुचिरं सुचिरं मम संमुखे । जितकमले विमले परिकर्मय नर्मजनकमलकं मुखे ।। निज० ॥ १५ ॥ मृगमदरसवलितं ललितं कुरु तिलकमलिकरजनीकरे । विहितकलङ्ककलं कमलानन विश्रमितश्रमशीकरे ॥ मिन० ॥ १६ ॥ मम रुचिरे चिकुरे कुरु मानद मानसजध्वजचामरे । रतिगलिते ललिते कुसुमानि शिखण्डिशिखण्डकडामरे ।। निज. gitagorinda Sanskrit Text 166 ·सरसघने जघने मम गम्बरदारणवारणकन्दरे ! मणिरशनावसनाभरणानि शुभाशय कासय सुन्दरे । निज० श्रीजयदेववचसि रुचिरे हृदयं सदयं कुरु मण्डने । हरिचरणमरणामृतकृतकलिकनुपभवञ्चरखण्डने । निजा रचय कुचयोः पत्रं चित्रं कुरुष्व कपोलयोर् घटय जयने काश्चीमञ्च सजा कबरीभरम् । कलय वलयश्रेणी पाणी पदे कुरु नूपुराव् इति निगदितः प्रीतः पीताम्बरोऽपि तथाकरोत् ॥२०॥ यद्गान्धर्वकलासु कौशलमनुध्यानं च यद्वैष्णव यच्झारविवेकतत्वमपि यत्काव्येषु लीला यितम् । तत्सर्व जयदेवपण्डितकवेः कृष्णैकतानात्मनः सानन्दाः परिशोधयन्तु सुधियः श्रीगीतगोविन्दतः ॥ २१ ॥ श्रीभोजदेवप्रभवस्य रामादेवीसुतश्रीजयदेवकस्य । पराशरादिप्रियवर्गकण्ठे श्रीगीतगोविन्दकवित्वमस्तु ॥२२॥ इति श्रीजयदेवकृती श्रीगीतगोविन्दे सुप्रीतपीताम्बरो नाम द्वादशः सर्गः ॥ ॥ इति गीतगोविन्दं समाप्तम् ॥ Gitagovında: Sanskrit Text 167 ·गीतगोविन्दस्यपद्यानां सूची अष्वाभरणं अतिक्रम्यापा अत्रान्तरे च कुलटा अत्रान्तरे मरण ५.१८ ३.२ १०.९ ५.१२ ३.१ ११.११ आश्लेषादनु ६.११ इतस्ततस्तार ११.३२ इति चटुलचाट ७.१ इह रसभणने १०.१ उन्मदमदन ८.१ उन्मीलन्मधु १२.११ उरसि मुरारे ६.१ कंसारिरपि ७.१२ कजलमलिन १.४७ कति न कथितम् १२.६ कथितसमयेऽपि ११.७ कनकनिकप ११.५ कन्दर्पज्वर ७.३१ करकमलेन १.३७ करतलताल १.२३ कापि कपोलतले १.२१ कापि विलासविलोल ७.३३ कालियविषधर २.१४ काश्मीरगौर १२.१३ किं करिष्यति ४.३ किमिति विषीदसि ७.०. किसलयशयननिवेशितया ५.१ किसलयशयनतले ७.७ कुरु यदुनन्दन ४.१० कुमुमचय अथ कथमपि अथ कान्तं अथ तां गन्तुमशक्का अथागतां अद्योत्सन अधरसुधा अधिगतमखिल अनिलतरलकिसलय अनिलतरलकुवलय अनेकनारी अमिनवजलधरसुन्दर अमलकमलदललोचन अमृतमधुर अलसनिमीलित अलिकुल्लालन अविरलनिपतित अहमिह निवसामि नगणित अहमिह निवसामि याहि अहह कलयामि आवासो विपिनायते ४.२१ १.४० ३.४ १२.२ १२.१२ ११.१६ Giragovinda. Sanskrit Text 169 ·. कुसुमविशिख कुसुमसुकुमार केलिकला कोकिलकलरव क्षणमपि विरहः क्षत्रियरुधिर क्षम्यतामपरं क्षितिरति ७.२५ “७.११ ३.७ ११.२७ १.८ ८.१० गणयति गुण गतवति सखी गोपकदम्ब घटयति सुघने घनचयरुचिरे जलदपटल ७.८ जितबिस १.४२ तरिक कामपि २.१५ तन्वि खिन्नम् ४.२२ तरलहगञ्चल १.१० तव करकमलवरे ३.९ तवेदं पश्यन्त्याः १.६ तानि स्पर्शसुखानि २.१० तामथ मन्मथखिन्नां १२.१ तामहं हृदि संगताम् २.४ तालफलादपि ७.२४ त्यजति न पाणितलेन ७.२३ त्वदभिसरण ११.३ त्वद्वाम्येन सम ७.१६ त्वमसि मम भूषणं १.३८ त्वरितमुपैति २.३ त्वां चित्तेन ८.५ दयितविलोकित ७.२७ दरविदलित २.१६ दशनपद ११.१७ दहति शिशिर ३.५ दिनमणिमण्डल १.९ दिशि दिशि किरति १.२२ दुरालोकस्तोक हशी तव मदालसे ६.३ घनजघन १०.४ ११.२२ ७.१७ १.३५ चञ्चलकुण्डल चन्दनचर्चित चन्द्रकचारु चरणकमल चरणकिसलये चरणरणित चलमल्ल्य चिन्तयामि तदा छलयसि विक्रमणे जनकमुता जनयसि मनसि ५.३ १.१८ ४.१४ २.२० Gitagorinda: Sansknt Text 170 ·दृश्यसे पुरतो ध्यानलयेन ८.७ ७.४१ ११.३३ ध्वनति मधुप नयनकुरा नयनविषयमपि नवभवदशोक नामसमेत ८.८ नायातः सखि १२.१५ ३.१३ ३.१५ ११.१४ निन्दति चन्दनम् निन्दसि यज्ञविधे निभृतनिकुञ्जगृहं नीलनलिनाभमपि पतति पतत्रे पद्मापयोधर परिहर कृतातङ्के पश्यति दिशि दिशि ३.८ बहिरिव ४.८ बाधां विधेहि ५.४ भजन्त्यास्तल्पान्तं १२.१४ भणति कविजयदेवे ४.१५ भवति विलम्बिनि ११.१५ भ्रमति भवान् ५.९ प्रमरचयं ७.३० भूचाप निहितः ४.२ भ्रूपल्लवं १.१३ मजुतरकुञ्ज २.११ मणिमयमकर १०.५ मदनमहीपति ५.१० मधुमुदित १.२५ मधुमुरनरक १०.१० मधुरतर ६.२ मनोभवानन्दन ३.१२ मम मरणमेव १.३९ मम रुचिरे ५.७ माधविकापरिमल ४.७ मामतिविफल २.१२ मामहह १.५ मामियं चलिता ७.२ माराके रतिकेलि १२.५ मुखरमधीरं १०.१३ मुग्धे विधेहि १.३० ११.१८ १.२० ११.१९ ७.३९ पाणौ मा कुरु १२.१७ १.३२ १२.८ पीनपयोधर पूर्व यत्र समं प्रतिपदमिदमपि प्रथमसमागम प्रलयपयोधि प्रसरति शशधर प्रियपरिरम्भण बन्धूकद्युति ३.३ १२.१० ५.११ १०.११ Gitagovinda: Sanskrit Text 171 ·४.५ १.१२ १.२. मुहुरवलोकित मृगमदरस मृगमदसौरभ मेधैर्मेदुर म्लेच्छनिवह यदनुगमनाय यदि हरिस्मरणे यद्गान्धर्वकलासु यमुनातीर रचय कुचयोः रजनिजनित रतिगृहजघने रतिसुखसमय रतिसुखसारे रमयति सुदृशं राधावदन रिपुरिव सखी ललितलवत वदनकमल वदनसुधानिधि वदसि यदि किंचिदपि वपुरनुहरति पर्णितं जयदेवकेन ६.५ वसन्ते वासन्ती १२.१६ वहति च १.२९ वहति मलय १.१ वहसि वपुषि १.१४ वाग्देवता वाचः पल्लवय १.४ विकसितसरसिज १२.२१ विक्रिति मुहुः ४.१ विगलितलज्जित १२.२० विगलितवसनं ८.२ विचलदलक ७.२६ विततबहुवल्लि २.१७ वितरसि दिक्षु ५.८ विपुलपुलकपालिः ७.२८ विपुलपुलकपृथु ११.२४ विपुलपुलकभर ७.४० विपुलपुलकभुज १.२७ विरचितचाटुवचन ११.२८ विरहपाण्डुमुरारि १२.४ विलिखति रहसि १०.२ विशदकदम्बतले ८.४ विधेषामनुरञ्जनेन ३.१० विहरति वने १.७ विहितपद्मा ५.५ विहितविशद ५.१६ १.३१ ५.१३ ७.१५ ११.२० १.११ ६.१० ७.१८ ११.३० २.५ ७.२१ ४.६ १.४६ २.१ ११.२१ वसति दशन यसति विपिन Gilagovinda: Sanskrit Text 172 ·व्यथयति वृथा १२.१९ ५.१५ १.४४ ४.१३ ७.३५ २.२ वेदानुद्धरते १.१६ श्रीजयदेववचसि रुचिरे १०.१२ श्रीजयदेवे कृतहरिसेवे शशिकिरण ११.२९ लिष्यति कामपि शशिमुखि १२.७ लिष्यति चुम्बति शृणु रमणीयतरं ११.४ श्वसितपवनम् श्यामलमृदुल ११.२६ सकलभुवन श्रमजलकणभर ७.१९ सजलजलद श्रितकमला १.१७ सजलनलिनी श्रीजयदेवकवेरिदमदूत १.४५ संचरदधर श्रीजयदेवकवेरिदमुदितम् ६.९ सत्यमेवासि यदि श्रीजयदेवकवेरिदमुदितमुदारं १.१५ सभयचकित श्रीजयदेवकवेरिदं कुरुते १.२४ समुदितमदने श्रीजयदेवप्रभवस्स १२.२२ सरसपने श्रीजयदेवभणितमतिललितम् ९.९ सरसमसणमपि श्रीजयदेवभणितमतिसुन्दर २.९ सा मां द्रक्ष्यति श्रीजयदेवमणितमधरीकृत ११.९ सा रोमाञ्चति श्रीजयदेवभणितमिति गीतम् ४.१८ सा ससाध्वस श्रीजयदेवभणितमिदमतिशय २.१८ सुचिरमनुनयेन श्रीजयदेवभणितमिदमधिकं ४.९ स्तनविनिहितमपि श्रीजयदेवमणितमिदमनुपद १२.९ स्थलकमल श्रीजयदेवभणितमिदमुदयति १.३४ स्थलजलरुह श्रीजयदेवभणितरतिवभित ८.९ निग्धे यत्परुषासि श्रीजयदेवभणितवचनेन ७.३८ स्फुरतु कुच श्रीजयदेवभणितविभव ११.३१ स्फुरदतिमुक्त श्रीजयदेवभणितहरिरमितम् ७.२० स्फुरितमन ७.२२ १२.१८ ४.१२ ११.२३ ११.१ ४.११ १०.७ १०.६ १.३३ Gilagovinda: Sanskrut Text 173

·९.२
४.१७
स्मरगरलखण्डनं
स्मरशरसुभग
सरसमरोचित
सरातुराम्
हरिचरणशरण
हरिपरिरम्भण
हरिरभिमानी
१०.८ हरिरभिसरति
११.८ हरिरिति हरिरिति
७.१३ हरिरुपयातु
४.२० हस्तसस्तविलास
७.१० हारममल
७.१४ हारावली
५.१४ हृदि बिसलता
२.१९
११.२५
११.१३
+-
Gitagovinda: Sanskris Teri 174

·als
Textual Criticism
of the Gitagovinda

·1 Collection of the Textual Evidence My carly work toward a verse translation of the Gisagovinda convinced me that the poem's complexity demanded a detailed study of its form and content in terms of the various esthetic and religious traditions in which it is embedded. Several published commentaries on the рост revealed variations in the text that demanded textual analysis. I began collecting manuscript and printed materials relating to the Gilagovinda in 1971, with the aid of listings in thc New Catalogus Catalogoram cdited by K. Kunjunni Raja (Madras: University of Madras, 1971), vol. VI, pp. 26 37. The role of the Gitagovinda as a sacred work and its wide dissemination in the centuries following its composition encouraged me to search for early dated manuscripts in every region of the Indian subcontinent. It became clear in the initial stages of my study that textual variants do not follow the usual pattern of geographically located types. Manuscripts and printed editions of the Gitagovinda readily divide into two groups, which I call the Longer Recension and the Shorter Recension. They arc distinguished by the inclusion or exclusion of about fifteen kävya verses, most of which are mangala-type verses occurring at the close of cach of the twelve sections of the poem. Aside from this obvious divergence, the text of the kávya verses and the songs has been preserved without major variacions. Regional variation occurs mainly in the design nation of rāga names. The absence of tāla designations in two of the carliest manuscripts is significant in relation to the randomness of sala names in other manuscripts. The Longer Recension of the text (LR) is prominently associated with the commentaries entitled Rasikapriya. Rasakadambakallolini, and Balabodhini. It is the most widely copied and printed form of the text, based on the critical excellence of Kumbhakarņa's Rasikapnya and on the importance of Caitanyadāsa's Bālabodhini in Bengali Vaishnavism. The Shorter Recension (SR) is found associated with several lesserknown commentaries, including Mānānka's untitled mppaniká, as well as Gitagovinda. These include two palm-leaf manuscripts in the Bir Library collection of the National Archives, Kathmandu. They are in variant forms of Newari script and bear dates in the Nepali era (567 and 616) Textual Criticism 177 ·that are reasonably approximated by A.D. 1447 and 1496. A paper manuscript in Devanagari script in the library of the University of Bombay, dated samvat 1573 (ca. A.D. 1515), also has the text of the SR. A paper manuscript in Devanagari script in the Lalbhai Dalpatbhai Institute of Indology, Ahmedabad, dated samvat 1569, sāka 1434 (ca. A.D. 1512) is accompanied by the tippanika of Mānāňka, as is an undated paper manuscript from the collection of Pandit Bālā Shankar Bhattaji of Gujarat, which is illustrated by paintings_in the Gujarati style of the fifteenth century. The readings of the four dated manuscripts form the basis of the present critical edition. They are corroborated by readings from a paper manuscript in Devanagari script of an anonymous commentary, in the collection of the Bhandarkar Oriental Research Institute, Poona, dated samvat 1557, śāka 1422 (ca. A.D. 1500). More than fifty manuscripts located and examined in the Orissa State Museum in Bhubaneswar, in the Raghunandan Library in Puri, in the Bhandarkar Oriental Research Institute in Poona, in the Adyar Library in Madras, and in the Oriental Research Institute in Mysore confirm the wide distribution and integrity of SR. This primary evidence has been corroborated by microfilms and descriptive reports from the major libraries in Baroda, Varanasi, Calcutta, Tanjore, Tirupati, and Trivandrum. The earliest dated manuscripts of LR known to me belong to the sixteenth century and are associated with the commentary Rasikapriyā, or commentaries derived from it. 2 Dated Manuscripts of the Fifteenth and Early Sixteenth Centuries: Basic Evidence of the Shorter Recension. BIR. Bir Library, National Archives, Kathmandu, Nepal. Two manuscripts, in variant forms of Newari script, were chosen for study from among more than forty-five manuscripts of the Gitagovinda in the collection of the Bir Library on the basis of their dated colophons and old appearance. The manuscripts are listed in Samkplastcīpalram, compiled by Bud. dhısāgara Parājuli (Kathmandu, 1963), pp. 35-36. They are briefly described in the four-volume handwritten catalog of the Bir Library. Tertual Criticism 178 ·BIR.I No. 45 of vol. IV (complete), Examined in the National Archives and collated from a microfilm prepared at the library. The manuscript consists of 39 palm leaves, cach having five lines per side. The script is called "Bhujímmola" in Prăcina Lipi Varnamālā by Pandit Sankaramāna Rājavamśī (Kathmandu, vikrama sarvot 2017, A.D. 1960), pp. 15-19. In Indian Paleography (English trans, of 1896 German edition, Calcutta: K. L. Mukhopadhyay, 1962), plate VI, p. 95. Gcorg Buhler describes this script as "Nepalese hooked characters." Bühler cites the cvidence of Bendall's Caralogue of Sanskrit Buddhist Manuscripts from Nepal (Cambridge, 1883) that the hooked characters came to Nepal from Bengal in the twelfth century and ceased to be used after the fifteenth. It is the opinion of Theodore Riccardi, Jr., that this evidence has not been contradicted by recent research in Nepalese cpigraphy. The manuscript is dated ca, A.D. 1447 Text begins: aum namo hariharaya, followed by GG I.1. Text ends with a colophon: śreyo 'stu, samvat 567 ašvini-krsna-pañcamyan tishau, mrgaśıra-naksatre, variyana-yoge, śukra-väsarc, thva.dinakonhu, gitagovinda-sampurna-juro. sri-yamgala-defc fri-kailāsa kütavaja-mahāpătra-šri-udayasimhadevasyárthena śri-mànigalaka-vicchamayarāmena likhitam itt. śubham astu sarvada. This manuscript was examined and compared with Lassen's edition by Valentini De Rigo; his notes were published in an article, "Un antico inedito del Gitagovinda," Revista degli Studi Orientali, 18 (1940), fasc. 1, pp. 59-90. There are many mistakes and misunderstandings evident in his reading of the manuscript, which was based on photographs brought to Italy from Nepal by S. E. Formichi. Because of the similarity of the no. 5 in Bhujiſmolla with the no. 2 in Devanagari, De Rigo reads the date as 267 and is forced into an elaborate attempt to relate the date to Laksmana saivat. The date in the Bit Library catalogue is given as nepali samvat 467 (ca. A.D. 1347); however, this is not consistent with the form of the numbers in this script as they are used throughout the manu-". script. The catalog error is reflected in the version of this colophon published by Luciano Petech in Appendix III of his Medicval History of Nepal (Rome: Instituto Italiano per il Medio ed Estremo Oriente, 1958), pp. 199-200. Petech compares this colophon with another, whose date he reads as 473, which also has the idencifying phrase fri-yangala-debe sri-kailasaķuta-vaja-mahāpārra-tri- Tertual Criticism 179 ·idayasimhadeva. He takes the problematic word vaja to be an abbreviation of vamśaja and