Introduction And Summary Of Geet Govinda
Introduction –
(1). The Gita Govinda is a work composed by the 12th-century Hindu poet Jayadeva. It describes the relationship between Krishna, Radha and the gopis (female cow herders) of Vrindavan.
(2). Gita Govinda is arranged in twelve chapters. Each chapter is further sub-divided into one or more divisions called Prabandhas, twenty-four in all.
(3). Prabandhas consist of couplets which are grouped into eight, called Ashtapadi. The text also elaborates on the eight moods of the heroine, Ashta Nayika, which has been the inspiration for many compositions and choreographic works in Indian classical dances.
(4.) The musicians of Kerala adapted Ashtapadi into a musical form performed in temples called Sopana Sangeetham.
Summary
(1). This work portrays Krishna’s love for Radha, the milkmaid, her faithlessness and later return to her, and is taken as a symbol of the human soul straying from its true allegiance, but making it There is a return in the length of the Lord.
Chapters
- Sāmodadāmodaram (Exuberant Krishna)
- Akleshakeshavam (Blithesome Krishna)
- Mugdhamadhusūdanam (Winsome Krishna)
- Snigdhamadhusūdanam (Tender Krishna)
- Sākāṅkṣa puṇdarīkākṣham (Passionate Krishna)
- Dhrṣta vaikuṇṭa (Audacious Krishna)
- NāgaranārāyanaH (Dexterous Krishna)
- VilakṣyalakṣmīpatiH (Apologetic Krishna)
- Mugdhadamukunda (Unpretentious Krishna)
- ChaturachaturbhujaH (Tactful Krishna)
- Sānandadāmodaram (Joyful Krishna)
- SuprītapītāmbaraH (Exultant Krishna)
Translation
(1). The poem has been translated into most modern Indian languages and several European languages. There is a German rendering which Goethe gave to F. Read by H.
(2). Dalberg’s version was based on an English translation by William Jones published in 1792 in the Transactions of the Asiatic Society, Calcutta.
(3). A verse translation by Ruckert was started in 1829 and revised according to the edited Sanskrit and Latin translations of c.
(4). The Guimet Museum in Paris also has another manuscript describing the love between Krishna and Radha in Devanagari script.
(5). This rectangular work is printed on paper in Nagari script, seven lines per page, and has a folio in the left margin on its backside. It is composed of 36 folios.
(6). The section is decorated with snow crystal motifs scattered throughout the text, a practice typical of the Indian publisher Baburam. This version was produced in Calcutta in 1808 in imitation of the manuscripts; Lacks title page, with a folio attached to it. The current binding, executed in the museum in 1991, is very faithful to its original form.
(7). Notable English translations are: Edwin Arnold’s The Indian Song of Songs (1875); Sri Jayadeva Gita Govinda: The Loves of Krishna and Radha (Bombay 1940) by George Keats and Harold Peiris.
(8). Lakshminarasimha Sastri The Gita Govinda of Jayadeva, Madras, 1956; Duncan Greenlee’s Theosophical Rendering of the Song of the Divine, Madras, 1962; Monica Verma’s Transcreation of The Gita Govinda of Jayadeva, published by Writer’s Workshop, Calcutta, 1968; Barbara Stoller Miller’s Jayadeva’s Gitagovinda: The Dark Lord’s Love Song, published by Oxford University Press, Delhi, 1978; Lee Siegel’s Gitagovinda: Love Songs of Radha and Krishna published in Clay Sanskrit Series.
(9). The first English translation of the Gita Govinda was written by Sir William Jones in 1792, where Cenduli (Kenduli Sasana) of Kalinga (Kalinga, ancient Odisha) is widely believed to be the place of origin of Jayadeva. And the poet himself mentions it.
(10). Since then, the Gita Govinda has been translated into many languages around the world, and is considered one of the finest examples of Sanskrit poetry.
(11). Barbara Stoller Miller translated the book in 1977 as Love Songs of the Dark Lord: Jayadeva’s Gita Govinda (ISBN 0-231-11097-9).
(12). The book includes a foreword by John Stratton Hawley and includes extensive commentary on the subject of verse and poetry.
Music
(1). The Gita Govinda is one of the earliest musical texts in which the author indicates the exact raga (mode) and tala (tempo) in which each song is sung.
(2). These allusions are compiled below according to the Ashtapadi number found in important ancient copies of the Gita Govinda and the commentaries of Narayana Dasa (14th century), Dharanidhara’s Tika (16th century), Jagannatha Mishra’s Tika (16th century) ) is based on Sarvangasundari vaccine. ), Rana Kumbha’s Rasikapriya (16th century) and Bajuri Das’s Arthagobinda (17th century).
- Mālava, Mālavagauḍa or Mālavagauḍā
- Maṅgala Gujjarī or Gurjarī
- Basanta
- Rāmakirī or Rāmakerī
- Gujjarī or Gurjarī
- Guṇḍakirī or Guṇḍakerī or Mālavagauḍa
- Gujjarī or Gurjarī
- Karṇṇāṭa
- Deśākhya or Deśākṣa
- Deśī Barāḍi or Deśa Barāḍi or Pañchama Barāḍi
- Gujjarī or Gurjarī
- Guṇḍakirī or Guṇḍakerī
- Mālava or Mālavagauḍā
- Basanta
- Gujjarī or Gurjarī
- Barāḍi or Deśa Barāḍi or Deśī Barāḍi
- Bhairabī
- Gujjarī or Gurjarī or Rāmakerī
- Deśī or Deśa Barāḍi
- Basanta
- Barāḍi or Deśa Barāḍi
- Barāḍi
- Rāmakirī or Rāmakerī or Bibhāsa
- Rāmakirī or Rāmakerī
(3).Most of the raags and talas indicated by Jayadeva, with the exception of one or two, continue to be in practice in the tradition of Odissi music.
