Vaishnava Philosophy and Poetic Aesthetics: Jayadeva’s Gitagovindam
By Sayantan Thakur, Department of Literature and Languages, School of Liberal Arts and Social
Sciences, SRM University AP, Andhra Pradesh, India. Originally published in Tattva – Journal of Philosophy 15 (2):57-76.
The astounding poetic excellence of Jayadeva has enticed scholars and academicians worldwide. The sweet and serene nature of his love lyrics (which he described as “Madhur Komala Kanta Padavalim”, that is, the sweet, soft, and melodious verses) is proficient enough to engross the mind of anyone. By leveraging upon the subject of the amorous love of Lord Krishna and Radha, his Gitagovindam manifested itself as the first love lyric composed to introduce a new subject of poetic exploration in literature. Besides, the lyrical quality provides him with enough scope to ‘express the intimate power of divine by allowing him to elaborate on the passion of Radha and Krishna to create an aesthetic atmosphere ‘for devotees of Krishna’.1 In other words, under the cloak of simplicity, the wealth of meaning is embedded in structurally intricate forms and concepts drawn from various levels of Indian literary tradition.
The title of Jayadeva’s Gitagovindam is a conglomeration of two words – ‘Gita’ and ‘Govinda’. The Sanskrit word ‘Gita’ means song, and ‘Govinda’ is one of those one hundred and eight names of Lord Krishna. Taken together, the word Gitagovindam means songs composed to praise the grandeur of Lord Krishna. But a little penetration into the text will reveal the fact that the songs of Gitagovindam are not only a celebration of the glory of Lord Krishna alone, rather, they are eulogizing the transcendental relationship between Madhava and Radha. Their soothing, melodic nature can transport an individual to the world of divinity. The subject of Gitagovindam is not only the adoration of Lord Krishna and Radha, instead it is an allegory that uncovers the way through which an individual can obtain salvation by surrendering one’s soul to the Supreme Lord. In other words, the songs of Gitagovindam are the quest of Jiv-Atma (living soul) to have the pleasure of having the supreme company of Paramatma (Divine soul).
Gitagovindam is a manifestation of the versatile genius of the poet Jayadeva. Apart from bearing the essence of Jayadeva’s unique poetic excellence, it also reflects upon Jayadeva’s profound knowledge and command over Indian classical music. Several Vaishnava scholars have paid homage not only to his sublime vision and matured literary craftsmanship but also have adorned him for his command over the realm of Classical music. The twelve parts of Gitagovindam contain twenty-four songs, and every song clearly instructs how it should be sung, particularly Raga and Tala. A little knowledge of Hindustani classical music will enable us to perceive that there is a revelation of the author’s profound understanding of the musical theory based on Sangeeta-sastra and dramatic science based on rasa-sastra. Every song is composed in a different classical melodic mode (raga) and rhythm (tala)’. That is why while reading Gitagovindam, it may seem ‘as if Sri Jayadeva has directly experienced Sri Radha-Madhava’s meeting and separation while meditating in trance’.2 He has prescribed the Tala and Raga of the song according to its subject matter and mood. For instance, before the beginning of the third song of Gitagovindam, it is clearly instructed that this song should be sung with Raga Vasanta and ‘Jyoti’ Tala. According to the Indian classical music tradition, the Raga Vasanta should be performed during spring, for it celebrates the festival of spring and the joyous spirit of men and women. Now, if we introspect into the subject matter of the song, we shall see the section is about the merriment of the joyous spirit of Lord Krishna, who is enjoying the sweetness of the spring along with other Gopis (cowherds). Therefore, the song’s subject matter strongly resembles the raga under which it is instructed to be performed. Thus, one can conclude that if the English word lyric means a kind of composition meant to be sung along with the accompaniment, then Gitagovindam is undoubtedly an epitome of Indian lyric literature that tends to express the aesthetic as well as the philosophic essence of Indian culture and history. As one scholar has aptly commented,
The sensitiveness of Indian aestheticism as expressed in the lyrical literature of Gitagovindam by Jayadeva pervades the emotion, mood, sentiment and feeling of many poets and artists of India. Many poets translated this original Sanskrit kavya into regional languages; many scholars wrote commentaries on this work while many artists resort to paint and illustrate the moods, mores and sentiments of life as narrated in the kavya. Beyond the impact of Gitagovindam in sociocultural life in India, the aesthetic beauty of Gitagovindam is known now across the world.3
This article was originally published by Tattva – Journal of Philosophy and is partially reproduced here without the permission of the author, who is not affiliated with this website or its views.
- Miller, Barbara Stoler. Jayadeva’s Gitagovinda: Love Song of the Dark Lord. Delhi: Oxford University Press, 1977. P.14 [↩]
- Mukhopadhaya, Harekrishna. Jayadeva and Gitagovinda. Kolkata: Dey’s Publishing, 2012.p.110 [↩]
- Dr.H.N. Dutta, ‘Gitagovinda of Shree Jayadeva in Art and Cultural Life of Assam, ’ Orissa Review (2009). P.-130 [↩]
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