translates the identification as follows: "Udayasimhadeva, the nobleman (mahāpātra) descended from the dynasty of Kailāsakūta in the district of Patan (Yargala)." His misreading of the date makes him miss the possible connection between the mahāpātra for whom these Gitagovinda and Navagrahadasavicära manuscripts were written and the mahāpātra Udayasimhadeva, who was powerful during the reign of Jayayakşamalla (1428-8o; see Petech, pp. 160-69; cf, D, R, Regmi, Medieval Nepal, Calcutta: K. L. Mukhopadhyay, 1965, pt. 1, pp. 425-51, pt. III, pp. 54-85). The analysis of this colophon was done with the help of Theodore Riccardi. It was he who provided the readings of the Old Newari phrase thua-dına-kohnu; "on this day," and the word juro, "was." Both are common in colophons of Sanskrit manuscripts written in Nepal. On this basis, he suggests that the unresolved words vaja and viccha may also be Newari forms. I have tentatively accepted Petech's interpretation of vaja and speculate that viccha may be a tadbhava form of the Sanskrit title vidvat, which belongs to the copyist Vijayarāma. The manuscript is generally legible, though sibilants are notably confused; the only major omission is song 16 (VII.31-38). Täla names are not given for the songs, except in a few cases, where they are written in the margins in handwriting differing from that of the original copyist. Other emendations are written in the margins in various places. BIR.2 No. 468 of vol. I, p. 70. Examined in the National Archives and collated from a microfilm copy, obtained through the kind offices of Albrecht Wezler, from the collection of the "Nepal-German Manuscript Preservation Project," which is kept at the Library of the German Oriental Society in Marburg. This manuscript is described by Haraprasad Shastri in his Catalogue of Palm-leaf and Selected Paper Manuscripts belonging to the Durbar Library, Nepal (Calcutta: Baptist Mission Press, 1905), vol. I, p. 16, no. 468. The manuscript consists of 22 palm leaves, cach having seven lines per side. The script is standard Newari, described in Pracına Lipe Varnamālā, pp. 1-7. The manuscript is dated ca. A.D. 1496. Text begins: aun namo bhagavate vasudevaya, followed by GG 1.1. The text of the Gitagovinda is randomly interspersed with bits of commentary which are strikingly similar to parallel passages in Textual Criticism 180 ·the sippanikå of Minārika, suggesting that a manuscript with that commentary was the source of this copy. The readings corroboratc this. GG XII.21 is followed in the manuscript by a song in cight verses to be sung in lalitarăga; it is the same as the Gangastavupra. bandha that is printed as an appendix to the Telang and Panshikar edition (Bombay: Nirnayasāgara Press, 1899), pp. 175-76. This is followed by GG XII.22 and a long colophon whose significant portions read; nepále rasa-candra-sanmukhe (=616) samvatsare prālikhat, chandahſastrayugam vidagdhakam api frigitagovindakam. rajye fri-jayarayamalla-nspateś cintamanch prarthinám íriſaure ratikclisundarakatham autsukyataḥ pralikhat. . .., śubham astu. Jayarāyamalla is identified by Regmi (Medieval Nepal, vol. 1, PP. 452 ff.) as a son of Jayayakşamalla, who is noted in the discussion of Bir.. BOM Bombay University Library. One manuscript was chosen for study from several manuscripts of the Gitagovinda in the library's collections because of its early date and the apparent independence of its readings. It was examined in the library and collated from a microfilm provided by the library. It is no. 4163 in the library listing. It is described by H. D. Velankar in A Descriptive Catalogue of Sanskrit Manuscripts in the "Itcharan Sıryaram Desar Collection" in the Library of the University of Bombay (Bombay: University of Bombay, 1953), p. 120, no. 599. The manuscript consists of 12 folios of paper numbered 16-25, 27-28, cach hav. ing seven lines per side. The script is Devanagari. The manuscript is dated ca. A.D. 1515 The Gitagovında text begins following: namo bhagavate vasudevāya. The text ends with a brief colophon: fubham astu. samvat 1573 samaye marge sudi 9 bhaume. rămarāmgrāmaramaramaramarama. With the exception of song 2, whose tåla is designated as māthatāla, tāla names are not given for the songs. The missing folio contains the portion of the text from XI.24-33 AHM Lalbhai Dalpatbhai Institute of Indology, Ahmedabad, Muniśrī Punyavijayaji Collection, no. 1428. The manuscript is incomplete, with only fragments of commentary in sarga 12. Collated from a microfilm provided by the institute, in conjunction with the critical edition of Mānārka's rippanikā by V. M. Kulkarni (Ahmedabad: L. D. Bharatiya Sanskriti Vidyamandıra, 1965), which is based on this manuscript, designared P in Kulkarni's critical appatatus. The manuscript consists of 50 Textual Criticism 181 ·folios of paper, each having about six lines per side. The script is Devanagari. The manuscript is dated ca. A.D. 1512. Text begins: aun namo śrivāsudevāya. Text ends with a brief colophon: sriktsnärpanam astu. sam 1569 varse šake 1434 pravariamāne likhită. The manuscript that R. K. Majumdar describes in "A 15th Century Gitagovinda Ms. with Gujarātī Paintings," Journal of the University of Bombay, 6, pt. 7 (1937), could not be located through Majumdar's information that the manuscript "comes from the collection of my friend Pandit Bālā Shankar Bhattaji Agnihotri, who is a descendant from an old learned family, and who is the hereditary priest of the Kālikā Mātā temple, on Pāvāgadh Hill, to the east of Gujarat.” But Majumdar's de scription of the manuscript and his quotes from the fippanikā of Mānātika that accompanies the text establish the relation beciveen this manuscript and others that have the țippanikā. BORI Bhandarkar Oriental Research Institute, Poona. One manuscript was chosen for study from among about thirty-five manuscripts of the Gitagovinda in the collection because of its early date and the apparent independence of the commentary. It was studied from a microfilm provided by the Bhandarkar Institute through the offices of Dr. H. S. Biligiri. It is no. 208 in vol. XIII, pt. I of A Descriptive Catalogue of the Government Collections of Manuscripts Deposited at the Bhandarkar Oriental Research Institute by P. K. Gode (Poona, 1940), p. 256. The manuscript is incomplete; it consists of 32 folios of paper, numbered 1-30, 36, 37 (folios 31-35 are missing), each having about fifteen lines per side. The script is Devanagari, with prsthamātras. The manuscript is dated ca. A.D. 1500. The first leaf is worn; the legible bit of commentary begins: . kadācit grāmat. sutena saha .... sthānañ gatah. sa nandagopah radhika käranä.. he radhe imam krsnam tvam eta grham prāpaya. The text cnds with a colophon: fri. samval pañcadaša akhadhádı 1557 varse fake 1422 pravarttamāne, dakşināyane. Saradattau. bhädră,.. mase. krsnpakse. dvitiyān tithau rabudhavāsare. gau(?)ri ágrāmavāstavya. bharfadevadāsapathanartha unnalpura grāmavāstavya rājarámå paramäratasya sutarānā. granthasokhyå 1700 gitagovindatka li.. ... fri.cha. fri.cha. Leaf no. 30 contains commentary on GG Xg, and leaf no. 37 contains commentary on XI.33. There is no commentary on sarga 12, which suggests a close relation between this and Ahm. The commentary is a simple tika similar in type to Mānārka's tippanika, but it's glosses and explanations are different from those of Mānānka. Throughout the manuscript, Textual Criticism 182 ·songs and verses are cited for reference but are not quoted in full; read. ings are taken from the commentary. 3 Selected Commentaries on the Gitagovinda Commentaries Based on the shorter Recension (SR) MĀNĀŃKA The untitled tippanikă of Mänānka, who refers to himself as mahibhujin the second of three verses that introduce the commentary: kavinam matrm alokya satăm ca sukhabuddhaye! krtå tippanika mukhyā mănărkena mahibhuja || He does not further identify himself in the commentary, nor is there any other work clearly attributable to him. The limiting date of the commentary is fixed by the manuscript Bir.2 (ca. AD-1496), which contains bits of this commentary, and by che manuscript Ahm (ca. A.D. 1512). The author of the rippanikā is clearly different from the Mānāika who composed the Vindávana-yamaka-kavya, which is referred to by Bhoja in his Srrgåra Prakása (V. Raghavan, Bhoja's Sungāra Prakūía, Madras: Punarvasu, 1963, pp. 808-9). The rippanikā is a simple commentary that consists mainly of glosses on individual words and analyses of compounds. The author does not identify meters or figures of speech. He docs not interpret the verses and songs in terms of any discernible sectarian vicwpoint. He asionally cites lexical works like Amarakosa and Anekårthakoşa, the grammatical sätras called Kätantra, and various other works. Mānānka's commentary on the controversial opening verse of the Gitagovinda is notable for its simple presentation of alternative interpretations: rádkāmādhavayoh rahah kelayah nirjanasthanakridah jayansi sarvotkarsena vartante (radhi kāpi gopångand mukhya madhavah krsnarūpi narayanah | să ca sa ca tau tayo! vyabhıçarati ceti vajāt arcilapadosya půrvanipatah | pathā naranārāyangu umamahcivarau kākamayūrāv ityādi | yamená nadi | tasyah kulam talam tasmin adharo saptamil kiṁbhūtayoh prafyadhvakuhjadrumam calitayoh galayos! Textual Criticism 183 ·adhvani adhvanı prati kunze kunje prati drume drume prati vipsāyām avyayibhavaḥ | adhvakuñjadrumam kamukānăñ ramaniyam sariketasthānam kasmád gatayoh nandanideśatah | nando gopah sarvābhiramukhyo yamunătatavsndāvanagoșthasthitah san bālakabhayaherum ikalaya dadhyādıkrayavikrayādinā'harniſan bhayahināṁ rādhám adıdeśa | katham | ittham itthaṁ katham | he ràdhe tat tasmäd dhetor imain balakanı grham prāpaya nitvā grham gaccha svamanovāñchitam goptur kāmāntargatābhiprāyena yadi evam rôdhā vadati | tatah kasmāt yato nakram rătrâv ayam bhiruh bālyabhāvad atıśayena bhita iti punah radhāyāḥ svagatam cvam | aho aſcaryam etat | dinamanau vidyamāne 'pi kathań naktalaksanam tadaha | meghair jaladharair ambaram akāšam meduraſ vyāptaſ channaṁ netrabhisanam tamáladrumais tāpicchatarubhir gādāñjanasamnıbhair vanabhuvo 'ranyabhūmayah śyāmā nibidāndhkaratulyah | anena hetunā naktalaksanam vināpi bālako 'jñānatvăd vane bıbheti | vidyamáne bhayahetau punah kim | ato mātur antikaṁ nayety arthah || Readıngs are taken from the edition of V. M. Kulkarni, cited for the manuscript Ahm above. This manuscript and a Devanagari manuscript of the text and commentary in the Adyar Library (DC #1038, XXXV.C.148) were also consulted A manuscript of the Gitagovinda with the commentary of Mānänka is codex C in Lassen's edition Manuscripts A and B in Kulkarni's edition are cited in the variant readings from Kulkarni's notes. NĀRĀYAŅADĀSA The Sarvangasundari of Nārāyanadāsa, who is identified as a court poet of the fourteenth-century Kalinga king Narasimhadeva II by K. N. Mahapatra in Descriptive Catalogue of Sanskrit Manuscripts of Orissa (Bhubaneswar: Orissa Sahitya Akademi, 1960), vol. II, pp. Ixxlxxii, and in an article entitled "Sarvāṇgasundarī Tīkā on the Gitagovinda," The Orissa Historical Research Journal, 13, no. 3 (1965), 26-41. Mahapatra bases his argument on two references to a Nārāyana who was the grandfather of Visvanātha, the author of Sahityadarpana; see P. V. Kane, The Sahityadarpana (reprint, Delhi: Motilal Banarsidass, 1965), pp. 11i-v11. The evidence seems inconclusive, but the author of the commentary does demonstrate a broad knowledge of Sanskrit poetry and poctics in his quotations from works like Kumarasambhava, Kavyadaria, Kavyaprakāśa, and Sarasvatikanthābharana. The commentary offers anal. yses of words and verses that do not show obvious influence from any of Textual Criticism 184 ·the other early commentaries I have examined, but the author does rcfer to a Dhrridása, whom Mahapatra identifies as an carlier commentator on the Gitagovinda. The interpretations of the word padmavati, as it occurs in the cext, are quoted from Mahapatra's article, as examples of Nārāyaņadasa's commentary: 1.2-arra vägdevaretvanena kaveh pândityam padmăvati caranacăranetranena lakṣmyabhakıyatifayena däridryāpagamah | avasyam kavinā dāridryopasamaya jalaniyam | X.g-padmāvatiramanancásan jayadevakavi celivigrahah | etenänyanganävaimukhyam jayadevakavinåtmanah prasipăditam! XI.21-vihitah padmavatyah nijapreyasyah sukhasamajah sukhacayo yeneti vigrahah || A single palm-leaf manuscript of this commentary in Oriya script (L.129a) was examined in the Manuscripts Library of the Orissa State Museum in Bhubaneswar, with the help of K. N. Mahapatra. Neither a microfilm copy nor a transcription could be obtained. Another palm-leaf manuscript in Oriya script, with seventeenth-century paintings, was examined in