Jayadeva

1.05 - Bhakti Yoga, #Amrita Gita, #Swami Sivananda Saraswati, #Hinduism
18. Bhishma had Santa Bhava; Hanuman had Dasya Bhava; Jayadeva and Gauranga had Madhurya Bhava; the Gopis had Sakhya-Bhava; Arjuna and Guha had Sakhya Bhava; Yasoda and Vishnuchitta had Vatsalya Bhava.
19. Have any kind of Bhava that suits your temperament. Develop it again and again.

17.09 - Victory to the World Master, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
poet Jayadeva.
I bow down to Krishna, to his ten incarnations, to him who

1.jda - My heart values his vulgar ways (from The Gitagovinda), #unset, #Anonymous, #Various
English version by Barbara Stoler Miller Original Language Sanskrit My heart values his vulgar ways, Refuses to admit my rage, Feels strangely elated, and keeps denying his guilt. When he steals away without me To indulge his craving For more young women, My perverse heart Only wants Krishna back. What can I do? I reach the lonely forest hut where he secretly lies at night. My trembling eyes search for him as he laughs in a mood of passion. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. I shy from him when we meet; he coaxes me with flattering words. I smile at him tenderly as he loosens the silken cloth on my hips. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. I fall on the bed of tender ferns; he lies on my breasts forever. I embrace him, kiss him; he clings to me drinking my lips. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. My eyes close languidly as I feel the flesh quiver on his cheek. My body is moist with sweat; he is shaking from the wine of lust. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. I murmur like a cuckoo; he masters love's secret rite. My hari is a tangle of wilted flowers; my breasts bear his nailmarks. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. Jewel anklets ring at my feet as he reaches the height of passion. My belt falls noisily; he draws back my hair to kiss me. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. I savor passion's joyful time; his lotus eyes are barely open. My body falls like a limp vine; Madhu's foe delights in my love. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. Jayadeva sings about Radha's fantasy of making love with Madhu's killer. Let the story of a lonely cowherdess spread joy in his graceful play. Friend, bring Kesi's sublime tormentor to revel with me! I've gone mad with waiting for his fickle love to change. The enchanting flute in his hand Lies fallen under coy glances; Sweat of love wets his cheeks; His bewildered face is smiling -- When Krishna sees me watching him Playing in the forest In a crowd of village beauties, I feel the joy of desire. Wind from a lakeside garden Coaxing buds on new asoka branches Into clusters of scarlet flowers Is only fanning the flames to burn me. This mountain Of new mango blossoms Humming with roving bumblebees Is no comfort to me now, freind. [1994.jpg] -- from Love Song of the Dark Lord: Jayadeva's Gitagovinda, Translated by Barbara Stoler Miller <

1.jda - Raga Gujri, #unset, #Anonymous, #Various
English version by Nirmal Dass Original Language Sanskrit Primal, All-pervasive, Unrivaled, Unchanging, First Mover, Hoard of virtue, All-powerful, Beyond creation, Incomprehensible, Forever present. Only Ram's name can entice the heart. Repeat this always: His name is ambrosia, it is the true reality. Remember His name and suffering shall vanish. Remember His name and birth, old age, death shall not touch you. If you wish to defeat Yama and his hordes, seek honor, peace and goodness. The present, the past, the future are all transitory and fleeting -- only He is everlasting and infinite. Forsake all lusts; do not look longingly upon what others posses and hold -- it is not fitting. Abandon all evil deeds and all evil thoughts. Go and seek the refuge of Chakradhar. Experience for yourself Hari's love through holiness, through right deeds, through right words. What use is yoga? What good is the world? What good is giving alms, what good penance? Adore Gobind, Gobind, O mortal, for He is the source of all spiritual power. Openly, without hesitation, Jayadeva comes seeking His refuge -- for He existed in the past, He exists today. He abides in all things. [2184.jpg] -- from Songs of the Saints from the Adi Granth, Translated by Nirmal Dass

1.jda - Raga Maru, #unset, #Anonymous, #Various
English version by Nirmal Dass Original Language Sanskrit I drew up breath through my left nostril, fixed it at the bridge of my nose, and then forced out that breath through the right nostril, while repeating "Om" sixteen times. I broke the strength of my weak heart, steadied my inconstant spirit, and gave form to my inchoate mind -- thus did I drink ambrosia. O my heart, sing the praises of God the primal -- thus shall you lessen the difference between you and Him. I worshipped the Worshipful, and trusted the Trustworthy -- like water can easily blend with water. Jayadeva says, I praised the victorious Deva, and found that Brahma who Himself has no desires, who is lost forever in the vastness of His own self. [2184.jpg] -- from Songs of the Saints from the Adi Granth, Translated by Nirmal Dass <

