The Gīta Govinda

 The Setting (V. 1): The sky is thick with clouds, and the Tamala trees cast dark shadows on the forest floor. The night is frightening, and Krishna is timid. Nanda commands: "Radha, you take him! You alone must guide him home."

And thus, acting on Nanda’s command, the secret love-play of Radha and Madhava (Krishna) begins on the banks of the Yamuna, amidst the path of trees.

 The Poet’s Promise (V. 3): If your mind seeks flavor (rasa) in remembering Hari, and if you are curious about the playful arts of love, then listen to the poetry of Jayadeva. It is a string of words that are sweet, tender, and terrible in their beauty.

The First Song (Daśāvatāra Stotram) Begins:

Jayadeva praises Krishna in his ten divine forms. It starts with the Fish Avatar (Matsya), who saved the Vedas from the deluge like a boat on the ocean.

Refrain: "O Kesava! Victory to you, Lord of the World, Hari!"

 The Avatars (Daśāvatāra Stotram):

• The Tortoise (Kurma): The earth rests on your vast back, calloused by the rotation of Mount Mandara.
• The Boar (Varaha): The earth clings to your tusk like a speck of the moon.
• The Man-Lion (Narasimha): With nails like chisels, you tore apart the demon Hiranyakashipu like a bee tearing a lotus.
• The Dwarf (Vamana): You deceived King Bali with three steps, your toenails purifying the Ganges.
• Parasurama: You bathed the earth in the blood of warriors to cleanse its sins.
• Rama: You offered Ravana's ten heads as a delightful sacrifice in battle.
• Balarama: You wear blue garments like the Yamuna river, dragging your mighty plough.
• Buddha: Out of compassion, you condemned the ritual sacrifice of animals.

The Final Avatar (Kalki):

Like a comet of doom, you wield a sword to destroy the barbarians (Mlecchas) at the end of the age.

Summary (Verse 12):

To you, Krishna, who assumes these ten forms—protecting, supporting, destroying evil, and showing compassion—I offer my salutations.

The Second Song (Aṣṭapadī 2) Begins:

A song of pure praise for Krishna's glory.

Refrain: "Victory, Victory to you, O Deva Hari!"

• He rests on the circle of Lakshmi's breasts.
• He is the sun to the lotus of the Yadu clan and the destroyer of the serpent Kaliya.

Transition to Romance (Verse 10):

The poet shifts from prayer to physical beauty:

• "His chest is marked with saffron paste from his embrace with Lakshmi."
• "May his body, moist with the sweat of love-play, grant you desire."

Third Song (Aṣṭapadī 3) Begins - Spring:

The setting changes to the lush Spring season (Vasanta).

• The Atmosphere: The Malayan breeze is gentle and cool. The bowers echo with the cooing of cuckoos and the humming of bees.
• The Action: In this vibrant season, Hari (Krishna) plays freely here.
• Warning: It is a time that pierces the hearts of those separated from their lovers (Virahi).

🖼️ The Pain of Separation (Spring Continues)

This page vividly describes the agony caused by the beauty of spring to those who are lonely.

• The Flowers: The Bakula flowers madden the bees. The Kimsuka flowers look like the red nails of the God of Love (Kāma), tearing at hearts.
• The Irony: The hermit's mind is distracted, but for the young lover, the scent of the Madhavika creeper is unbearable.
• The Setting: The Vrindavan forest, purified by the Yamuna waters, trembles with the embrace of the vines.

Poet's Reflection (Verse 9):

"May this description of the springtime forest by Jayadeva increase your devotion to the feet of Hari."

Conclusion: The Dance of Passion

This section describes the famous Rasa Lila, where Krishna dances with the Gopis (cowherd maidens), oblivious to Radha's special claim on him. The scene is one of universal, intoxicating love.