the private collection of Kalicharan Patnaik in Cuttack. Both manuscripts begin: sri krsnaya namah. sarvangasundari rādha krsnah sarvangasundarah | tayor anandajanani tika sarvangasundari | natvá sri hartcaranam kurule sarvāngasundari tikām | fri näräyanadāsakavirăjo 'yaṁ gitagorinde !! Two manuscripts in Bengali script (G.3522, 58 folios; G.10813, 10 folios -inc.) were located in the Asiacic Society, Calcutta, but these were not examined, LAKSMĪDHARA The Srutiranjani-vvåkhyā of Lakşmīdhara, also called 'Laksmaņasūri, associated with the court of Tirumala 1 of the Aravidu dynasty of Vijayanagara (CI. A D. 1567-75) In some of the many manuscripts of this commentary that are found throughout South India, the authorship of the commentary is attributed to Tirmalarāja. From an account given by Laksmidhara of his own family in the introductory verses of the Şadbhūsacandrikå (edited by K. P. Trivedi, Bombay Sanskrit Series, no. 71; Bombay: Government Central Press, 1916), vv. 6-13, we learn that he belonged to a family of Cerukūri in the region of the Krishna river in Andhra country. Lord Venkata was the family deity and he was a worshipper of Siva Dakşinamurti. This information is cors Textual Criticism 785 ·roborated by similar references in the introductory verses and colophon that are found in many manuscripts of the Gitagovinda commentary. For further discussion of Lakşmīdhara and his works, see V. Raghavan "Literary Notes," Annals of the Bhandarkar Oriental Research Institute, 18 (1937), 198–201. The analyses of words and verses in this commentary focus on the literary aspects of the Gitagovinda. Following several introductory verses, the commentary begins: atha khalu tatra bhavan jayadevanāmā mahakavih sangitasāhiryasārasya pāradrśvā gitaprabandhanirmānapadešena sakalapurūsārthasampādanamandarāyamānāṁ gopikāmanoharavarnanāri manasi nidhāya cikirsilasya śrigitagovindădhyasya prabandhasya pracayam äśāsanah kävyam yaśase 'rthakrie vyavahāravide sivelaraksataye | sadyah paranıtvrtaye käntäsammitatayopadeśayuje l! ity alamkārikavacanaprāmānyāt kavyasyānekafreyah sādhanatāṁ kavya. lāpāṁś ca varjayed ity asyāsatkāvyavisayatām ca paśyan åsirnamaskriya vastunırdešo vāpı tanmukham isy äryaparivādanam anusaran kätyāyanisamārādhanaya kālınditatam pratigatasya nandagopasyoktivyājena prāptam rādhūmūdhuvayor vihūrarüpan vastu kāvyabijatvena nirdišati... meghair styādil Readings are taken from a microfilm copy of a Nandinagari palm-leaf manuscript in the Mysore Oriental Research Institute, no. S1767, listed in the Catalogue of Sanskrit Manuscripts in the Government Oriental Librury, Mysore (Mysore: Government Branch Press, 1922), p. 245. The original was compared at the Mysore Institute with a paper manuscript in Kannada script, no. C335, with the help of H. V. Nagaraja Rao, and an incomplete paper manuscript in Devanagari, no. C2188. I was informed in 1974 that a critical edition of the Gitagovinda with the Srutirañjani had been prepared by Dr. K. S. Ramamurti of Sri Venkateswara University Oriental Research Institute in Tirupati, but I have not been able to obtain a copy of this publication. SANKARAMIŚRA The Rasamañari of Sankaramiśra, printed with Kumbha's Rasikapriya in the editon of Telang and Panshikar (Bombay: Nirnayasagara Press, 1899), from which readings are taken. Manuscripts of the commentary are found throughout northern India; see New Catalogus, vol. VI, p. 36. Textual Criticism 186 ·Commentaries Based on the Longer Recension (LR) KUMBIRAKARŅA (KUA) The Rasikapriya of Kumbhakarņa, who is identified as a king of Mewar in the introductory verses of the commentary. Mahārāṇā Kumbhakarna, whose rule is dated ca. A.D. 1433-68, is also known as the author of the Sangitarāja, an encyclopedic work on the theory of music, dance, and esthetic production. The first volume of the Sangitarāja has been edited by Premalata Sharma (Varanasi: Banaras Hindu University Press, 1963). In her introduction (pp. 29-61) she critically analyzes the question of Kumbha's authorship of both works. In the introductory verses to the commentary, especially 15-20, the author says that his purposes are to indicate the appropriate music for cach song, to analyze the crotic mood (Irrigararasa) of the work, and to illuminate the mcaning of the text. There are many quotations from the Sangitarāja, mainly in reference to the musical characteristics of songs (prabandhalaksana). The commentary also identifies figures of speech (alam kara), forms of the hero (nayaka) or craine (nayika) depicted, and the names of the meters. The rägas and salas indicated for the songs in the commentary generally differ from those found in other versions of the text. They are part of Kumbha's effort to restructure and fix the musical performance of the Gitagovendo. The same effort may account for the mangalaíloka verses that are found at the end of each sarga in Kumbha's version of the text. These verses make small claim to composition by Jayadeva, but they may have been part of the work's performance in some version and were incorporated into the text by Kumbha. Kumbha's elaborate analysis of the opening verse of the Gitagavinda includes an attack on the mterpretations of other unnamed critics, a fanciful etymology of madhava (from ma, or laksmi, and dhava, "husband"; see Bhatta Kşīrasvămin's commentary on Amarakasa 1.18; Poona: Oriental Book Agency, 1941), and an abstract discussion of ayam as the key to the verse. Kumbha considers the first half of_the verse to be the lover's speech of Krishna, not Nanda's speech about the child Krishna, which would violate poetic taste. He interprets tad imam, Krishna's reference to himself in the third person instead of the first person, as a sign of his lost consciousness of his own body. He glosses nandanidefatah with nandasamipāt, "from the vicinity of Nanda," in contrast with the more obvious interpretations of the compound to mean "on account of Nanda's order." Kumbha glosses padmavaticarañacăranacakravarti in GG 12 with Textual Criticism 187 ·plaksmicaranasevāgranih; he begins his explanation: arha padmavati astaksaramantradhidatvatam tasyaś caranacaranena parcaryäviſesena cakravarti, kavirāža ity arthah. Readings are taken from the edition of Telang and Panshikar (Bombay: Nirnayasāgara Press 1899; reprinted 1917, 1949). A microfilm copy of a few folios of a Devanagari manuscript of the commentary, dated samvat 1619, in the library of Harvard University (no. 1577) was cursorily compared with the printed text and no major variants were noted. Manuscripts of the commentary are found throughout northern India. BHAGAVADDĀSA The Rasakadambakalollini of Bhagavaddāsa, wliuse work is dated the latter half of the sixteenth century by P. K. Gode in Studies in Indian Literary History (Bombay: Bharatiya Vidya Bhavan, 1953), vol. II, pp. 146–53. References to Kumbhakarņa in the commentary establish its | basic dependence on Kumbha's text; e.g., Bhagavaddāsa, commenting on GG 1.1, says: tvayaivāyam grhinimāna syāt iti sakhyāgudham parisitam iti kumbhakarnokich (leaf 5, line 2). The reading is identical with the contents of two manuscripts in the Bhandarkar Oriental Research Institute noted by Gode, p. 150. Besides quoting Kumbha, Bhagavaddāsa analyses the poetic and devotional aspects of the poem with reference to works like Krnşakarnamyta, Bhagavatapurāna, Bhagavadgitá, Nātyaśāstra, Dasarūpaka, Srngäratılaka, Sangitaratnākara, Rasāmstasindhu, Kavyaprakása. Readings are taken from a photocopy of a manuscript (no. 1579) in the Harvard University Library. This has been compared in places with a microfilm copy of the Devanagari manuscript in the Oriental Institute, Baroda, serial no 205, dated samvat 1839, listed by R. Nambiyar in An Alphabetical List of Manuscripts in the Oriental Institute, Baroda (Baroda: Central Library, 1950), vol. II, pp. 990-91. None of the four manuscripts of the Rasakadambakalollini in the Bhandarkar Institute was available in the library on several occasions when I inquired about them. CAITANYADĀSA (CAIT) The Bålabodhıni of Caitanyadāsa, also known as Pūjari Goswāmin, who was a Bengali Vaishnava scholar living in Vịndāvana in the latter half of the sixteenth and carly seventeenth centuries. He also wrote the Subodheni on the Krsmakarnāmsta. Caitanyadāsa's Sanskrit commentary follows the text of Kumbha, but the emphasis of the commentary is on the interpretation of the crotic relationship of Radhā and Krishna as an allegory of the spiritual relationship between the human soul and the loving god Krishna. It places the Giragovinda within the Vaishnava tradition of the Bhagavala Purana, but it recognizes Rādhi as Textual Criticism 185 ·Krishna's consort, called Devi and Krşnamayi. The importance of Rādhi's friend in terms of the concept of sakhibháva is evident throughout the commentary; c..., the speech of the opening verse is attributed to the sakhi. Readings are taken from the edition of Harekrishna Mukhopadhyāya, entitled Kavijayadeva o frigitagovinda (Calcutta: Gurudas Mukhopadhyāy, 1957, B.S. 1362); they closely follow those of Kumbha's text. In addition to these scren outstanding commentaries on the Gitagovinda, note should be made of three others edited by A. Sharma, K. Deshpande, and V, Sundara Sharma (Hyderabad: Osmania University San. skrit Academy, 1969). All follow the text of LR. The Padadyolanikā of Narayana Pandita and the Jayanti of Ammanna's son, the physician, are bath simple and undistinguished. The Sañjīvani of Vanamalibhatça fo-) cuses on the erotic esthetics of the poem. The entire poem is interpreted in terms of the technical details of erotic literature. Even the heroic moods of each of the ten incarnations in the daśavatārastuti is seen in the context of gestures of lovemaking. For example, the forms of. the Boar and the Man-lion (1.7, 8) are related to crotic conventions of biting and scratching; see pp. 22-25 in the Osmania edition. postures and 4. Previous Editions of the Gitagovinda - Aside from the editions of the Gitagovinda made on the basis of the commentaries cited above, the only previous critical edition of the text is that of Cristianus Lassen, published with Latin notes and translation in Bonn in 1836. The edition is entitled Guia Govinda Jayudevac pocfac indici drama lyricum. It is based on five manuscript codiccs, described on pp. xixili of the Prolegomena: A. Bengali manuscript with Caſtanyadása's Bålabodhini. B. Devanagari manuscript, Without commentary. C. Devanagari manuscript, with Mánănka's commentary; read drpyanikā for trppanikā. D. Devanagari manuscript, with Nārāyana Pandita's Pädadyotanika. E. Bengali manuscript, without commentary. Textual Criticism 189 ·in ways Lassen bases his text on the text of Caitanyadāsa; codices D and E gencrally agree with it, and B and C often vary that agree with the readings of the present edition. None of the many editions I have gathered from various regions of India are critical. They are mainly reprints of the Telang and Panshikar text, with notable variation only in raga and tåla names. In his Oriya script edition of the Gitagovinda, accompanied by an Onya verse translation (Cuttack: Das, 1970), Kalicharan Patnaik uncritically conflates the text of the manuscript containing Nārāyaṇadāsa's commentary with readings from some version of LR. 5 Secondary Evidence The occurrence of verses from the Gitagovinda in Srīdharadāsa's anthology, the Saduktıkarnāmsta, compiled in Bengal in A.D. 1205, is used to set the limiting date of the poem's composition. Among the thirty verses attributed to Jayadeva in the critical edition of S. C. Banerji (Calcutta: K. L. Mukhopadhyay, 1965), two are 10 all versions of SR and are in the present edition of the Gitagovinda (Skm. 659 = GG VI.11; Skm. 1144 = GG XII.10). Three others are also found in texts of LR and are included in the present edition as variants (Skm. 294 = GG XI.33t; Skm. 1134 = GG XII.23[A]; Skm. 1160 GG XII.23+ [C]). Their inclusion in Kumbhakarna's "edited" text of the Gitagovinda must have been based on their attribution to the poet and some association with the Gitagovinda at an early date. Since none of the manuscripts Banerji used for his ediron antedates the seventeenth century, the occurrence of verses in the anthology cannot be used to establish the "authenticity" of verses or readings. As noted above in footnote 5 to section 1 of the introduction, many of the remaining verses attributed to Jayadeva in the Saduktikarnāmpia show thematic and stylistic similarities to Gilagovında verses. A stone-inscription of Mahārāja Sārangadeva Vāghelā of Anahıllapattan, dated A.D. 1291 (vikrama samvat 1348), opens with Jayadcva's invocation to Krishna in his ten incarnate forms (GG 1.16). The text is given by R. K. Majumdar in "A 15th Century Gitagovinda Ms." It varies little from the standard version of this versc. Pada (c) reads: setur Textual Criticism 190 ·bandhayare haliſ kalayate karunyam atanrate. This reading is not found in any of the manuscripts of the Gilagovinda I examined. Onc verse (GG III.11) is cited in the tenth pariccheda of Visvanatha's Sahityadarpana, which is dated the fourteenth century. Scc P. V. Kanc's estion(Delhi: Motilal Banarsidass, 1965), X. 39. This verse is found in both recensions of the Gitagovinda, without variation. 