Jaur Gita Govinda, Part 13

BY: SUN STAFF


Sep 19, 2011 — CANADA (SUN) — Reprise of a 2005 month-long series on the illustrious Jaur Gita-Govinda.


Text Folio No. 26

Bhavas 34 and 35

In bhava 34 there is a passionate description of Radha. The writer loads it with metaphors and similes. Naturally, Radha's eyes are more beautiful than lotus petals, her waist slimmer than a lion's, her hips and thighs more beautiful than an elephants, etc. Krsna attributes his great joy to the good deeds which he perhaps did in previous births. The scene changes in bhava 35, for here the sakhi once again begins to address Radha as a golden creeper and asks her to delay no longer if she wishes to hear Krsna singing her praise. She tells her that the avatara of Kamadeva (Krsna) looks for her and she must welcome him.


Text Folio No. 27

Bhava 36and 37

The sakhi continues in the same strain. She tells Radha that Krsna has followed the sound of her ankle bells, and has sent her to look for Radha. Krsna, she tells Radha, repeats her name without pause and she must no longer tarry. In Bhava 37, the sakhi expresses her surprise at Radha's lack of response. How can Radha not receive the visitor at her door? Why doesn't passion rise in her? She fails to understand.



Illustration Folios 26 and 27

In folio 26 there is a pastoral scene. In one corner a few cows graze, with an expression of innocent wonder. In a diagonally opposite corner, the sakhi and Krsna are in conversation. In the second section, in a small rectangular frame Radha sits proud, alone, and unrelenting.

Folio 27 is divided into four sections, each a rectangular frame. In the first, there is Radha with a garland, waiting expectantly. In the second, the sakhi gives her a message. In the third, it is again Radha with a garland, but this time with her face turned away from the garland. In the fourth, we see a dancer in the vivacious pose of a parsvakranta.



It is obvious from the illustrations of the folio that although there is a very general coordination of the text and illustrations, the painter is communicating the theme according to his understanding and not in a strict sequential relationship to the text.


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