• The Scene: In this spring season, Hari (Krishna) plays like a jewel amidst a crowd of beautiful women.
• The Interactions:
• One maiden, overcome by the weight of her passion, hugs him tightly.
• Another, with roving eyes, stares at his lotus-like face as if drinking him in.
• Another whispers a secret into his ear just to get close to his cheek.
• He embraces one, kisses another, and smiles at a third. Hari is everywhere, delighting everyone simultaneously.

The Jealousy & The Vision

Sitting in a vine-bower, Radha asks her Sakhī (friend) to recall the vision of Krishna.

• The Flute Player: "I remember Hari, playing his enchanting flute, his head nodding to the rhythm, his earrings dancing against his cheeks."
• The Universal Lover: "He is surrounded by the Gopis. He is like a raincloud adorned with a rainbow (his peacock feather). He freely kisses their faces, which shine like moons."

The Sakhī sees that while Radha is angry, she is also burning with desire. She urges Radha to stop sulking and go to the bower where Krishna is waiting.

• The Plea: "O Friend! He is waiting in a secret bower (Nikunja). Go and enjoy with him!"
• The Description of Krishna's State: The Sakhī paints a picture of Krishna’s longing to entice Radha:
• "He lies on a bed of tender leaves, thinking it is you."
• "He hugs his own pillow, mistaking it for your body."
• "He is exhausted by the heavy burden of love (Rati). He is waiting for you."

End of Canto II: The Canto concludes with the Sakhī trying to push the hesitant Radha toward the tryst.

 Spring’s Torment (V. 4): The Kimsuka flowers look like the red nails of the God of Love (Kāma), tearing at lonely hearts.

 The Shift: Radha, witnessing the universal love-play, is consumed by jealousy and pride (Māna). She retreats into the deep forest, angry and heartbroken.

 The Vision (Song 5, V. 1, 3): Radha asks her Sakhī to recall the image of Krishna:

• She remembers his head nodding to the rhythm, his earrings dancing against his cheeks (V. 1).
• "He is like a raincloud adorned with a rainbow (his peacock feather). He freely kisses their faces, which shine like moons" (V. 3).

 The Call to the Bower (Song 6): The Sakhī urges Radha: "He lies on a bed of tender leaves, hugging his own pillow, mistaking it for your body. He is exhausted by the heavy burden of love (Rati)."

The mood shifts dramatically. Krishna has abandoned the Gopis. He is now alone on the banks of the Yamuna, and the weight of his actions hits him.

• The Realization: "She (Radha) saw me surrounded by other women. She went away in fear and anger, and I did not stop her."
• The Penance: Krishna is devastated.
• "What use is my wealth? What use is my kin? What use is my very life if she is gone?"
• He visualizes her angry face, her furrowed brows, which look to him like the bow of Kama (Cupid) ready to strike him.
• The Lament: "I cherish her in my heart constantly. Why do I run in the forest? Why do I weep in vain? She is inside me, yet I search for her outside."

May the charming glance of Krishna—made restless by the sweet, trembling side-glances of Radha’s friends—always grant happiness.

 The Setting (V. 1): Krishna sat sorrowfully in a secluded bower near the Yamuna riverbank. Radha’s messenger, full of love, approached and spoke to him.

The Sakhi's Description of Radha's Suffering

 Physical Torment (V. 2, 9): The cool Malaya breeze, mixed with forest smoke, feels like poison to Radha. She is lost in meditation on Krishna, overwhelmed by the fear of Cupid.

• Verse (3): She constructs a wall of cloud-masses to resemble the vast ocean.
• Verse (4): She arranges a beautiful bed of blossoms, imagining it for Krishna’s pleasure and embrace.
• Verse (5): She holds a restless lotus flower on her chest and weeps, her eyes wide with sorrow.

 Delirium (V. 6): She secretly draws Krishna’s image (the destroyer of Mura) and bows to it, mistaking it for Cupid.

• Verse (7): She counts the passing days by the flowers that bloom in the forest.
• Verse (8): She rejects the attempts of her friends to console her.