6 The Significance of the Critical Edition It has already been stated that the carly dated manuscripts of SR, two of which are associated with the rippanikā of Mānārika, are taken as the basis of the present edition. The independence of readings and the wide geographical distribution of manuscripts of SR by the fifteenth century suggest that this recension of the text was based on an established oral or written tradition. Minor variations in the texts of manuscripts of SR occur, both in the kävya verses and in the songs. In determining problematic readings, I have generally chosen what is common to the con servative Newari manuscript Bir.1, and at least one of the other carly manuscripts of SR. Where this has not been possible, I have tried to choose a meaningful reading that could best explain the variants. For details of this method and a bibliography of Indian textual criticism, see my Phantasies of a Love-Thief: The Caurapancāśikå Attributed to Bilhana (New York: Columbia University Press, 1977), pp 96-175- On the basis of available manuscript evidence of LR, it seems reasonable to assert that the fifteenth-century crític and music theorist Kumbhakarna "edited" the version of the Gitagovinda on which he based his commentary, the Rası kapriya. This version was then followed by other commentaries, must notably that of Caitanyadāsa, through whose commentary the poem was "popularized" in Bengali Vaishnava circles. This accounts for the predominance of LR in Bengalı manuscripts after the sixteenth century. Unfortunately, no earlier dated Bengali manuscripts have been found to test this theory, but the location of manuscripts in Oriya and Bengali script of the commentary Sarvāṇgasundari, which is based on SR, suggests that a tradition of SR existed in the region. The broad difference between the two rccensions involves the inclusion Textual Criticism 191 ·or exclusion of twelve manglaſloka verses. The same twelve are included in all versions of LR. They are absent in versions of SR, with the exception of the mangalatloka at the end of the first sarga, which is included in the manuscripts Bir.2 and Bom and in some manuscripts of the Mānāńka nippanikā. Since the recension that excludes the mangala loka verses is the basis of the present edition, these verses are given as "variant verses" after the variant readings of each sarga. I speculate that the mangalaſloka verse at the end of the first sarga came to be associated with the performance of the Gitagovinda at some time before or during the fifteenth century and that the remairling mangala loka verses were added by Kumbhakarna, or someone else, for the sake of structural symmetry. The presence or absence of the mangalaśloka verses affects the tone and movement of the entire Gitagovinda. The repeated invocations to Krishna, in terms that recall the standard literature of devotional Vaishnavism, seem inappropriate to Jayadeva's delineation of the relationship between Rādha and Krishna. Although Rādhā is named in more than half of them (1.474; III.157; V.194; VI.11t; VII.417; X.147; XI.33t), the conventional style and orthodox Vaishnava content of the verses tend to dull the intensity of her relacionship with Krishna, which is central to every other aspect of Jayadeva's lyrical structure. Thus, the case for their authenticity in Jayadeva's text of the Gitagovinda seems weak in terms of literary analysis, as well as in terms of textual history. A complex and critically important portion of the text involves six verses that are found in the text of Kumbhakarna's commentary, and other versions of LR, following song 23 in the twelfth sarga. These occur in versions of SR in a pattern that sets the manuscript Bır.I apart from the others and suggests that Kumbhakarna was aware of different versions of SR when he "cditcd" his text of the Gitagovinda. Among the verses, one verse in āryā meter occurs in two forms, each of which clearly belongs to one recension or the other. The form of SR is included in the criucal edition (GG XIL.11). Of the remaining verses, three (variant verses XII.10+ [A], [B], [C]) are in LR and in all versions of SR except the version represented by the manuscript Bir... This manuscript has two different verses in the same place (variant verses XII rot [D], [E]), which are also in LR. The fact that the oldest dated manuscripts of Mānānka's rippanikā are defective in this portion of the text adds to the difficulty of determining the authenticity of one set of verses as compared with the other. However, the close relationship of the text of Mināñka with the texts of Bır.2, Bom, and the Sarvangasundari of Nārāyanadāsa suggests Textual Criticism 192 ·that a defective manuscript may be at the basis of these variations, this set being an attempt to fill the gap in the text. The verses in Bir.1 may represent the "authentic" version, but the evidence does not seem clear enough to include them in the critical text. Neither set adds significantly to the literary quality of the text. A seventh verse in this portion of the text is found in all versions of both recensions, as well as in the Saduktikarnämsta (Skm. 1144). It is included in the critical edition (GG XII.10). 7 Variant Readings Variants are noted for the following versions: SR: Bir.., Bir-z, Bom, Ahm LR: Kumbhakarna (abbrev. "Kum"), Caitanyadāsa (abbrev. "Caic") Other versions of SR and LR do not offer the independent testimony of these sources; their variants are of minimal importance and are not cited. As elsewhere in this volume, text citations are to the critical edition printed here. Roman numerals 1-XII refer to the sargas; arabic numerals refer consecutively to verses and stanzas within each sarga. General reference to a gita (abbrev. 8) is designated by the number of the song, e.g. 1.81. Variant verses are designated by daggers (t) after the numbers of the verses they follow. Sarga 1 1.2-4 I.gi 1.11 1.16 1.19 1.21 1.23 Biri has verses in the order 3, 4, 2; LR reverses the order of 3 and 4. Bir.i, Bir.2 gaudamálavarāga. (c) Bır.2, Ahm raghupatirupa. (b) Kum dairyān. (b) Bir.i yadukulapadmanideſa (b) Kumºnidana, Following this verse, LR adds a stanza: tava caraņo pranatä vayam iti bhavaya e kuru kućalan pranalesu jaya jayadeva hare }} We worship at your feet. Quicken us! Favor your worshippersi Triumph, God of Triumph, Hari! Textual Criticism 193 ·1.31 1.32 1.35-36 43 and 1-43-44 1.44 1.45 147 1.477 (b) Bir.2, Bom ketaki. (a) Kum målatijätiº. Bir.i rcverses the order of 35 and 36; Bom, Caic have 147 fol. lowing 1.36. Bir.i reverses the order of 44. (b) Kum carutaram. (a) Bom, Ahm frijayadevabhanilam idam. (a) Kum nityotsange (udyotsanga is given as a variant, which is confirmed by other versions of LR). Bir.2, Bom, LR (also included in Kulkarni manuscripts A and B of Mānānka; readings of manuscript B are often those of Bir.2, suggesting some direct relationship between them): rāsollasabharena vibhramabhrtām äbhiravamabhruvām abhyarnam pariramya nirbharam urah premāndhayā radhāya | sādhu tvad vacanam sudhāmayam iti vyährtya gitastuti, vyājād utkatacumbitah smitamanohari harih pātu vah || Rādhā, blinded by her ardent love, Came into the midst of beautiful cowherds' wives Who were still shaking with rapture From dancing in Krishna's rite of love. Pretending to praise his song, She ardently embraced his chest, Mumbled about his mouth's potent nectar, And deeply kissed her smiling seducer. Let Hari protect you! Sarga 11 11.6 II 10 II.11 II.g6 11.19 11.20+ (b) Bır.2, Bom, LR (also Mānātika, Kulkarni manuscripts A and B) pinapayodharaparisaramardanaº. (a) Bır.2, Bom bhraman. (b) Bir.I ratırabhasavajena. Bir.i vasantarāga; Bır.2, Bom gaudamálavarāga. (c) Bom, Kum vilajitam. LR; bhrūvallikamali kadarśıtabhujāmülordhvahastastanam sākūtasmitam akulakulagaladdhammillam ullāsıta- Textual Criticism 194 ·sopināṁ nibhstam niriksya gamitakánksas ciram cintayan antarmigdhamanoharam haralu vaḥ klefań navah kelavah Secretly watching lascivious smiles of cowherds' wives And disheveled braids As they lift their hands to creeper brow's To show him their breasts, His desire for them leaves- He turns at last to brood on the sensitive heart he took. Krishna is changed! Let him calm your anguishi Sarga III III.4 (b) Bit.z koń mama sukhena grhopa; Bom kiria mama kimi sukhena grhena; Kum (var.) mama kiñ ghena sukhena, 111.6-8 Biri verse sequence 8, 6, 7; Bom verse sequence, 6, 8, 7. 111.10 (a) Bir.z, Bir.z pranaterna. (b) Bir., kindubilli; Bir.2 kondubilla; Ahn Andubilva. III.13-15 LR verse sequence 15, 13, 14. III.157 LR: tiryakkanthavilolamaulttaralottamisasya vam toccatad. diprasthanakrtavadhanalalanälaksair na samlakritäh! sammugdhe madhusudanasya madhure rädhämukhendau sudha säre kandalitás ciram dadhatu vah ksema katāksormayan || The crown of demon Madhu's foe trembles, earrings dance Against his tilting neck As myriad adoring women fix their attention On the brilliance of his bamboo flute's high notes And fail to note the waves of glances falling Like blossoms in the rainy scason On Rādha's bewildered nectar-sweet moon face. Let the demon foe's glances secure long peace for you! Sarga IV IV.98 Kum reverses lines of the dhruvapada. mådhava ... så virahe. ... Textual Criticism 195 ·IV.89 IV.19 IV.5 (a) Bir 2 vilolavilocanaº, Bom, Cait valitavilocanaº; Kum calitavilocandº. IV.10 (b) Bir.1, Bir-2 karalayate. IV.11 (b) Bom, LR ivabhāram. IV.15-16 Kum reverses the order of verses 15 and 16. IV.15 (b) Bir.1, Bir-2 (also Manāňka, Kulkarni manuscripts A and B) hūtāšanakalpam. Bir.t, Bir.2 vibhāsaraga; Bom defivaräriraga; Caic defågarága. Ahm omits verse (Mānārka, Kulkarni manuscript B has verse without commentary). (c) Bir.1, Bir.2 etaddriyat. (d) LR hastakah. IV.20 (a) Bir.2, Ahm °vaidyakrtya. (c) Kum nivītiabādham. IV 21 (c) Cait fitalataram. IV.227 LR (also Mānāňka, Kulkarni manuscript A; manuscript B has no variants): vrstivyākulagokulāvanarasad uddhriya govardhanam bıbhradvallavavallabhābhir adhikānandāc ciram cumbitah | darpeneva ladarpitādharatatisindüramudrānkiso bāhur gopalanos tanolu bhavalām śreyāmsi kamsadvişah || When he lifted Mt. Govardhana to save the cowherds' woods From a flood of torrential rain, Cowherds' wives high on blissful emotion Kissed him long into the night And his arm was branded with pride By vermilion marks from their open lips. Let demon Kamsa's foe, incarnate in a cowherd's body, Bring joy to you who hear! Bom, LR title sarga IV snigdhamadhusudanah, Sarga V V.4 V.6 V.gi (b) Kum kalitavirahe. (a) Bir.2, Bom, Kum virahaº, LR adds a second line to the dhruvapada: gopipinapayodharamardanacañcalakarayujaśāli || With restless hands that squeeze full breasts of cowherdesses. Textual Criticism 196 ·V.8 V.9 V.17 1.18 V.19 V.191 (b) Bir.3 "vilambinim. (b) Bir.2, Bom, Kum tann te. (a) Bom, Ahm Iradväkyina. (c) Ahm gutayoh krunar. Bom omits versc. (d) Bir.1, Bir.2 tvům upaiti. LR: rādhamugdhamukhāravindamadhapas trailokyamaulisthalinepathyocitanilaratnam avanibhårāvatārántakah! svarchandan vrajasındarijanamanastosapradosodayah kamsadhvamsanadhimaketur avatu ivan devakinandanah || He drinks honey like a bee from RådhI's tender lotus mouth. He crowns the crest of the universe like a dark sapphire jewel. Heincarnates as death for demons who burden carth, He spreads a veil of dusk : please the hearts of cowherd girls. He destroys demon Kamsa like a fiery meteof. May Devaki's son Krishna favor you. Sarga VI VI.g12 VI.3 VI.nt Bır.2 dhanaſiraga; Bom gaudikarnādaraga, Ahm gunakarīråga (Mānanka, Kulkarni manuscript B has natarāga, as Bir.x); LR gondakarirāga (var. gunakari), (a) Bir.i vasanti (b) Bir 2 hasanti LR: kom vírámyasi krsnabhogibhavane bhandirabhumiruhi bhrātoryāsı ne drsțigocaram itah sănandanandāspadam! rädkäyā vacanań tadadhungamukhãn nandantike gapato govindasya jayants sāyam atishipråfastyagarbha girah || "Why do you rest under the fig tree? It is as full of black snakes as Krishna's love-nest. Why don't you go to Nanda's joyful house, brother? It is visible from here." Rådhā's words are repeated by a cowherd pilgrim Near Nanda's home And Krishna's songs offering sanctuary to the guest Triumphantly fill the twilight Terimal Criticism 197 ·Bir.2, Cait uitle sarga VI dhrsfaraikunthah; Bom