Gita Govinda -Jayadeva 21

Gita Govinda -Shri Jayadeva Gosvami

Act One : sämoda dämodaraù

The Delighted Captive of Love

Verse 1

Commentary

In this opening verse, the great poet indicates that the prominent rasa throughout the poem will be çåìgära, the monarch of all integrated ecstasies. The darkness of night, the cloud-covered sky and the dense foliage of the forest floor, beautified by tamäla trees, are all uddépana-vibhäva. Shrimaté Rädhäräëé is älambana-vibhäva. The sthäyibhäva is rati. The vyabhicäré-bhävas include harña, ävega and autsukya. The anubhäva is bhérutva, timidity. Shri Rädhä has been described first because the heroine is prominent in çåìgära-rasa. At this opportune moment in the pastime, Rädhä’s sakhé will listen and look around to make sure that the coast is clear. Then she will say, “Go into the dense forest for as long as the moonshine is not visible.” In Shrimad-Bhägavatam Shri Çukadeva Gosvämé has said, tamaù praviñtam älakñya – “On seeing a dark place...” According to literary tradition, there are two types of poetic composition: sädhäraëa-kävya and mahä-kävya, the ordinary poem and the epic masterpiece. Three components comprise the maìgaläcaraëa verse of a mahä-kävya: blessings (äçérväda), obeisances (namaskära) and a definition of content (vastunirdeça). In the present verse, the word jayanti is unders tood in the sense of namaskära, respectful obeisances. This type of interpretation is supported by the text of Kävya-prakäça. The subject matter, namely Shri Rädhä-Mädhava’s amorous play, acts in the capacity of both vastu-nirdeça and äçérväda. Therefore this composition conforms to the definition of a mahä-kävya.