Song Divine
Rekha Jhanji

The Gita Govinda of Sri Jaidev
by A.K. Tripathy and P.C. Tripathy
Publication Division, Ministry of Information and Broadcasting,
Government of India, 2006.
Pages 187. Rs 450.

The two authors of this new book on Gita Govinda are researchers from Orissa. Gita Govinda is a well known poetic work from medieval Indian Sanskrit literature which has been translated and commented upon by several writers in Hindi and English. This new version of this famous text is very interesting because apart from the English translation it has several chapters that delineate its philosophy, history, music, religious practices and legends associated with it. These chapters give an idea of Jaidev’s creativity in music and poetry as well as his spiritual experiences. It shows that the tradition of Gita Govinda is alive in present day Orrisa.

The authors highlight the contribution of the saint poets in influencing the faith, social mores and cultural patterns of civilizations. We are all familiar with the poetry of Mira, Kabir, Tulsidas and other such saint poets from different religious traditions. Jaidev was also a saint poet, he has had a deep impact on Indian life since the last eight centuries when he wrote the Gita Govinda. The favourite deity of Jaidev was Vishnu, Gita Govinda celebrates the lila of Vishnu through his Krishna avatar. The ten avatars of Vishnu became very popular after their rendering in the Gita Govinda. He addressed all the ten incarnations of Vishnu while describing the different lila-s of Lord Krishna as Jagadish-Hari.

There is a beautiful blending of the erotic, devotional and musical elements in the Gita Govinda. The love of Radha and Krishna presents both the spiritual love between Jeevatma and Paramatma as well as the human love between man and woman. It is interesting to note that despite its erotic details no one has doubted the spiritual sanctity of this text. However what we can get out of it would depend on our own spiritual level. A person interested in purely sensuous pleasure may simply see in it manifestations of erotica while those who are attuned to divine love can never miss its message of the union of Jiva and Brahman.

The Gita Govinda is performed as a daily service in the Jagannath temple at Puri. This performance involves both singing and dancing. In earlier times the Devadasis used to sing the Gita Govinda and dance along with this singing. They were forbidden to marry but they could adopt a girl child who could be later trained in singing and dancing to be a Sadhibandha sevika – a functionary engaged in Gita Govinda seva.

In their exposition of the Gita Govinda the authors have highlighted the value of divine love. They make it very clear that "To taste the bliss of life, one should intensify his feeling for divine love of God `85this is known as bhava. Unless bhava is awakened at heart, it is not possible to realise God and His bliss`85 When bhava grows intense, it turns into mahabhava which links the self with the Supreme Self of God `85Love of God should be cultivated at heart for the sake of God and not for any ulterior motive" (pp 142-143). The Rasa Lila of Krishna marks the climax of divine love. In Rasa lila lust was controlled and diverted to eternal love of God. This lila can be understood only with purity of heart otherwise it is seen merely in its erotic dimension.

The authors have not only referred to the practices associated with the chanting of Gita Govinda but they have also referred to the legends associated with Jaidev’s life while he was engaged in writing this text. All these aspects of this book give one a very comprehensive idea of this great text. The book is brought out beautifully, the Sanskrit text of Gita Govinda is rendered as an aesthetic experience to look at it. While there are several other translations of the Gita Govinda, this particular translation and commentary is likely to stand out because of its comprehensiveness. The book will be enjoyable for anyone interested in classical Indian poetry, music and the love play of Krishna and Radha.

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