akanthaº; Ahm sorkanthaº; Kum dhanyavaikunthah. Sarga VII VII. VII.g13 VII.3 VII4 VII.5 VII.6-7 VII.S VII.11 VII.g14 VII.15 VII.21 VII.g15 VII.23 VII.24 VII.26 VII.28 VII.29 VII.g16 VII.31 VII.36 (c) Ahm am Sudipair. Bir.1, Bom gaudamälavariga; Bir.a defirage. (b) Bir.i amalam api rupam; Bir.2 etad anuripam api. (b) Bir.1, Bir.2 °farapiditam. (a) Kum varam iti (also Minārka, Kulkarni manuscripts A, B). (b) Ahm, Kum kim iti. Bir.i, Bir.2 reverse the order of verses 6 and 7. (a) The high degree of variation among manuscript readings here may be explained by a metrical flaw in thc text of some early version and various attempts to adjust it; or, the confusions may be mainly orthographic. Bır.i nivigalitavanavelasā; Bir.2 na vigalitavinavelasa; Bom nagali. tavanavetasā; Ahm na vigalitabalaceiasă (Mānānka cites the variant that is close to the reading: anuganıtavanavelaseti pāthe). (b) LR vanabhyarne kim udbhrāmyati, Bir.1, Bir.2 add the vocative sakhi at the end of the dhruvapada. Ahm vikacajalajalıtãº. (a) Bom, LR vedanám. Bir.. rămakarīrāga. (b) Kum kurabakakusumam. (b) Bir.i manimayaº; Bir.2, Bom manirasaº. (b) Bir.1, Bir.2 manısasaº, (a) Bır.1, Bir.2, Ahm khalu. (a) Kum ºracitań. Bir.I omits the entire song; Bir 2 varalirāga; LR deśavarādiraga. (b) Bır.2, Bom patati. (a) Bır.2, Bom, Ahm kanakanıcaya (though this reading deserves precedence in terms of its occurrence in SR, the meaning of the phrase kanakanıkaşaº seems preferable in the context of the compound). Bir.2, Ahm reverse order of lines in the stanza. VII.38 Textual Criticism 198 ·VII.417 (A) Bir 2 (also Mānarka, Kulkarni manuscript B), cited as a variant in Kum, included in text of LR at IX.10t): sandranandapurandarādidivisadvrndair amandödarid anamrair mukutendranilamanibhih saņdarfitendindiram | svacchandań makarandasundaramilanmandakinimcduran śrīgovindapadāravindam afubhaskandaya vandámahe li Like a blue lotus, reflecting beelike sapphires on divine crowns As swarms of intensely blissful gods led by Indra eagerly bow, Free as flower nectar flowing spontancously in Ganges water Is Govinda's lotus foot; we praise it for destroying misfortune. (B) LR: prătar nilanicolam acyutam urah samvitapitambaran rădhåyåſ cakiram vilokya hasati svairam sakhimandale | vridācañcalam añcalam nayanayor adhāya rädhänena frigovindapadâravindam aſubhaskandāya vandâmahe || In the morning, sceing her dark scarf on himself, His yellow cloth on her quivering chest, and Rādha's alarm, He laughs freely within the circle of her friends; As he pulls from her eyes the cloth quivering with shame On Rădha's face, his mouth sweetly smiles. Let Nanda's son be bliss for the world! Sarga VIII VIII.1 VIII.4 VIII.st (b) Bir.i, Bir2 anunayavinayam (a) Bir.i, Birz anuvahat. Biri adds a stanza not found elsewhere: candanarucirakucadvayasangamasangarababhrucandabimbam hrdayam dam tava tulayati madhava navaghanagatašasibimbam 1) (a) Btr.1 harivañcita. (b) Bir.,, Bir.2 vibudhalayo 'pi sukham durāpam. (b) Kumºdhyotihrdayam. LR: antarmohanamaulighürnanacalanmandāravibhrambana. stambhåkarşanad;stiharşanamuhámantrah kurangīdrfâm| VIII., Vill.ro VIII.101 Textual Criticism 199 ·drpyaddänavadüyamånadivişaddurvāraduhkhapadań bhramfaḥ kamsarspor vipolayatu vah freyamsi vařfiravaḥ || It is like a great spell seducing doe-eyed women, Swaying their garlanded heads, loosening mandāra flowers, Subdụing their feelings, delighting their minds' cycs. It deflects the distress gods feel from the unbearable pain Of arrogant demons' oppression. Let the sound of Kamsa's foc Krishna's flute bring good to you! Sarga IX IX.I IX.2 IX.3 (b) Bom, Cait rahah sakhi; Kum rahasi sakhi (both are metri. cally faulty in terms of the scheme of the basic Āryä paltern, in which the second half should consist of 27 beats). (b) LR bhavane. The rhyming of sarasam and ºkalasam is notable; it is found in both recensions. (a) Kum nalina (c) Bır.2, Bom, LR tadyuktar. See VII4IT Ahm, LR utle sarga IX mugdhamukundah. IX.6 IX.10 IX.107 Sarga X X. X.g19 X.7 X.8 X.. (a) Ahm ºfesavaſādasima-, Kum ºroşavaśāmapära-, (b) Bir.I samupetya rådhám. Bir.I deſirāga; Bır.2 desavariraga; Ahm desiyavarādi. (b) Ahm, LR caranadvayam; Bir.i sarasagaladº. (a) Kum dhehi. (a) Bır.1 madhuvarrino. (b) Ahm jayatu jayadevakavibhāratibhūstam maninijanajanıtafatam; Kum jayatı, etc., as Ahm. (b) Kum kābini. (d) LR pranayını parirambhārambhe. Bir.1 uncertain; Bom omits verse. (c) Bir.2, Kum mudam udvaha; Ahm mudam apnuhi. LR (meter is Ardhasamacatuşpadī: a=c [12]; b=d (13]): sasimukhi tava bhàtı bhangurabhrür yuvajanamohakarālakälasarpi | X.10 X.11 X.uit Textual Criticism 200 ·X.72 X.14 tadudirabhayabhañjanāya yunan ivailadharasidhusudhaiva siddhamantrah || Moon-faced Ridhi, your curving brow Is a dreadful black serpent Beguiling youthful lovers, But the clixir of your lips Is a magical spel For dispelling the fears That young men suffer from it. Biri omits verse. (c) Kum vaſca na. (a) Bir.x indumatyasthitan; Ahm indusankafakari. (b) Bir.i, Bır.2 vidhrra; LR vijita. LR: sa pritiņ tanutan harih kuvalayāpidena särdham rane rädhäpinapayodharasmaranakrikumbhena sambhodavani yatra svidyati milati ksanam api kripram radalokanavyamohena pitam jitam pitam abhūt kamsasya kolähalah || Let Hari spread joy~ When he made contact with Kamsa's mount in lusty battle The elephant's swollen temples Made him recall Rādha's full breasts, So he broke into sweat and shut his eyes for just a second- Immediately, in the confusion of secing him thus, Kamsa's roar sounded, "It is won!" "It is won!" "It is won!" X.147 Sarga XI X1.3 X1.5 XI.10 X1.11 X1.13 (b) LR ºnikäram. (a) Bır.2, Bom, Ahm nikurumbam. (b) Bir.i cintānvitah. (c) Bir.i, Ahm sa düram. (c) Ahm, Kum abhisārasambhramajusa. (b) Bır.2, Cait mañjirakankanaº. (d) LR sakhim iyam ity uvāca, Bir.2, Bom have the dhruvapada placed between the two halves of the stanza. X1.921 Terswal Criticism 201 ·XI.15 Bir.I omits stanza. XI.17 (a) Ahm, Kum mặducalamalayapavanaº. (b) Bom, Cait rativalitaº; Ahm, Kum madanašaranikarabhite. XI.18-20 LR verse sequence 20, 18, 19. XI.18 (b) Bir.2 madanašararabhasaº; Kum kusumaſarasarasaº. XI.19 (a) Bır.2, Ahm madhutarala". XI.20 (a) Ahm ºsughane. XI.21 (c) LR kavirājarăje (the additional syllables seem to be an attempt to conform with the metrical pattern of the dhruvapada). XI.22 (b) Bom, Ahm, LR ca. (c) Ahm, LR asyankam. XI.23 (d) Kum praviveśabhiveśanam. XI.822 Bom missing leaf no. 25, XI.24-33; Bir.1, Bir.2 (dhruvapada) anangavikāsam. XI.25 (a) Bir.2 parlambya. XI.28 (b) Bir.i smitarucikusuma. XI.29 (a) Bir.i cañcalaghanodarasundaravimalakusumavarakesam. XI.31 LR harım suarań. XI.30-31 These stanzas appear differently in Bir.z: vipulapulakabharadarśitamadanaśarabananikaravikāram | bhüşanamaniganakıranavibhāvitavirahadahanaparivāram || 30 || ſrijayadevabhanıtam atiśobhanavibhavavibhūşanabhäram | prañamata manasi nidhāya harim bhavajaladhitäraſubhasāram || 31 11 XI.32 Biri omits. (b) Kum amalataratăram gamitayoh. (c) Kum samāyātasamaye. XI.33 (c) Kum vasakūtaº. XI.336 LR (Sadukukarnāmsta 294): jayafrivinyastair mahita iva mandarakusumaih svayam sindūrena dviparanamuda mudnia iva | bhujāpidakridähatakuvalayāpidakannah prakirnåsșgbindur jayatı bhujadando murajitah || It scems worshipped with mandāra flowers scattered by Triumph, Textual Criticism 202 ·Self-marked with sindhur as a sign of joy in battling the cicphant Playfully slaying demon Kamsa's mount with an embrace of arms, Dripping with splattered blood, the stern art of Mura's foc triumphs. Kum has two additional verses that are not found in other versions of LR. Bom, Cait title sarga XI sanandagorindah: Kum sämodada. modarah. Sarga XII XII.I XII.23 X]1.6 XII.8 XILIO XII.rot (c) Bır.2, Bom, Ahm sarasam alasan. Bir.1, Bır.2 Tāmakarirágh. (dhruvapada) Kum anubhaga mañ; Cait anubhaga radhike. (a) LR bhimini. (b) Kum laptam iva nayanam savo viramati spjasi visha ratikhedam. (a) Kum vămänke. (A) Вir.2, Bom, LR: pratyahah pudokánkurena nihidäslese nimesena ca kridakitarilokte 'd harasudhapane kashanarmabhihi anandadhigamenu manmathakalayuddhe 'pi yasminn abhäd udbhūtah sa tayor bubhūvu suratárambhah priyambhavukah || Bristling body hairs interrupted their close embrace, Blinking stopped their watching for signs of love-play, Banter hindered their drinking nectar from each other's lips, Boundless bliss interrupted the battle of love's subtle art What became explicit as passion took over was love's stimulant. (B) Bir.2, Bom, LR: dorbhyan samyam tah payodharabharenäpiditak pārejar zviddha dasanath ksalādharaputah jronitarenäharah Hastenanamitah kace 'dharamadhusayandena sammohilah kontak kam apstrptim āpa tad aho kāmasya vămā gatsh || Textual Criticism 203 ·Her arms bound him, Her heavy breasts oppressed him, Her nails scratched him, Her teeth broke his lips' soft hollows, Her sloping hips struck him, Her hand on his hair made him bend, A stream of her lips' honey confounded him, Yet her lover attained ineffable pleasure- This paradox is the way of love. (C) Bır.2, Bom, LR; tasyāḥ påtalapānijāńkitam uro nidrdkaşāye drsau nirdhauto 'dharaśonimå vilulitasrastasrajo murdhajah | kañcidāma daraślathāñcalam ti prātar nikhătair drfor cbhih kāmašarais tadadbhutam abhūt pafyur manah kilitam || Her chest was branded with red nailmarks, Her eyes were bloodshot from lack of sleep, The crimson hue was drained from her lips, Wilted garlands lay disheveled in her hair, Her girdle cords lay a little slack- At dawn the arrows of love buried in his eyes Impaled the wondrous heart of her consort. (D) Bır.1, LR: vyalolah kešapāśas taralitam alakaih svedalolau kapolau klistă daştādharasrih kucakalasarucä häntă hărayaspih | kāñci kāñcid gatāśām stanajaghanapadam pănınácchädya sadyah paśyanti salrapam să tadapı vilulitasragdhareyam dhinott || Her braid is a dangling mass of curling locks, Her two cheeks are full of sweat, The glow of her bitten lip is dulled, Her pearl necklace is paled by the gleam of full breasts, The hope that glowed from her girdle is gone As she covers her bare breasts and loins at once with each hand, Looking at him with bashfulness- Even this girl in her disheveled garlands satisfies him. Kum (a) vyakośaḥ, svedamokşau; (b) bimbădharaº; (c) kañcikântir hatāja; (d) sairapă, mugdhakanlır 'dhinoti. Textual Criticism 204 ·XII.II (E) Bir.r, LR: işanmilitadriti mugdhahasilan sitkärad hārāvasád avyaktakulakelikákarikasad dansámbud hantadharani ſvāsonnaddhapayodharopari parisvangat kurangidrio harsorkarşavinukrinih sahatanor dhanyo dhayatyananan il As her body lies powerless after expressions of high joy From his forcefully embracing her breast As it heaved with sighing, The graceful Lord drinks the doc-cyed girl's face- Her eyes are slightly opened Her lips are polished by the gleam of her teeth, Opened by indistinct, confused love sounds From the force of her sucking air in bewildered laughter. Kum (a) mugdhavilasalº; (c) fántasiabdhapayodharaṁ bhriapariº Bom omits; LR has a variant verse in Ăryā meter: atha sahasa suprită suratante så nitāntakhinnargil rodhā jagada sådaram idam änandena govindam || Cait (a) iti manasa nigadantam. Bir.i adds a line to the dhruvapada: smarajaravisasamprasaradkuvalayadynulocane || (a) Bır.i ºniväsakarc, (a) Kum manasijaº. (a) Bır.2, Bom jayade (for racire). (b) Kum mugdhastajū. (c) Kum manınüpura. Cast (also Bhagavaddása). paryankikrtanägnāyakaphanāśrenimaninām gane samkrāntapratbımbasaņvalanaya bibhrodubhuprakriyām i pådambhoruhadháruāridhisutām aksnām didoksuh bataih kávyavyuham ivācarann upacitibhûto harsh påtu vah || He undertook the work of divine power By projecting reflected images Into gems massed on the hood of the serpent-king Who served as his couch. He seemed to expand himself. Undertaking a multitude of manifest forms, XII.g24 XII.14 XII.17 XII.19 XII.20 X11.20+ Textual Criticism 205

·XII.21
XII.22
XII.22t
Eager to see, with hundreds of
eyes,
The ocean's daughter offer water for bathing his feet.
May Hari protect you!
(b) Kum °tattvaracanākávyesu.
Bom, Ahm omit verse.
LR (Bhagavad dāsa agrees with Cait; cf. Kum variants):
sadhvi madhvika cinta na bhavatı bhavatah sarkare karkarāsi
drākse draksyanlı ke tvām amſta mstam asi ksira niram
rasaste 1
mäkanda kranda kåntādhara dharanitalam gaccha yacchantı
yavad
bhavam śrngärasārasvatam iha jayadevasya visvagvacāmsi ||
Liquor, the thought of you becomes improper.
Sugar, you become unsweet.
Grape, who will look at you?
Nectar, you become mortal.
Milk, you taste like water.
Mango, lament! Lover's lips, fall to the ground!
So long as Jayadeva's pervasive words
Sustain emotion that holds the essence of erotic mood.
Kum (c) dhara na tulām gaccha yacchantı bhävam; (d) yāvac
chrígārasārań śubham iva jayadevasya vaidagd havácah. Kum
has an additional verse that is not found in other versions of LR.
