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Introduction The popularity of Gitagovindam can be judged from the fact that 132 imitations (listed by Banamali Rath) in Mss. and printed forms commencing from 14 th till 20th century have been created in different regions of India. Several translations in English, German, French, Latin, Dutch, Hungarian and Singhalese languages have been published between 18th -20th centuries. More than 1500 unpublished Mss. are still available in different museums in India and abroad and in the libraries as well as with individual collectors'. 2.1 TheLiterarymeritsofthe Gitagovinda The Gitagovinda is resourceful with every literary aspect. Due to its excellence in style and quality it could have filled up the vacuum singularly with its merit even if there is no existence of any other Sanskrit poem in Odisha². 2.1.1 The Sentiment (rasa) All the rhetoricians agree with this decision that the sentence having some aesthetic relish or sentiment is regarded as a poem. There are nine sentiments used in literature such as - erotic, lafter, grief, anger, bravery, fear, peace and hatred, but later the sentiment of devotion to a deity and the affection related 1. Misra, Manisha Sixty-four Art forms and the Gitagovindam, M.Phil Dissertation of Utkal University, Dept. of Sanskrit, 2008, p.95 2. Panda, R.N.,, et.al. Ed. Contribution of Odisha to Sanskrit Literature, p.52 3. Kane, P.V., Ed. Sahitvadarpana, p.68 43

with a child is included among the category of sentiment. The Vaisnava- 4 saccepted devotion as a sentiment. The Vaisnavas say that the sentiment of devotion related with Srikrsna is the brightest sentiment. The permanent emotion of this sentiment is love or affection towards Krsna. This love is meant for only the pleasure of Krsna not for self. 5 The text of Rupa Gosvami named Ujjvalanilamani describes elaborately about this Ujjvalarasa (brightest flavor). The sattvikabhavas are elaborately described there with examples. As it is well known from the theme, the chief sentiment of Gitagovindam is erotic (srngara). The poet Jayadeva in a colophonic stanza states: yat gandharvakalasukausalamanudhyanam ca yad vaisnavam | yat srmgaravivekatatvamapi yat-kavyesu lilayitam || tat sarvam jayadevapanditakaveh krsnaikananatmanah | sanandah parisodhayantu sudhiyah srigitagovindatah || S As such both the varieties of erotic sentiment, sambhoga or love in union and vipralamha or love in separation are found utilised throughout the poem. The subject matter which Jayadeva employs here is interesting. He uses it in such a way that without falling in extravagance, the normal modes of communication are so intimately united that they cannot be separated. The work of Jayadeva is all over decorated by both the varieties of the erotic sentiment. Its value as an erotic lyric is greater than a devotional one. 4. Cakravarti, Cinmayi, Bhaktiraser vivartan,(Bengali),Sanskrit college, 1972 5. Svami Prabhupada, Ed. Bhaktirasamrtasindhu, pp. 1-5 6. Rupa Goswami, Ujjvalanilamani, pp.328-340 44

2.1.1.1 Treatment of sambhoga srngara Jayadeva has created an environment of spring which is resourceful with attractive surrounding suitable to this sentiment. He has arranged the required conditions which are directed by many rhetoricians for the creation of erotic sentiment. In the beginning of the subject matter the description of the spring and the play of Krsna with the cowherd women on the bank of Yamuna present a magnificent sight befitting for the erotic sentiment. In the description of Radha's separation and when she thinks about Krsna the total expression becomes an example of Sambhoga srngara. When themessenger advises to Radha for the union with Krsna, she gives the example of the union of a female with another male to create interest for the union of Radha is an example of erotics in union.潞 While Radha describing the nature of Krsna to her companion due to Krsna's delay to reach the venue of rendezevos, all the thought of Radha about Krsna and the cowherd women is considered as the example of sambhogasrngara.⁹ After dissolving the anger of Radha, Krsna begged love to her. In this context, all the verses are the examples of erotics. 10 In the twelfth canto when the companions of Radha went outside the bower, union of Radha and Krsna becames fruitful. Radha was looking with a smiling face and her eyes were on the bed of leaves. After the passionate love, Radha wanting Krsna to ornament her¹1. Except these some other verses of Gitagovinda are also the examples of erotic 12. 7. Giri, M.R., Treatment of rasa in Gitagovindam, M.Phil Desertation of Utkal University, Dept. of Sanskrit, 1988-99 8. Sri Gitagovindam, Ed. Gaudiya Vendanta Publication, p. 201 9. Ibid., p.245 10. The Gitagovindam, VIII Canto. 11. Treatment of rasa in Gitagovindam, p.36 12. Gitagovinda, 1.28-41, II.4-8, II.12-17, V.2-8, VII.13,8, IV, 11-13, XI.5,6, XII.7,8, 13-17 45