1.jda - When he quickens all things (from The Gitagovinda), #unset, #Anonymous, #Various
English version by Barbara Stoler Miller Original Language Sanskrit When he quickens all things To create bliss in the world, His soft black sinuous lotus limbs Begin the festival of love And beautiful cowherd girls wildly Wind him in their bodies. Friend, in spring young Hari plays Like erotic mood incarnate. [1994.jpg] -- from Love Song of the Dark Lord: Jayadeva's Gitagovinda, Translated by Barbara Stoler Miller <

1.jda - When spring came, tender-limbed Radha wandered (from The Gitagovinda), #unset, #Anonymous, #Various
English version by Barbara Stoler Miller Original Language Sanskrit When spring came, tender-limbed Radha wandered Like a flowering creeper in the forest wilderness, Seeking Krishna in his many haunts. The god of love increased her ordeal, Tormenting her with fevered thoughts, And her friend sang to heighten the mood. Soft sandal mountain winds caress quivering vines of clove. Forest huts hum with droning bees and crying cuckoos. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Lonely wives of travelers whine in love's mad fantasies. Bees swarm over flowers clustered to fill mimosa branches. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Tamala trees' fresh leaves absorb strong scents of deer musk. Flame-tree petals, shining nails of love, tear at young hearts. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Gleaming saffron flower pistils are golden scepters of Love. Trumpet flowers like wanton bees are arrows in Love's quiver. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Tender buds bloom into laughter as creatures abandon modesty. Cactus spikes pierce the sky to wound deserted lovers. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Scents of twining creepers mingle with perfumes of fresh garlands. Intimate bonds with young things bewilder even hermit hearts. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Budding mango trees tremble from the embrace of rising vines. Brindaban forest is washed by meandering Jumna river waters. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Jayadeva's song evokes the potent memory of Hari's feet, Coloring the forest in springtime mood heightened by Love's presence. When spring's mood is rich, Hari roams here To dance with young women, friend -- A cruel time for deserted lovers. Wind perfumes the forest with fine pollen Shaken loose from newly blossomed jasmine As it blows Love's cactus-fragrant breath To torture every heart it touches here. Crying sounds of cuckoos, mating on mango shoots Shaken as bees seek honey scents of opening buds, Raise fever in the ears of lonely travelers -- Somehow they survive these days By tasting the mood of lovers' union In climaxing moments of meditation. [1994.jpg] -- from Love Song of the Dark Lord: Jayadeva's Gitagovinda, Translated by Barbara Stoler Miller <

1.jda - You rest on the circle of Sris breast (from The Gitagovinda), #unset, #Anonymous, #Various
English version by Barbara Stoler Miller Original Language Sanskrit You rest on the circle of Sri's breast, Wearing your earrings, Fondling wanton forest garlands. Triumph, God of Triumph, Hari! The sun's jewel light encircles you As you break through the bond of existence -- A wild Himalayan goose on lakes in minds of holy men. Triumph, God of Triumph, Hari! You defeat the venomous serpent Kaliya, Exciting your Yadu kinsmen Like sunlight inciting lotuses to bloom. Triumph, God of Triumph, Hari! You ride your fierce eagle Garuda To battle demons Madhu and Mura and Naraka, Leaving the other goods free to play. Triumph, God of Triumph, Hari! Watching with long omniscient lotus-petal eyes, You free us from bonds of existence, Preserving life in the world's three realms. Triumph, God of Triumph, Hari! Janaka's daughter Sita adorns you. You conquer demon Dusana. You kill ten-headed Ravana in battle. Triumph, God of Triumph, Hari! Your beauty is fresh as rain clouds. You hold the mountain to churn elixir from the sea. Your eyes are night birds drinking from Sri's moon face. Triumph, God of Triumph, Hari! Poet Jayadeva joyously sings This song of invocation In an auspicious prayer. Triumph, God of Triumph, Hari! As he rests in Sri's embrace, On the soft slope of her breast, The saffroned chest of Madhu's killer Is stained with red marks of passion And sweat from fatigue of tumultuous loving. May his broad chest bring you pleasure too! [1994.jpg] -- from Love Song of the Dark Lord: Jayadeva's Gitagovinda, Translated by Barbara Stoler Miller <

21.03 - The Double Ladder, #Collected Works of Nolini Kanta Gupta - Vol 06, #Nolini Kanta Gupta, #Integral Yoga
So we see in the system of creation two lines of growth or development or expression - a double ladder, one mounting up from below and the other coming down from above. They are more like, they have been described as, genealogical trees, the upward rising tree is the tree of evolution starting from matter, the root substance, growing gradually into the trunk, its multiple branches and sub-branches spreading up and abroad, each new shoot branching out is represented by the advent of a new form of being or species or creature. We all know the gradations from the unformed, ill-formed types to better and better formed types till we reach man. On the other hand, the other tree is the Vedic Ashwattha tree that has its roots up in the supreme Space and sends down gradually its branches below. The unity at the origin gradually fissuring, dividing and subdividing and multiplying itself, at the same time the multiplied products becoming more and more distinct and definite, even rigid and limited, although more and more concrete and firm in form and function. In this line of devolution, the forms or the formations and emanations that have appeared and manifested, I have named in a generic way, gods. Their function is to infuse themselves wherever needed into the formations that have been prepared by the upward surge of the evolutionary movement from below and thus help fulfil that urge. Each type of divinity at the appropriate stage and occasion comes forward, embodies itself so to say, in the external creative movement. We know this process, although somewhat symbolically described, in the famous song of Jayadeva describing the Avataras.
The Gods, I have said, are types, self-existent realities, models for new creations which are gradually coming forward in the material world, which are to be directed and organised.

