Gita Govinda, a drsya-kavya of Jayadeva, a twelfth-century Sanskrit poet, due to its deep foundations in devotion and exquisite intrinsic beauty, is the most desired in the music and dance of India. This erotic poem, through its three characters in Radha, Krsna and the sakhi, portrays physical love as a metaphor for divine longing of the individual soul to have its union with the Supreme. The volume in hand presents the primacy of the language in linguistic and literary theories as the vehicle of thought, along with the performing arts background and technical aspects of dance that complement Jayadeva’s composition. It also deals with a setting for the Gita Govinda in terms of its historical context, time, cultural influences and relevance in the arts. It addresses each and every verse of Gita Govinda with translation and literary notes. Also, it showcases the uninterrupted text in Devanagari along with Romanized transliteration. In a nutshell, the book brings to us a magical world of dance and music through the eyes of a Sanskrit scholar and a mature, expressive dancer in Sharda Narayanan and Sujatha Mohan, respectively. CONTENTS Acknowledgements Foreword Preface 1.Literary Perspective Introduction to Language Vak The Power of the Word Vakya and Vrtti Pratibha: The Flash of Understanding Features of Poetic Language Early Poetic Efforts The Creative Genius Rasa and the Sahrdaya Embellishments of Poetry Styles and Sounds of Verse Prosody: Chandas Figures of Speech Defects That Mar 2.The Tradition of Natya Introduction Early References to Natya The Purpose and Significance of Natya Temple Worship and Dance The Grammar of Natya: Music and Dance Classical Music Ragas in the Gita Govinda Classical Dance Abhinaya in Natyaasastra Angika Abhinaya in the Natyasastra Sattvika Abhinaya Samanya Abhinaya Citrābhinaya King of Rasas: Srngara Nayaka Bheda Nayika Bheda 3.Jayadeva’s Votive Offering in Verse The Cultural Context of the Gita Govinda The Male-Female Principles in Hindu Philosophy Springtime Rites in the Puranas The Life and Times of Poet Jayadeva The Structure of the Poem Introduction The Sargas 4.Translation and Notes of the Gita Govinda Sarga I: Samoda-Damodarah (Exuberant Krsna) Sarga II: Aklesa-Kesavaḥ (Carefree Krsna) Sarga III: Mugdha-Madhusudanah (Dismayed Krsna) Sarga IV: Snigdha-Madhusudanah (Beloved Krsna) Sarga V: Sakanksa-Pundarikaksaḥ (Anxious Krsna) Sarga VI: Kuntha-Vaikunthah (Delayed Krsna) Sarga VII: Nagara-Narayanah (Dashing Krsna) Sarga VIII: Vilaksya-Laksmipatih (Unseemly Krsna) Sarga IX: Manda-Mukundah (Subdued Krsna) Sarga X: Catura-Caturbhujah (Clever Krsna) Sarga XI: Sananda-Damodarah (Joyous Krsna) Sarga XII: Suprita-Pitambarah (Delighted Krsna) 5.The Text of the Gita Govinda Sarga I- Samodadāmodarah Sarga II- Aklesakesavah Sarga III- Mugdhamadhusudanah Sarga IV- Snigdhamadhusudanah Sarga V- Sakanksapundarikaksah Sarga VI– Kunthavaikunthah Sarga VII- Nagaranarayanah Sarga VIII- Vilaksyalaksmipatih Sarga IX- Mandamukundah Sarga X- Caturacaturbhujah Sarga XI- Sanandadamodarah Sarga XII- Supritapitambarah Appendix 1 Appendix 2 Bibliography Index