 Affliction (V. 9): She is constantly afflicted by the sight of Krishna’s eyes and treats them as her enemy.

 The Reflection (V. 10): She tries to talk to her own reflection, but her breath falters.

• Verse (11): She wishes the fire of separation would quickly consume her youth.
• Verse (12): She cannot bear even a moment of separation.
• Verse (13): The Govardhana hill, covered with Kūcī flowers and kissed by deer, seems like a mirror reflecting her mind.

Krishna's Plea and The Call to the Tryst

 Krishna's Instruction (V. 1): Krishna, with eyes full of longing, tells the Sakhī: "I shall stay here. Go, Radha, and inform her of my desire."

 The Call (Song 11, V. 2, 3, 6): The Sakhī tells Radha:

• Ashtapadi 11 (The Call): The Sakhi urges Radha:
• Refrain: "Go now to the bank of the Yamuna where Krishna, the Wearer of the Forest Garland, waits. Do not delay your steps."
• Krishna is sighing deeply and mistakes the sound of the wind for her anklets (V. 2).
• He searches for her footprints in the trembling leaves (V. 3).
• He has prepared a soft bed of new leaves (V. 6).
• Verse (7): The Sakhi tells Radha to fulfill his request.

The Missed Meeting and Delirium

The Failure (V. 9): The Sakhi reports that Radha could not walk; her home feels like a vast forest, and cool sandalwood paste feels like fire.

• Ashtapadi 12 (Radha's Delusion):

(Song 12, V. 2, 6, 7):

• • Radha takes only a few steps and collapses (V. 2).
• She mistakes the dark night for Krishna’s body and embraces it, crying, "Hari has come!" (V. 6).
• She is confused and cries out, "I am Hari, the Destroyer of Mura!" (V. 7).
• She weeps openly, having prepared for a meeting that never happened (Vasakasajja).

Radha's Furious Lament

 The Scene (V. 1): The moon is rising, appearing like a pleasant mark.

• Verse (2): Radha cries out, lamenting her state.
• Verse (3): She states her youth is wasted, and she is betrayed by her friends' words.

 The Lament (V. 4, 6): Radha says the cool breeze and moonlight feel like poisoned arrows (V. 4). She wishes for death instead of separation (V. 6).

• Verse (7): She concludes that some other woman is enjoying Krishna and that woman is truly blessed.

 The Vision (V. 7): She vividly imagines the rival's pleasure and sees Krishna decorating the rival's face and painting her feet red.

Krishna's Remorseful Plea

 The Request (V. 1): Krishna, ashamed, asks the Sakhī to appease Radha's anger.

•  The Evidence (V. 2, 3): He admits, "My eyes are still red (V. 2) and my body bears marks from the night's play Verse (3): He points to marks from nails and teeth on his body.

 The Submission (V. 5): He begs, "End your coldness! I cannot live without you. Let her beautiful face remove my sorrow."

The Sakhi's Intervention

• Ashtapadi 18 (The Plea):
•  The Argument (Song 18, V. 1, 2): The Sakhī urges, "O Angry One (Māninī), abandon this pride! ! Krishna is yearning for you".

Why are you wasting the pleasure of your youth?" (V. 1, 2).

• • Verse (2): "Why are you wasting your youth? Your jealousy causes deep sorrow".
• Verse (3): The Sakhi asks Radha to allow Krishna to decorate her face.
• Verse (4): She says Krishna is anxious to serve her.

 The Service Request (V. 3, 5): She asks Radha to let Krishna serve her:

• Let him decorate her face (V. 3).
• Let him place his hand on her hair and embrace her to calm her heart (V. 5).

Krishna's Apology and Submission

 The Humility (V. 1, 3): Krishna smiles and begs Radha to remove his garments (V. 1). He begs her to let him rest his head on her feet (V. 3).

 The Vow (V. 2): He says he will not move until she allows him to embrace her.

Verse (3): He begs her to let him rest his head on her feet.