30.08 - Poetry and Mantra, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
Seer as poet and poet as poet are different, because of their difference in speech. Vaikhari vak is the word that stands in its own value and glory, maintains its own separate dignity and greatness, giving free scope to the inherent power of sound, voice and articulation. Hence the inner Being, the true Being of delight, does not always relish even the sweet noise - as Hamlet speaks out: it is all words, words, words - or as Jayadeva declares:
Mukharam adhiram tyaja majiram

30.14 - Rabindranath and Modernism, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
I do not say the indulgence of the lower nature, the physical propensities and the sense-objects is less prevalent in our country. The teeming wealth of sensuality that is found in Kalidasa and Jayadeva has hardly any parallel in the literature of any other country. But the oriental approach is quite different from the occidental. The consciousness and the attitude with which Europe has accepted and embraced the sense-world or the material world are profane, pagan - the enjoyment of pleasure in the grossest and the most materialistic way, pleasure for the sake of pleasure. The fount of tears pent up in the core of every transient object ("sunt lacrymae rerum"),so said Virgil, the great poet of Europe. The artistic mind of Europe derives its inspiration from there. The Indian consciousness even after accepting the material objects could not completely exhaust itself in the earthly relation only. As the Upanishad says, the husband, the wife or the son is dear to us not because of their own sake but for the delight of one's soul. It is not that the spiritual basis of consciousness is directly or actively manifest in all Indians or even all creative artists of India. But this perception permeates the atmosphere, the firmament, the air, land and water of India. And this idea, on the whole, brought about a special outlook and tone in the style of her creative arts. The works of Vaishnava poets are replete with earthly love, at places only nominally associated with God; and yet even this nominal or tacit association is a very characteristic and special feature. And it cannot be put in the category of mere earthly and human outlook as known to us. At least earthly things and sense-objects have not been presented solely with their own norms and values. They have been assessed in relation to the values of something else, their truth has been' determined as a help or an impediment to some other truth. Not that artists of this type are totally absent in Europe. There also - although it is the exception rather than the rule as here - we come across a few who have the experience of the Imperishable in the perishable, and the realisation of Consciousness in Matter. The experience of silence, for example, was in some so overwhelming as to render names and forms secondary - insignificant - and to reduce them to mere shadows. Thus to Wordsworth all natural truths and beauty are inherent in the power that presides over Nature which he calls Spirit.
Tagore wanted to seize the object as a real object and touch the body physically, with the sense of touch. Unlike the spiritual seers he could not remain content with embracing the object in and through the soul alone and the person through the impersonal. As a mortal he sought to taste the delight of-mortal things. And yet he established the Immortal in the mortal. He looked upon the body as body and yet was united with it in and through something of the formless soul. The uniqueness of his realisation consists in the synthesis of the duality, the contrary. Like the pagan he maintained intact the terrestrial enjoying, even made it more intense, yet he brought down into it something of the supraphysical. And for this harmonisation he resorted to the consciousness of the Upanishads which is innate to his country. The thing that has bridged the gulf between the physical and the supra-physical, between the body and the soul, between the inmost within and the outmost without is the heart of the devotee - the emotional fervour of the Vaishnavas, adorers, lovers and those who have the fine sense of beauty and delight.

31.01 - The Heart of Bengal, #Collected Works of Nolini Kanta Gupta - Vol 07, #Nolini Kanta Gupta, #Integral Yoga
Another touchstone of beauty is woman. Women of beauty abound more in other parts of India, but Bengal owns graceful women. Some unknown versifier, while describing the special qualities of the beauties of the different provinces of India, remarked that the beauty of teeth is the speciality of the women of Bengal. The famous poet Jayadeva also was enamoured of the lustre of the shining teeth of the Bengali women. We may not be consciously aware of it, but there is a grace and a charm on the faces of the women of Bengal. Faultless beauty in the formation of the body may be absent there, but it will remind us of the words in The Song of Solomon, I am black but comely. The soft, pliant, graceful and mobile ways of life and character are reflected on the faces of the Bengali women. In the structure of the Bengalis, the statuesqueness of the Greeks is not to be found, but there is gracefulness and charm. And what is this gracefulness? Bergson has given a nice explanation to the effect:
The soul imparts a portion of its winged lightness to the body it animates: the immateriality which thus passes into matter is what is called gracefulness.

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