Tertral Criticism 206

·A Glossary of Sanskrit Words ·The Sanskrit text and English translation of the Gitagovinda have been established with the aid of a complete word index in the work. However, for the sake of erksaraksana, only those words that are used with frequency and characteristic meaning within the context of the poem are cited here. Words that are used frequently but without special significance in the poem are not cited. The following, for example, are omiled: standard words for the body and its parts (aksa, anga, adhaia, anona, urah, etc.), words for aspects of nature (anila, indu, kamala, kisalaya, kusuma, candra, candana, etc.), and conventional adjectives descriptive of physical or mental states (alasa, komala. klānsa, kheda, ghana, calana, cumbana, etc.). The many words for various kinds of ornaments and for ornaments in general (abharana, kundala, niipura, mañījira, mandana, etc.) are also omitted, despite their cvocative importance in the text. The words themselves are too standard to need definition, but the stress that Jayadeva lays on the appropriately ornamented body, culminat. ing in the final song, is important. The epithets of Krishna are to be found above in section 4 to the introduction. The vocabulary of the poem is highly concentrared. The glossary scems a reasonable alternative to repetitive textual notes, especially since many words are rich in implied meanings and overtones. Since the contexts of separate occurrences affect my English renderings in the translation, glossary meanings do not always cover all the English variants. However, the meanings cited should clarify the rendering in any given context Meanings of words in the Gitagovinda have been established mainly on the basis of interpretations given in the commentaries of Mānānka, Kumbhakarna, Sankasamiśra, and Caitanyadāsa; others have been consulted where these interpretations are con Aicting or inconclusive Frequent seference has also been made to relevant portions of the Natyašāstra, the Subhasitas ainakosa, and the literature of Bengali Vaishnavism The Näsyaśāstra is the basic practical text of Indian esthetics. The Sabhāsota- Jasnakosa is a representative anthology of Sanskrit poetry, including a large selection of love poetry; its contents were collected in eastern India in the century preceding Jayadeva's period of literary activity there. The excellent edition by Gokhale and Kosambi and the superbly annotated translation by Ingalls make it a good source of comparison for assessing Jayadeva's word usage. Ingalls's discussions of words have been cited repeatedly with the purpose of referring both Sanskrit and English readers to wider contexts of interpretation. The literature of Bengah Vaishnavism has been referred to in order to give some sense of how particular words and concepts were treated by the later tradition for which the Gitagovinda was a basic text of inspiration This literature is cited mainly through references in the studies of De and Dimock. What is clear from these comparative notes is that the Gitagovinda is an Glossary 209 ·esthetic vision based on the background of kávya literature and classical rasa theory. The vocabulary of religious speculation so characteristic of the Bhagavad gită and the Bhāgavata Purāna is notably absent. Words such as dharma, karma, and bhaktı are not found. There is a clcarly tantric attitude in the poet's concentration on detailed vocabulary of the sexual act, but the sexual act is not isolated from the emotional context of love in the Gitagovinda, as it is in technical tantric literature. Jayadeva's message is that the cmotions of love, expressed in the rich vocabulary and intense esthetic means of lyrical poetry, are to be experienced by a rasika in order for Krishna's saving grace to be felt. Rich verbal environments are created by the almost onomatopoeic piling together of words that subtly reveal states of mind and stages of love. Word compounds, which are an important feature of Sanskrit language, are exexploited in the songs. The alliterative patterns that abound here are most often contained in long bahuvrihi compounds. These are generally translatable into strings of adjectives and adjective phrases in English, with the final member serving as a base for the modifiers preceding it. Each compound taken as a whole functions epithetically to delineate some characteristic of its subject. Few attempts have been made in the glossary to explain words in their various compound occurrences. Only where the translated combination acquires a secondary technical meaning is commentary offered; e.g, ckarasa is discussed under rasa and rahahkeli under rahas. Text citations are to the critical edition printed in this volume. Roman numerals I-XII designate the twelve sargas into which the Gitagovinda is divided in all manuscripts, Arabic numerals refer consecutively to verses within each sarga; no distinction is made between floka verses and gita verses. The dhruvapada citations are distinguished by an asterisk placed after the number of the first pada in cach song, so that 1.27* is the dhruvapada of the third gita in the first sarga. Declinable words are listed in stem form. Finite verbs are given in root form after the stem. Adverbs are not usually distinguished as such because of their frequent ambiguity in the text. Words are generally grouped around basic stems for the purpose of controlling and emphasizing repetitive units of meaning. Glossary 210 ·ABBREVIATIONS USED IN THE GLOSSARY Abbreviated references to Sanskrit texts and sclected studies in the glossary are listed here in English alphabetical order. Sanskrit Texts Agni P Agni Purana, Ānandăśrama Sanskrit Series, no. 41 (Poona, 1900). Amar Amarakosa or Nămalingânušāsana, edited with the commentary Rāmatrami by H. Sastri (Varanasi: Chowkhamba Sanskrit Series Office, 1970). BG Bhagavadgita = Mbh V1.23-40; translated by Franklin Edgerton, part 2, Harvard Oriental Series, vol. 39 (Cambridge, Mass.: Harvard University Press, 1952). Bhart Bharmıharr: Poems, text with translation by Barbara Stoler Miller (New York: Columbia University Press, 1967). Вh P Bhāgavata Purāna, Gita Press edition (Gorakhpur, 1962). Dhv Dhvanyāloka of Anandavardhana, critical edition, edited by K. Krishnamoorthy (Dharwar: Karnatak University, 1974). DR Dasarüpa by Dhanamjaya, edited and translated by G. C. O. Haas (1912; reprint, Delha: Morilal Banarsidass, 1962). GG Gitugovında; all references are to this edition, Kāmast Kámasītra of Vātsyāyana, edited with the commentary layamaxgala of Yashodhar(a), Kashi Sanskrit Series, no. 29 (Varanasi: Chowkhamba Sanskrit Series Office, 1929). KD Kávyadaría of Dandin, edited and translated by V. N. Ayer (Madras: Ramaswamy Sastrulu, 1964) KS Kumārasambhava of Kälıdása, critical edition, edited by Suryakanta (New Delhi: Salutya Akademi, 1962). Malav Alälaorkägnimitra of Kálidāsa, edited and translated by C.R. Devadhar (Delhi: Motilal Banarsidass, 1966). Mbh Mahabharata. Critical edition, edited by V.S Sukthankar, et al (Poona: Bhandarkar Oriental Research Institute, 1933-66); translated by J, A, B van Buitenen (Chicago: University of Chicago Press, 1973- ), vols 1 and 2. NS Nátyašāstra ascribed to Bharatamuni, edited and translated by M. Ghosh, 4 vols (Calcutta. Granthalaya, 1956-67). Ragh Raghuvamia of Kálidāsa, edited with Mallınātha's Sañjivini by H.D. Velankar (Bombay. Nirnayasagara Press, 1948), Glossary 212 ·Rām SKB SR SRK Rāmāyana of Vālmiki, critical edition, edited by G. H. Bhatt, et al. 6 vols. (Baroda: Oriental Institute, 1960-71). Sarasvatikanthābharaṇa of Bhoja, edited, with the commentary of Rāmasimha on I-III and of Jagaddhara on IV, by W. L. S. Pansikar, Kavyamālā, no. 94 (Bombay: Nirnayasāgara Press, 1934). Sargitaratnākara, edited by V. C. Apte, Anandāśrama Sanskrit Series, no. 35, 2 vols. (Poona: Anandāśrama Press, 1942). Subhāsitaratnakosa compiled by Vidyākara, edited by D. D. Kosambi and V. V. Gokhale, Harvard Origntal Series, vol. 42 (Cambridge, Mass.: Harvard University Press, 1957). Unjualanilamani of Rupa Goswāmin, edited by R. Vidyaratna (Berhampur: Rādhāraman Press, 1935). Vasanta Vilāsa, critical edition, edited and translated from Old Gujarati, Sanskrit, and Prākrit by W. Norman Brown (New Haven: American Oriental Society, 1962). Ujju ᏤᏤ Selected Studies De, VFM S. K. De, Vaišnava Faith and Movement in Bengal (Calcutta: K. L. Mukhopadhyay, 1961). Dimock, Krishna Edward C. Dimock, Jr., and Denise Levertov, in Praise of Krishna: Songs from the Bengalı (New York: Anchor Books, 1967). Dimock, PHM Edward C. Dimock, Jr., The Place of the Hidden Moon: Erotic Mysticism in the Vaisnava-Sahagyā Cult of Bengal (Chicago: University of Chicago Press, 1966) Fiske, "Notes on Rasa" Adele M. Fiske, "Notes on Rasa in Vedic and Bud. dhist Texts," Mahfil, 8, nos 3 and 4 (1971), 215-228. Gcrow, Glossary Edwin Gerow, A Glossary of Indian Figures of Speech (The Hague: Mouton, 1971). ingalis, "Beauty Daniel H, H. Ingalls, “Words for Beauty in Classical Sanskrit Poetry," Indological Studies in Honor of W. Norman Brown (New Haven American Oriental Society, 1962), pp. 87-107. Ingalls, SCP Daniel H H. Ingalls, trans., An Anthology of Sanskrit Court Poetry, Harvard Oriental Series, vol. 44 (Cambridge, Mass • Harvard University Press, 1965). Konow, "Ananga" Sten Konow, "Ananga, thc Bodiless Cupid," in An. Idupon: Festschrift Jacob Wackernagel (Göttingen: Vanenhoeck, 1923), PP. 1-8. Glossary 212 ·Masson/Patwardhan, Rapture J. L. Masson and M. V. Patwardhan, des. theric Raprure: The Rasūdhyaya of the Naryalāstra, 2 vols. (Poona: Deccan College, 1970). Raghavan, Bhoja V. Raghavan, Bhoja's Srngära Prakaſa (Madras: Punarvasu, 1963). Schmidt, Beiträge Richard Schmidt, Beiträge zur indischen Erotik (Leipzig: Lotus Verlag, 1902). adbhuta. Marvelous, wondrous (18, 9, 45); see Mibh V1.33.20 (BG 11.30); VI.40.74, 76, 77 (BG 18.74, 76, 77). In the dafavidharūpastuti (1.8, 9) reference to adbhularesa, the esthetic mood of wonder, is implicd; it identifies the mood of the song, which is in contrast with the dominant mood of {răgăra in the poem; sce Nś. VI.39- 41; prose 75-76. Also, the alamkāra called adbhutopamā, a simile involving some marvel, is used in stanza 1.8 to intensify the marvel of the Man-lion form: normally locuses are opened by bees, but the marvel here is that a lotus hand opens a bec, which is the demon's black body; see KD, 11.24; Gerow, Glossary. p. 248; see rasa, -śrågāra, also the epithet Daśavidharūpa ananga. Love, the bodiless god, referring to his body's destruction by Siva when he tried to arouse desire for Parvati in the great ascetic; like kandarpa, kama, madana, manasija, manoja, manmatha, smara, etc, this epithet of the god of love is also used to denote the concept "love," the line between the personification and the concept being blurred (1.25, 46, 11.8; III.2, 15; V.19; VII.18; XI.6, 24*); also alanu (IV 19; VII 8). Other common epithets of Love refer to his role as the bowman of Aower arrows: asamabāna (1:35); asamasara (IV 6; VII 4; VIII.7); kusumavisikha (IV.4); kusumalara (X.5, XI.4); cūtasāyaka (III.12); pañcabāna (VII.41; X.ro); puspäyudha (4:13). See Ingalls, SCP, incr. 14, pp. 149– 150, Konow, "Ananga anugata. Lit., "followed by," or "following"; of lovers' relations it means "faithful" (I 34; 11.7; VIII.7; XI.2*, XII.2*), also anu Vgam (1-44); anugamana (VII.4). See anuküla in the classification of the nāyaka (DR, 11.10): Hanukülas tv ekanāyrkah In GG, anuküla is not used in this technical meaning (1 41; 11.12; XI 4), but the commentator Kumbhakarņa refers to Krishna as anukulo nāyakah at X.8; XII.8, etc. anasarana. Lit., "following"; used of lovers seeking to meet (1.26); also anu Vs? (1-47; 119.6; V.8, VIII.2*; XI.2*, X11.2*); anusriya (III.2). Glossary 213 ·abhısāra. Lovers' meeting (V.8, 17; VI.6; XI.11); also abhisarana (VI.3); abhı V sr (IX.2; XI.7); abhissta (VII.11). The abhisārkā state of thic nāyiķā is described in GG sarga XI, culminating in Rādha's abandoned modesty (see lapjā); see NŚ XXIV.219: hıtvā lapām tu yā ślıştā madena madanena vā abhisārayate käntam sā bhaved abhisārikall amrla. Elixir, nectar of immortality (IV.20; V.7; VII.33; XII.4, 19); ºdhāra, the moon (IV.5); see sudha. asüyā. Envy (III.7). A vyabhicărıbhāva associated with pride and anger; see NS VII.36. ananda. Bliss (1.46); sānanda, blissful (X.1; XI.23; XII.21); also ā Vnand (XI.10); ānandana (VII.39; XII.12*); see mud, sukha, harsa. irsyā. Envy (II.2); scc asüyā, with which irsyā is synonymous. utkantha. Longing (VII.30); utkanthicagopavadhū (II.18), referring