The Reunion entrance embrace sport

Radha's Adornment and Service (V. 1-8)

Radha, having overcome her anger, now begins to engage fully in the sport of love (This Song describes her preparation and service to Krishna, which is then reciprocated):

• V. 1: Krishna is fully satisfied (suprīta) in the union with Radha, and their play now commences.
• V. 2: Embraced by the tightly clasped arms of Radha, which cause him to thrill with intense pleasure (pulakāku), he drinks the nectar of her lips (adharasudhā) with wide-eyed (vilokita) joy. This is the joy of their beginning (anandādhi).
• V. 3: His arms are bound (saṁyamita) by her breasts (payodhar) and her waist (śroṇī), and his hands are bruised (piḍita) by her fingernails (nakha-śata). He is tangled (saṁmohita) in her hair (kacabhara).
• V. 4: She, too, is skilled in the arts of passion (rati-keli) and courageous (sāhasam).
• She wins over her lover (kānta-jaya) and, with the effort of the intense sport (suratārambhāt), the pearls of sweat (sveda-jali) tremble upon her breasts (sthana-śali).
• The dark musk marks (goruśira) on her chest are blotted (vilī), looking like letters written on the breast.

Song 22: Krishna's Reciprocal Service

• V. 4: Krishna is adorned with the Mandāra flowers (mandāra-kusume). His body is marked with saffron powder (sindūreṇu) from her embrace, as if stamped. His arm, strong from the sports, is triumphant.
• V. 5: Jayadeva describes how Krishna, moved by her beauty (sauṁdarya), looks upon Radha as she rests her head upon his chest, which has the mark of the God of Love's sport (manasija-keli-kuṇḍala), making the divine union complete.

The Sakhī's Instruction (V. 1-3) service adornment

The Sakhī sees the bliss of the couple (suprīta), with Krishna completely surrendered:

• V. 1: The Sakhī, seeing Krishna's utter submission, speaks to Radha, addressing her as the Beloved (priyām).
• V. 2: She commands Radha: "Place your feet (caraṇa-nalini-niveśam) on this bed of leaves (kisalaya-śayane)! Your feet (padapallavam) purify the world (bhava-bhavati). Oh Radha, follow the will of Nārāyaṇa (Nārāyaṇa-anugata) with your beautiful, tender body (tanu)."
• V. 3: She further urges: "Allow Krishna to serve you! Let him place his head on your feet, which is the mark of his devotion. He will rest his beautiful body (śayaṇa-mā), which is filled with the joy of love, on your breasts."

Krishna's Final Service (V. 4-7)

Krishna then performs the final ritual of devotion, accepting the role of the devoted servant (Dāsya Bhāva):

• V. 4: Krishna says: "I will put on your face (mukhe) the musk dot (tilaka-maṇi)! I will adjust the flower on your hair (kabarī-bhāram)."
• V. 5: He says: "Let me decorate your cheeks (kapolayo) with leaf paintings (patra-citra)."
• V. 6: He asks to arrange her waist-belt (raśanā-vasanā) and adorn her loins (jaghana).
• V. 7: Jayadeva asks that Hari, who is eager to adorn (maṇḍane) Radha, increase devotion to his lotus feet.
• V. 8 (The Climax): Krishna decorates her breasts (kucayo), paints her cheeks (kapolayo), arranges her hair (kabarī-bhara), and places the jeweled anklets (maṇi-nūpura) on her feet. The poet notes: Pītāmbara (Krishna) did this with love (prītā-Pītāṁbaro ‘pi tathā karot).

The Conclusion

• V. 10: The poem ends with the statement that the description of the playful adornment (dāṇya-alaṁkāra-kośala) will bring bliss (ānanda) to the wise.
• V. 11 (Final Verse): The poem concludes: "Thus is the Gīta Govinda of Jayadeva, the son of Ramadevi, filled with the intense love (śṛṅgāra-viksa)."