2.1.1.2 Treatment of Vipralambhasrngara. The erotic sentiment is not complete without Vipralambha or separation 13. Jayadeva illustrates the truth that the love born of sense attraction should be transformed into love born of austerity and sense control. Out of four types of Vipralambha, purvaraga and manavipralambha are placed in this poem 14. In purvaraga both the hero and the heroine cherish passionate union which had not taken place at that time manavipralambha in this poem is pranaya and irsya.15. The treatment of Purvaraga is found in most elaborate form starting from the first song, the sight of Krsna with the cowherd women: 16 2.1.1.3 Different stages of the Vipralambha as described in the Gitagovinda The different stages of vipralambha are succinctly described in the Gitagovinda To elucidate some of them: a. Abhilasa: When Krsna was playing with the cowherd women, Radha says to her friends, "bring Krsna, the sublime tormentor to revel with me. I have gone mad waiting for his fickle love to change". When Krsna realises and searches Radha in vain arrows of love pierces his weary mind and he repents as he suffers in a thick on the banks of Yamuna. Here both want to get each other's company but there are a lot of obstructions. 13. Gitagovinda, 1.28-41, I.4-8, II.12-17, V.2-8, VII.13,8, IV, 11-13, XI.5,6, XII.7,8, 13-17 14. Ibid 15. Ibid 16. Sri Gitagovindam, Ed. Gaudiya Vedanta Publication, p.46 17. Miller, B.S., Ed. The Gitagovinda of Jayadeva, p.80 46

b. Cinta: In the description of the spring when Radha was searching Krsna like a flowering creeper in the forest wilderness, 18 Krsna was thinking about Radha in the lovelorn condition and he says, "What will she do, what will she say to me for deserting her this long" 19. The sole thinking is to get one other's company. c. Smarana: When Krsna recalls the wound of Radha's desertion the emissary comes and says to Krsna about Radha's condition in separation and her emotion 20. d. Vyadhi: The depressed person considers the delightful things such as garland, anointing of the body with the sandal paste, various cosmetics, moon beam, Malayan wind and spring time to be undelightful. So the lovelorn hero and heroine of this poem suffer the pangs of separation 21. e. Avega: Radha's messenger also says to Krsna about avega or agitation that "she evokes you deep meditation to reach your distant form "22. f. Asuya: This is presented by the song of the seventh canto when Krsna did not come and Radha says to her companion about the pitiless, unkind nature of Krsna 23 g. Dainya: Radha's messenger says to Krsna how Radha is spending her life without him. Being dejected by Krsna she slanders sandalbalm and moonbeams, she feels the venom from nests of deadly snakes in the breeze of the Malaya 18. Sri Gitagovindam, I.II.26 19. Sri Gitagovindam, 3.7.4 20. Ibid, VI, Song 12 21. Giri, M.R., Treatment of rasa in Gitagovindam, p:40 22. Sri Gitagovindam, 4.8 23. Miller, B.S., Ed., The Gitagovinda of Jayadeva, p.152 47 :

mountain. She evokes Krsna in deep meditation to reach him. She laments, laughs, collapses, cries, trembles, utters her pain 24. h. Irsyamana: By hearing about Krsna with the cowherd woken, Radha becomes angry, while Hari roamed in the forest making love to all the women 25. Devotion is of two types: vaidhi and ragatmika. Vaidhi is theme oriented and the ragatmika is sentiment oriented. The ragatmika devotion has no cause to arise. It is a great attraction in heart only. Here is no hope for self-pleasure but the pain is to be accepted. This is the whole property of Vraja. This theme of ragatmika devotion is the foundation of Gitagovinda Therefore, Gitagovinda is the poem of sentiment 26. Its every verse, word and letter are sprinkled by this nectar emotions. The Vaisnava texts define the erotic sentiment as- by which the desire of enjoyment can be fulfilled and be satisfied. Every sentiment has an imagery and a presiding deity. The colour of this sentiment is dark or dark blue and its god is Sri Krsna 27. Jayadeva describes Sri Krsna as the very image of erotics. The Oida poet Gopalakrsna said: disuchantikisadrsal murtimantahelaparimudekhichiniscayasrngararasa 1128 Srikrsna is the condensed figure of the first and brightest sentiment. The description of the erotic play of Radhakrsna is the sweet union of the soul and the supreme person and not the earthly behaviour at all 29. rasah pakasta - asti iti rasah || 30 24. Miller, B.S., Ed. The Gitagovinda of Jayadeva, p.87 25. Sri Gitagovindam, 8.2 26. Svami Prabhupada, Ed. Bhaktirasamrta sindhu (Odia), pp.121-133 27. Sri Gitagovindam, p.85 28. Gopalkrsna Padavali, Ed. Odisha Sahitya Academy, p.50 29. Apte, V.G., Ed. Vrahmavaivartapuranam, part-1, pp.10-22 48

The rasalila of Krsna is a famous and popular episode in the ancient texts. So where the hero is a figure of erotics sentiment, no doubt, the poem is the best one, prosperous with erotic from the sentimental point of view.