to virahotkanthitā, one of the states of the näyikā; sce NS XXIV.213: anekakāryavyāsangād yasyā nāgacchari priyaḥ| anāgamanaduhkhartă virahorkanthitā tu sāli udara Sublime, exquisite; of Jayadeva's speech (1.15; see Rām, 1.2.41: udaraurttārthapadair manoramais ladásya rāmasya cakāra kirtiman); of Krishna and Rādha (11.7, 71*; IV.5, 11; VIII.5; X.8). kandarpa. Love (1.26; IV.10, 21; VI.10; XI.22); see ananga. kalahantaritā Lit., "separated by a quarrel," a female so separated from her lover (IX..). One of the states of a nāyıkā, Nś XXIV.215 (cf. Kāmasūt 2.10.40-49): irşyakalahavikrānto yasyā nāgacchatı prihah| amarşavašasamtopia kalahāntaritā bhaveril kalā. Art, esp. the art or arts of love; kellº (1.42), keli (VII 11); gandharvaº (XII 21); ratiº (VI.4); ratkeliº (XI.30); vilāsaº (1.4; IV.4); also kalivati, an artful girl, the name of an apsaras (VII.10; X.14) kal. The dark age, last and worst of the four cyclical ages of cosmic time; kaluşa, the foulness of the dark age (II 8; VII.20; X11.19); ºyuga (VII.29). kanta Loved, lovely, ºpadávali (1.4); kānta (m.), lover, Krishna (VII.11; XII.10, 11); cf. Ingalls, “Beauty," p. 93. Technically used of a lover who shows no signs of infidelity (Nś, XXIV.301): anyanārisamudbhutam cthnam yasya na drsyaret adhare vā Šarire rá sa kanta si bhanyarel! Glossary 214 ·könli. mistress, Rādhi (V.16); sce dayita, priya. kāna, Love, the god of love (V.14; VIL 40); see ananga, Also kamom V kr. desire (11.10); nikama (IV.17; VII-40); sakamam (IV.17); tamaniya, desirable (1.11; IV.4; V.15); kamini, a loving woman (VII.6, 17; XII.2). Kama is not contrasted with preman in GG as it is in later Vaishnava works; see preman. funja. Thicket, esp. a secret place for love in the forese (1.1, 27, 42; 11.r; }]].2; V.11, 36; VII.22; XI.1, 34); also nikinjo (11.72; V.7; XI.10, 11, 13), kurihala. Curiosity, desire (1); cf. KS, VIII.3; also kuluka (1.42). kupiti. An angry woman (111.3"); also fopini (X.3); kopa (Ill.s). Ch. bhāma, anger, Krishna's (11.20). keli. Play, esp. sensual play, sexual pleasure (1.7, 20, 38, 38", 47, 45; V.11; VII.1); XI.2, 14); ratiº (1.2; XI.30; XII.10). krida. Play, esp. sensua) play (III.12; IX.10); also vkrid (1446; III.13); kridal (1.36; XII.12"); ārdülavikridita, a pun on the name of the meter (IV.10). khandita. Lit., "broken"; jealous, referring to lovers; "yuvari (VIII.9) refers to the state of the nãyişa technically called Khandita (Nś, XXIV.216): vyāsangad ucile yasyah vôsake nägataḥ priyah radanagamanártā tu thandirety abhıdhiyarell Cf. khandana, destroying (1.18, X3. 8; XII.19). ķhelena. Play (1.40), also khelat (1 25); khella (XL.27). gula. Song, singing (1-24; IV.18; XI 17), govinda (XII.21, 22). carana. Foot; an object of worship and crotic delight, with the distinction between these often ambiguous (1.2, 34; 11.5, 9, 16; IV.7; VII.10, 27, 34; VIII.5; XI.2, 3; XII.2, 3, 19). Worship of Krishna's feet is efficacious in calming the chaos of the Kali Yuga; sce pada. carita. Conduct, rhythm of movement, story (I.2; VI.2; IX.1, 9). cārana. Minstrel; Jayadeva calls himself caranacakravarti (1-2); cf. Rām, V.1.1, 176. cāru Cherished, intimately lovely (1.41 (adv.], 44; II 3; X.2*, 9; X1.1r); see Ingalls, "Beauty," p. 44. sincā. Anxious thought, brooding (1.26; IV.21; VI.10; XI.10). A syabhi. cönbhava associated with frustrated desire, NŠ VII.50, 51. celas. Mind, heart, the sear of rational thought, imagination, and emotion (1:35; IV.2r; VII 9, 30, VIII.6); also cclanā (VII 5, 21); sce manas, hrd. Glossary 225 ·jaya. Triumph, may be personified; whatever insures triumph (111.15; VIII.4). Jayadera, god of triumph, an cpithet of Krishna (1.17) that parallels Jagadila in shc refrain of the first song; it is the poet's signature throughout GG; see references in scction 4 of the introduction. Also V (1.5", 16, 17*); jora (1.22; XI1.15); nirjita (III.12, 15); 11 V1 (X.13); vijayin (VII.22'); scc Ingalls, "Beauty," P. 100. lamala, A large dark.barked shade tree (1.1, 29; XI.12); usually glossed with räpiccha in commentaries. Scc Amar, 11.4.68: kälaskandhas samalah syāt rapicchah; Ragh, V1.64; SRK, 216; Agni P. 202.2; among flowers used for půjā, lamāla flowers grant enjoyment and salvation. In Kannada, it is named honge and its shade is proverbi. ally said to give us much comfort as a mother's womb. dayita. Lover (1.41; VII.27, 30); also adaya (VII.40); nirdaya (II.6; VII.30; VIII.8; X.11); sadaya (1.13; V.15). Sec kānta, priya. dāsa. Slave, used of Krishna (XI.22; XII.6); sec KS, V.86. duküla. Finc silk cloth, worn by Krishna and Rădha (1.42, 11.12; XI.26; X11.4), diti. Female messenger (VII.30); sec sakhi, sahacari; scę Ingalls, SCP, intr. 18.3; 25. dhyāna. Meditation (1.36; IV.8; VI.10); also V dhyai (1.40; IV.19; VI.1); dhyāyat (IV21; V.7); anudhyana (XII.21). mideta. Command, order; nanda (1.1), manmathaº (X.6). pañcama. The fifth degree of the scale of a räga; a particular räga characterized by crotic mood (1.39; X 12); sec Ingalls, SCP, Intr. 8.2. The commentator Kumbhakarna relates its sound to the sound of cuckoos in spang. pada. Foot; like carana (qv), an object of worship and erotic delight (VN 29; X.7, 8, 13; XI.22; XII.2, 20); also pada (VIII.10). Pada "foot" or "measured unit" of poetry (1-4; XI). paurasa. Vminy (1 12), rasa (X11.10). prabandha. A literary composition (1 2); see Mälav, 1 2 (prose): prathıtayasasam bhasakavrsaumıllakaviputrādinām prabandhan atikramya. In the technical vocabulary of Indian classical music, prabandha refers to a composition containing songs. The strict metrical patterns of GG songs belong to a style called chandah prabandha; see SR, IV (Prabandhadhyāya); NS XXXII (Dhruvūvidhāna). pranaya. Expressed love (II.1; VIII 10). priya Lit, "loved," or "loving" (IV 10); priya (m), lover, the distinction between adjective and noun remaining blurred (IV.21, V.16, also means Glossary 216 ·VII.30; VIII.1; X.12; XI.32, 33; XII.5, 13); see NS XXIV.298; priya (n.), pleasure (1.25); prijā, mistress (111.11;. VIII.10; X.2", 13; XII.1); sec kontā, dayita. Also prisa, Joyed, delighted (V.28; XII.20); priti, pleasure, delight (XI.10); priņayitra (XI.1). preman. Ardent loc (IV.1; X1.12); used in GG as in karya literature (c.g., Bhart, 107, 115, 124; SKB, V.97, 98, notes twelve types of preman); the contrast of premon with kuma characteristic of later Vaishnava literature is absent; sec Dimock PHIM, 161-16.4, 211 f. bhanisa. Lit., "spoken," (n.) speech, translated "sung" or "song" as it occurs in the so-called bhanita stanzas of most songs (1.34; 11.9, 18; IV.9, 18; VII.20, 38; VIII.9; IX 9; X 9; XI.9, 31; XII.9); cf. bhanos (V.6, 25; XI.21); bhanana (VII.29); see bharali, vacana, These signature stanzas are related to the signature lines known as bhanisa, which are the conventional endings of later Bengali Vaishnava songs; ct. Dimock, Krishna, pp. xix-xx. bhaya. Pear (11.8; III.3; IV.2*; V.19); also bhiti (1.12); bhira (1.1); scc Jankā, sådhrasa. bhārat. Specch, personified as the goddess of speech (VII.20; X.9); sec Nś, XXIII.25, where bhārati is defined as clegant style of speech in drama; sec bharsta, vacas, sarasvati. bhāva. Emotion, technically referring to the various aspects of esthetic emotion which lead to the production of rasa, q.v. (X.5, 12); sarasaº (XI.18); rasaº (XII.9); see NŚ, VII, summarized in DR, IV. Bhāva also means "feelings," an alamkāra of the näyikå (X1.4); see Nś, XXXIV.4-8. Rādha is addressed as bhavini (XII.6). bhāvanā. Imaginative thought, fantasy (IV.2*; VI.5); also bhävita, obsessed by such thought (II.11*). bhrama. Wandering about, physical or mental confusion, quick movements characteristic of seductive behavior (11,10; V.18); also V bhram (VII.zr; VIII.8); bhramat (1.26; M.5); bhrānti (III.11); bhrāmyat (11 20); ud V bhram (IV.19); udbhranta (IV.1); vbhrama (111.14); sambhrama (1 37; III.8; V 18; XI.22; XII.10); bhramara, bee (111.5; XII.15; cf. Ingalls, SCP, intr. 33.14). mangala. Anything auspicious (1 24); "fata (XI.21) kalalasahodhara (XII.12). This last reference suggests that kalaža (VIP.14; IX.3; XII.5, 12) and kumbha (V.7, X.6; XI 6), compounded with kuca in cach case, may refer to the ritual function of Rādha's "brcast pots" in the context of the poem, despite the conventionality of the image; see Ingalls, SCP, p. 489, note on v. 269. mandala. Lit., "circle”; applied to anything circular (1.17, 18; 11.3; III.13; Glossary 217 ·X 6; XI.24, 26; XII.14); also mandalin (11.1); although the word is conventionally used to indicate the round quality of breasts, buttocks, ears, the moon, or the sun, reference to their tantric function as "magic circles" may be suggested in the context of the poem. mada. Intoxication, any intoxicating liquid (11.14, X.14); cf. unmada (1.28). Mada also means “musk,” kurangaº (IV.6); mrgaº (1.29; VII.22, 24; XII.12, 16). madana. Love (1.28, 30, 34; II.11*, 14; IV.13; V.2, 3, 8, 16; VII.21, 22; VIII.5; X.2*, 8, X1.18); see ananga. madhu. Honey, anything sweet (1.36; VI.2; VII.6; X.2*; XI.18); see sudha. Madhu also means "springtime" (1 46); see vasanta. It is the name of a demon whom Krishna defeats (I.2o); see Krishna's epithets Madhava, Madhusudana, Madhumathana, Madhuripu. Also note the conventional sexual image of the bee acting like a lover in his activities as the drinker and producer of madhu: madhukara (1.27; VII.25); madhupa (1.36; V.4; XI.4, 18); and madhuvrata (II.1); cf. bhramara (see brahma). Also madhüka, a honey-colored spring flower that blooms at night (X.13). madhura. Honeyed, sweet (II.2, 4, 12; VI.2; VII.6, 33; VIII.g; IX.8; X.12; X1.19); also madhuri, sweetness (III 14). Madhura technically refers to an esthetic quality of sweetness, associated with frigāra. rasa (1.4); cf. KD 1.51; Dhv. II.7. (The abstract term mädhurya is more commonly used outside GG, eg NŚ XVII.roo; Dhu. 11.7-8. In later Vaishnava literature of Bengal mādhurya is the focal sthāyıbhāva; see Dimock, PHM, pp. 23-24.) Madhura also refers to a type of anuprāsa; see Gerow, Glossary, p. 105. manas. Mind, heart, the seat of rational thought and emotion (1 4, 32; II 2*, 8, 10, III.12; IV.9; V.4, 6; VII.II, 40; VIII.7; IX.7; XI.9; XII.1, 6; also manasa (III.14; X.2*); see cetas, hrd. Some derivative compounds are manoratha, desire (1.28; II.1*; V.17); manorama, delightful (X.14; XII 9); manohara, enticing (11.7; V.8; XI.6, 27); manohārın (1.37). manassja. Lovc, the "mind-born" god (1.29; 11.15; III.12; IV.2*; VI.r; VII.32; XII.5, 14); also manoja (1.40; II.17); manobhava (VII-39; XII.12); manobhū (VII.21); manmatha (III 9; IX.1; X.6); mānasaja (XII.17); sec ananga. marana. Death (IV.17; V.3; VII.5). A vyabhicăribhāva, see Nś, V11.86; also māra, both death (111.13) and the passion of love personified (XII.10); mrta (XII 6); cf. antaka (IV.19). Mortal spot, point of vulnerability (III.13; IV.3). marman. Glossary 218 ·mūna. Pride, esp. the wounded pride of a neglected nāyiká (1X.2"; X.2*); sec DR, IV.65-67. Rādhá is addressed as mānini, a woman who harbors wounded pride (IX.2"); sce Ingalls, SCP, intr. 21; Krishna is called abhimanın, proud (V.14). mugdha. Originally "confused," coming to mean "foolish," "young," "charm. ingly innocent"; no single word encompasses all the senses; sec Ingalls "Beauty," p. 95 (1.38", 46 (mugdho harik of Krishna); 11.19 [Căriana, Krishna's young face); V.17; X.11, 12; XI.2*). Technically the mugdhi is an inexperienced nāyikā (DR, 11.25, 26): mugdhā navavayahkāmā ralau vàmā meduh krudhi; scc Ingalls, SCP, intr. 24.3. mud. Joy (IX.10, X.17); also mudira (11.17; VII.22; XI.18); alimudita (VI.9); pramudita (V.15); moda (XII.9); sce ananda, sukha, harsa. moha. Delusion, delirium (III.13); also mohana, deluding, enticing (1.32; 11.2, 9; XI 4), rana. Lit., "delight"; battle, as object of delight (1.11); ratiº VII.19; X1.7); rankelisaṁkulaº (XII 10); (ranıta is unrelated, from Vran, to "sound", 1I 16, 20). rati. Pleasure, sensual passion (1 2; // 11, 17; V.8, 12; VI.4; VII.17, 19, 26; VIII.4,9, X.7, 14, XI.7, 14, 27, 28, 30, XII.8, 10, 11, 17). Personified as the wife of Love, some of Love's epithets express the selationship: ºpanı (V7, VII 23); nayaka (XII.13); as with Love, the line between the personification and the concept is often blurred; see ananga Technically, ral is the sthayıbhava underlying frogāra, rasa in esthetic experience, Orasabhava (XII.9); scc Nś, VI.45 prose, even where it is not primary, the technical meaning remains important in GG. Also naia, sensual passion, (V 18); surata (IT 16); see Kámasút 21.65. Also Vram (1.44; Ilu"; MO; VIJ 22*, 28, 30, XI 10); rama, mano (X.14; XII.9); ramana (X 9); remani (VII.22); ramaniya (1.11; 11.20; V.15; XI.4); rama. yat (11 8); ramila (VII.20, 31*); v Vram (XII.8); viráma (V.14); avirāma (X1.9). rafana. Girdle (X6; XI 7, XII.7, 18); often rasana in manuscripts and printed editions, confused with the neuter variant form rusena found in compounds (V.13; VII.16, 26); see Amar, 11.6, 108; serikatyam mekhala kañci sopiaki rašanā tathā; klībe sārasanann ca. Basically, “sap," "juice" (XII 6, 16); essence, flavor, taste, any ob. ject of taste. Technically, rasa is esthetic mood based on bhāva; it is the term for the essence of esthetic experience, generally translated "mood" or "emotional mood," but the distinction between rasa. Glossary 319 ·basic and technical meanings is intentionally blurred by Jayadeva (1.36, 43; II.11, 17; IV.19; V.18; VI.10; VII.17, 29; VIII.2; X1.17, 18, 24*; XII.9, 10); also sarasa, rich in favor or esthetic mood (1.4, 26, 27*; IV.12; IX.3; X.7; XI.7, 18; XII.2, 18); virasa, tasteless (VII.28). The commentators on GG gloss rasa most consistently with frågararasa, but also with amrta, rāga, anurāga, sukha; however, there is little agreement with reference to its meaning in particular verses. As an adverb sarasam is often glossed with sarāgam. Rasa is frequently used in its various senses in kāvya literature (eg. Bhart, 30, 98, 102, 105, 107, 122, 137, 172, 183, 184), but in GG its technical esthetic sense is especially prominent; cf. Ingalls, “Beauty," p. 98; Nś, vi (Rasavikalpādhyāya); Masson/ Patawardhan, Rapture. Ekarasa (XI.24*), used to describe Hari, suggests that in his abhılaşıia state, he both experiences and embodies the essence of the esthetic mood of love; see śrngāra, esp. śrngārah muruman (146); see KS, V.82; Ragh, VIII 65, IX.43, X.17; Dimock, PHM, p. 138. In Buddhist Sanskrit texts ekarasa is used of nirvana; see Fiske, "Notes on Rasa," rasika. A sympathetic person with taste for the presentation of esthetic emotion; one who can experience rasa (VI 9; IX 9, XII.9); sec Raghavan, Bhoja, pp. 466 ff. NS XXIV.49–70. Cait glosses rasika with bhakta, "devotee.” rahas. Secrecy, loneliness, a secret, secretly; the distinction between noun and adverb is ambiguous because of the form and syntax of rahas (I 1; II.2; V.19). The compound form rahahkelt, with its conventional (rūdha) sense of "sexual play," seems most appropriate to the context of 1.1, but the adverbial interpretation of rahas is also cited by commentators Rahası is more clearly adverbial (IV 6; VI.2). Also, rahasya, a secret, a secret doctrine or mystery (1.45); cf. rahita, lonely, neglected (11.11); see viraha. rāga Lit, color, esp red color; passion, esp sensual passion; the two meanings form the basis of puns (III.13, VIII 2; X.7, XL.27); also sarāga (1.39); rāgin (IX.10). In the classical system of Indian music, rāga means a melodic pattern (1.39); see pañcama. Also Vranj (X 5, 6); rañjana (I 19, X.7); anurakta (VI.r); anuraſana (1.46); anuranta (11.3); anurāga (1 25; VIII 2, 10), see Ingalls SCR, intr. 17; Dimock PHM, pp. 186-95. ruci. Shining beauty, color; appetite, desire; the two aspects of meaning intentionally blurred (1.29, 30; VII.24; X.2; XL12, 19, 28); also Vruc (X.2); rucura, shining, pleasing (VII.23, 35; 1X 4; X.14; XI.1, 19, 28; XII.15, 17). Glossary 220 ·vacana rosa. Anger (X.)); also rns (X11.8); rașila (VII.24); see kapira. lajā. Modesty, shame (V1.8; VIII.10; X1.33); also lajnia (1.3r; 11.12; VII.17; XII.8); olajja (X1.7); salapja (X1.33). lalita. Sensuous, sensual movement (1.17, 27, 32, 45; 11.14; V.5; VII.15, 32; 18.9; X1,17; XII.16, 17). A sattvabháva in both nayaka and näyika; sec N.ß, XXIV.22, 37; Ingalls, "Beauty," p. 202; see lilä, vilása, lilā. Graceful play (VI.5, 1; VII.8); tilāyıla (XII.21); salilā (11.18; XI.8); see Ingalls, "Beauty," p. 105; commentators often gloss lila with svābhāvya, spontaneity. Like lalita, vibhrama, vilāsa, lila is a svabhāvaja quality of the nãyı kā; cf. N$, XXIV.12 ff. The etymology and meaning of lila in various contexts remains controversial. In Vaishnava literature lila refers to the graceful pattern of divine activity, symbolized, in Krishna's sensual play among the gopis and, on another level, his relation to Rädhā; cf. De. VFM1, pp. 228 ff.; Dimock, PHMI, PP 138-39. lobha. Greed, lust (11.4; XI.28); also lubdha (1-36). Speech, esp. the advice of Rādha's friend and Krishna's speech to Rādhā (IV.9; V.1, 14; VII.3*, 33, 38, XI.2; XII-4); also Vvac (XII.). Vacana (VII 38) and vacas (XII.29) also refer to Jaya. deva's speech personified as vāgdevată (1.2), cf. bhārati (see bhantra), sarasvati (qv); vāc (13) also refers to poetic speech. t'ancita , Deceived, cheated, referring to Rādhā in one of the states of a näyıkā, deceived by her friends and by her lover (VII 3*; VIII.9); also Vvañc (VIII 7) Vañcila is glussed in several commentaries with vipralabdha, vipralabdhă-nāyıká (Nś, XXIV.217) is the more usual name for this state tasmad bhūtām priyah prapya datvā sariketam eva vā nāgatah koranencha vipralabdha tu så matā) Forest, specifically Vrndāvana, where adolescent Krishna loves many cowherd girls; in its springtime transformation it is the uddipanavbhāva for sensual passion in GG (1.1, 34, 45; 11.1, 20; III 6; V 8*; VII 3, 9, 11, 22*; VIII.8, X1.17). Krishna's epithet vanamáli (1.38; V.2*, 8"; VII.31*) refers to his forest adventures; also vanamāla (1 17). Cí. känana, forest (1.35; II 19, VII.23); kāntāra, wilderness (1 26); see kuña vasanta. Springtime (1.26, 27, 34); sec madhu; cf. VV; Ingalls, SCP, intr. 8. väma. Perverse, paradoxical (II.10; VII 10; X1.9); also vámā, a coy vana. Glossary 221 ·woman (1.44); vāmatā, paradox (VII.39); vāmya, spitefulness (V.17), cf. Ingalls, “Beauty," p 93 vāsakasajā A woman who waits, dressed and ready for her lover (VI.8). One of the states of a náyıkā (Nś, XXIV.212): ucite vāsake yā tu rattsambhogalälasă | mandanam kurute hrstă să vai vāsakasapka || vikára A change of sentiment or behavior (1.34; II.11*; VII.14; X.8; XI.24); glossed by the commentator Kumbhakarna with sättvikabhāva; see Nś, VII 91 ff.; Bhari, 128 (mānmatho vikārah), 187 (manmathajā vikārāh). vidhura. Lonely and miserable (VII.2, 6; IX 8). viparita. Lit, "inverted”; ºkārın, acting perversely (IX.10); ratiº, taking the inverted position in intercourse (V.12); see Kāmasút 2.8. virahu Desertion or desolation in love (III.4, 14; IV.2*, 9, 10, 11*, 17, 22; V.2*; VII.5, 7, 21, 35; XII 4, 6); also virahın (1.27*, 31; V.2, 6). Vuraha is the state of love which is dominant GG; it corresponds to the aspect of śrăgărarasa technically known as vipralambha, which involves scparation and deception in love, in contrast to sambhoga, which is fulfillment and enjoyment in love; see Nś, VI.44 ff.; neither of these terms is used in GG; see Schmidt, Beiträge, pp. 124-32, 287–310. Viraha is technically used in Bengali Vaishnava theology to designate the intense state of desolation in frustrated love that is the necessary prelude to experiencing preman (v.), thus viraha is a way of salvation; see Dimock, PHM, pp. 17, 211. In GG viraha is used to describe the suffering both lovers, Rádhā and Krishna; see Ingalls, SCP, intr. 22, 23 The usual translation of viraha as "separation" seems inappropriate in the context of GG. Although the vocabulary that characterizes viraha in GG is the conventional Sanskrit vocabulary of wounds from Love's weapons and of heat, pain, exhaustion, and futility, the constant repetition of this imagery is striking here: c.g., āsanka (X.10); ātura (IV.20, 21); art (VII.30); Klanta (V.16; VII.11; XII 11); klanu (IV.21); khinna (III.7; IV.22; IX.1); kheda (1 25; IV.2; VIII.6; 18.7; XII.8); adıman (VI.10); jvara (1.26, 36; IV.19, 21; VIII.7); tāpa (IV.8, 10; VII.2; X.12; XII.5); tāpisa (XI.32); dahona (IV.10, 13; VII.7; also V dah, 1.35; V.3; X.2*; dagdha, XII.6); daha (IV.7, 13; VII:41); dina (II.1) badha (1.26; IV.20; VII.41; also-nırābādha, XILIr; sambidha, XI.22); viphala (V.17; VII.3; XII.8); viphalin (IX.3); vyādhi (III.14); vyathā Glossary 222 ·(111.13; VII.21; also Vuyarh, II.20; X.12); saka (VIII.10); sce cinsā, bhaya, marana, vidhura, visāda, lanká, vilása. Seductive behavior, passion, seduction (1.4, 30, 37, 40; II.2*, 19; 11.4; XII.14); also vilásin, seductive (1.38"); avilasa (XII.6); vi Vlas (1.38*; VII.13"; XI.14, repeated 15-20) vilasita (V. 6); lasad (8.7); ulasila (II.4; XI.28); ullasa (1.36). Vilása is a sarvabhava in both nāyaka and nāyikā; sce NŚ XXIV.15,33; Ingalls, "Beauty," P. 103-4; sec lalita, tilā. Vilăsa is frequently used for the Wa of Rādha and Krishna in Sahajiyá literature;* Dimock PHM, pp, 242-43174. visāda. Despair, lassitude (VII.32; VIII.2*; IX.3). A vyabhicāribhāva; sec Nś, VII 68. Also v: V sad (III.2; 1V.8; IX.5); pra V sad (IV.19); Vsad (V.2*; VI.2*). vihāra. Delight, wandering for pleasure (XI.3); also vsharin (11.10); vi Vhr (1.27*; II.1) vela. Dress, ornament, disguise (II.3; V.8; VII,33; XI.2). Often vesa in manuscripts and printed editions, a form that does not strictly provide the required rhyme where it occurs. As with other variants of rhymed sibilants (eg rasană/rašanā, kısalaya/kıbalaya) there is the suggestion of eastern regional pronunciation in which the dis. tinction is absent. See Amar, II.6 99 åkalpavesau nepathyam prati. karma prasādhanam. fanka. Fcar, suspicion (8.10) A vyabhicărbhāva; sce NÓ, VII.33; also sabanka (IV 12); sankira (V.10), pari V šank (V1.11); vilankamūna (VII 12); sec bhaya, fubha. Bright, auspicious (n ), auspiciousness (I 15, 45; XII.14, 18); also fobhā, brilliance, beauty (11 4, XI 28) A santrabhāva un a nāyaka, sec NS. XXIV.32. frågāra. Sexual love; technically, the esthetic mood of sexual love (I.3, 46, XII.2x); see NS, VI.45 prose; Dimock, PHM, P 138; see adbhura, rati, rasa, viraha. $ri. Radiance, bcauty (VII.1; X.13); personified as Lakşmi, the goddess of beauty and good fortune (1.2, 23); see Ingalls, "Beauty," p. 1oz. sakhi. Female companion; Rādha's friend and messenger to Krishna (1.37; II.2, 11"; IV.1, 9; V.1; VI.1, 6; VII.3*, 12, 37*; XI.8, 10, 13); Rādha's circle of friends (IV.ro; VII 40; X1.7; XII.1); Rādha, addressed by the sakhi (1.27*, 46; V.2*, 11). The stock figure of the female companion in Sanskrit poetry and drama assumes special Glossary 223 ·significance in the rasa-śāstra and theology of Bengali Vaishnavism; see De, VFM, pp. 208-10; Ujjv pp.giff.; see dūti, sahacari. samāgama, Lover's union (1.36; 11.12); also samgama (VII.30); samgata (III 6; V.9); samāgatya (XI 10). sarasvati. Speech, personified as the goddess of speech (1.4); see bhārati. sahacari. Rādha's companion (1.26); see düti, sakhi. sādhvasa. Fear, apprehension (XI.23); see bhaya, sankā; see Bh P, 1.11.18; X.29 20 sukrta. Favor, in reward for meritorious behavior; esp. the favor of Krishna's love (V.6, 12, 15; VII 6; XI.31). sukha. Joy, pleasure (1.15, 11.17, 18, III 14; IV.4; V.8; IX 2; X.3; XI.21); also V sukh (IV.18; IX.9); see ananda, mud, harşa. sudhā. Nectar (II.2,19; III 14; IV.7; VII.40; VIII 9; XI.22; XII.4, 6); see madhu. subhaga Graceful, esp in love (VII.19; XI 8, 30, 33); of Krishna (V.19); see Ingalls, “Beauty," P-95. sevä. Worship, devotion (V 15; X 13); also sevaka (VII.29); upascvita (XI 22). Love, the god of love (1.30; III.15; IV 20; VII.13, VIII.1, 4; X.8; XI 8, 10, 33; XII.1); see ananga. smarana. Remembering; esp. the act of mentally evoking Krishna (1.4; II 9; XII.19). In kāvya, remembering is the conventional motif that allows the juxtaposition of the modes of separation and union in love; sec Ingalls, SCP, p 216 Smurana is a technical term in both orthodox and Sahajiyā Vaishnavism; it implies mental identification Cartanya "remembers" his lilā as Krishna through identification; the same identification is implied in Sahajiyā sadhana. See De, VFM. pp. 370 ff.; Dimock PHM, PP 235-45 Also V smy (I[ 2*; VII.9); smrt (I 34) svādhinabhartrkā. A woman whose lover is in her power (XII 11). The state of a näyıkā which culminates the reunion of Rādha and Krishna; sce NŚ XXIV. 214, 224: suratātirasair baddho yasyah pārsvagatah priyah sámodagunasamyuktā bhavet svādhinabhartrkā || 214 I! vicitrovalaveșă ca pramododdyohitananā | udirnafobhâtıśayā káryā svādhinabharırkā || 224 || harga. Joy (1.47, V.13; XI 24*, 32) also V hrs (11.19); see ananda, mud, sukha smara Glossary 224 ·hrd. Heart, the seat of emotion; krd and hrdaya, like cetas and manas, also refer to the mind, the seat of rational thought and imagination (111.6, 11; VII.8, 10, 27, 35; XI.11, 31); hrdaya (1.13, 29; 11.6; III.7; IV.3; V.2, 8, 15; VII.4, 21, 38, 40; VIII.5, 10; IX.8; X.4, 6, 7; XII.19); also hrdya, (IV.20). Krishna is hrdaycia (V.8). Glossary 225