seeing through the eyes of scriptures
dandavat pranams to all the vaisnava readers of Gita Govinda
All glories to the lotsufeet of my Gurudeva Srila Bhaktivedanta Narayana Goswami and to my param Gurudeva Srila Bhaktiprajana Kesava maharaja
All glories to our beloved Srila Prabhupada
I have been asked to write about Gita Govinda to make it more understandable to vaisnavas .My beloved Gurudeva translated Gita Govinda
into English you can find copy at Purebhakti.com or for example at Krsna path someone who is not my Gurudevas disciple downloaded the book http://www.krishnapath.org/Library/Gita_Govinda.pdf
so this is sloka one with the translation and purport by my Gurudeva and then after each sloka I will comment
my Gurudeva had Jadurani mataji paint amazing picture for the front cover , HH Muni Maharaja has made a recording of the songs from Gita Govinda you might find them on youtube I believe
Image result for gita govinda pdf
Lord Jagannath is listening every night to songs from Gita Govinda .WHy is this ? Because He is Krsna in Dvaraka and He is thinking how i wish I can go back to Vrindavana .In Caitanya Caritamrta once Lord Caitanya heard Gita Govinda sung outside the temple compound of Lord Jagannatha and he ran towards the singer wanting to embrace that person.Svarupa Damodara and Govinda ran after Lord Caitanya , my Lord it is a woman.Lord Caitanya did not hear and ran threw thorny bushes thinking of Radhas love for Krsna and the Lords body got injured by the thorns finally Govinda das and Svarupa Damodara caught up with Lord Caitanya and said , My Lord it is a woman singing.Lord Caitanya came back to external consciouness and said that you have saved my life (as a sannyasi can never embrace a woman )
Here is my Gurudevas translation and purport :
Rädhä, all directions are covered by dense and ominous clouds. The
forest floor has been cast into darkness by the shadows of blackish
tamäla trees. Kåñëa is naturally timid. He cannot be alone at night,
so take him home with you.”
Çré Rädhä turned her face towards the bower of desire trees beside the forest
path and, bewildered by intense joy, she honoured the words of her friend.
When she arrived on the bank of the Kälindé river, she initiated her love-play
in a secret place. May the sweetness of this confidential pastime of the Divine
Couple be victorious by manifesting in the hearts of the devotees.
Commentary by my Gurudeva Srila Bhaktivedanta Narayana Maharaja
Çré Jayadeva Gosvämé paints a vivid picture of the loving pastimes of Çré Rädhä
and Mädhava as they meet alone in the forest groves. He has established their
excellence by describing their pastimes of transcendental sensuality. The poet
first depicts the scene of Çré Rädhä-Mädhava entering into a bower hidden by
the dense darkness of tamäla trees. His maìgaläcaraëa (auspicious invocation)
is the love-play performed by Kåñëa’s most beloved, Çré Rädhä, after honouring
the advice of her female friend (sakhé) by leading Kåñëa to a forest bower. This
poem establishes the sweetness of Çré Rädhä-Mädhava’s pastimes, therefore it is
auspicious and beneficial for everyone.
Encouraging Rädhä, she continues, “Look! Dark clouds holding the fair complexioned moon in a loving embrace are an excitant (uddépana) for Kåñëa’s
mood. Seeing the example of the clouds, the dark-complexioned Çyäma is
anxious to be united with the golden-limbed Rädhä.”
Çré Rädhikä’s sakhé suggests, “At night the forest floor is covered by the
çyäma-coloured shade of tamäla trees. Impenetrable darkness has spread
everywhere, so who will be able to see you? Now do not delay for another
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. Çrématé Rädhäräëé
is älambana-vibhäva. The sthäyibhäva is rati. The vyabhicäré-bhävas include
harña, ävega and autsukya. The anubhäva is bhérutva, timidity. Çré 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 Çrémad-Bhägavatam
(10.30.42) Çré 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 understood in the sense of
namaskära, respectful obeisances. This type of interpretation is supported by
the text of Kävya-prakäça. The subject matter, namely Çré 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.
In Kävyädarça, a composition presented in sarga format has been called
mahä-kävya. In the present verse, the amorous play of Çré Rädhä-Mädhava is
the subject matter. Thus the auspicious invocation is technically a definition
of content (vastu-nirdeça). The dual compound rädhä-mädhava has been
employed to convey the inseparable nature of their eternal relationship.
rädhä-kåñëa aiche sadä eka-i svarüpa
lélä-rasa äsvädite dhare dui rüpa
Çré Rädhä and Kåñëa are eternally one identity, yet they have assumed two
forms in order to relish the mellows of loving pastimes.
This verse of Çré Caitanya-caritämåta (Ädi-lélä 4.98) demonstrates the
unadulterated nature of the relationship between Çré Rädhä and Kåñëa. It is also
stated in the Åk-pariçiñöa: rädhayä mädhavo devo mädhavenaiva rädhikä – “The
handsomeness of Mädhava is enhanced by Rädhä, and the exquisite loveliness
of Rädhä is heightened by Mädhava.” Similarly, Çré Jayadeva Gosvämé points to
the indivisible relationship between the Divine Couple in his opening verse by
employing the dual compound rädhä-mädhava.
The first half of the verse is ornamented by samuccaya alaìkära and the
second half by äçéù alaìkära. Consequently there is a combination of two
distinct figures of speech in one sentence. We also find examples of vaidarbhé
réti, kaiçiké våtti, sambhävitä géti, madhya laya and prasäda guëa. The hero is
anuküla näyaka and the heroine is svädhéna-bhartåkä näyikä. The first half
of the verse is an example of abhiläña-lakñaëa vipralambha-çåìgära, amorous
feelings in separation, characterized by intense hankering.
The chanda (poetic meter) is çärdüla-vikréòita.
so this is my comment:
So you see this is very scholarly and I am not sure how much you understood?
So i will try to explain some things. Once Nanda Maharaja was in Bhandiravana after dark and he had infant Krsna with him ,Sri Radha though herself an infant manifested her Kaisora form (youthfull form ) and told Nanda Maharaja that I will take Krsna from here.He handed over Krsna to Radha and , when Nanda was ought of site Krsna assumed His Kaisora form and then Radha Krsna performed Rasa Lila .They are known as Kaisora Kisori like in ISKCON Chicago.There are many more details to this purport but this is a basic understanding of this sloka one .This pastime of Nanda Maharaja giving Krsna to Radha is explained in Garga Samhita as well .