One of the relatively recent translations of Geet Govind into English, and also a thoroughly researched one, is The Geet Govind of Jayadeva – The Love Song of the Dark Lord by Barbara Stoller Miller. It was first published by Columbia University Press in 1977. This set of articles on the Geet Govind will refer to Miller’s translation. Miller’s translation does not capture the emotional lyricism of the poem but adequately portrays the literal sense and the poetic structure.
The First and Second Songs
There are a few introductory verses before these songs that set the context of the epic both in the narrative and historically. The first verse of this introduction has been referred to in the introductory article on Geet Govind.
The first two songs are purely devotional and have nothing to do with the events in the narrative. The first song is a direct reference to the ten avatars of Vishnu. Jayadeva, like many Hindus, believed Krishna to be synonymous with Vishnu as the Supreme Deity and therefore refers to the avatars as those of Krishna. The second song eulogizes some of the events in the avatars.
The Third Song
The narrative begins with the Third song. It is spring, the time when lovers traditionally meet. The onset of spring is described through the effusion of activity – the blowing of the sweet scented breeze, the humming of swarms of bees, the mating call of cuckoos and the new life in the flowers and trees. Everything is portrayed through symbols of love. The blooming flowers signify the gay abandon of lovers and the twining creepers become their intimate bonding. The refrain points out that this is the time when Krishna plays with the maidens of Vrindavan. However the last line of the refrain, “A cruel time for deserted lovers”, ominously sets the tone of what is to follow. The reference is obviously to Radha.
The Fourth Song
Radha with her friend are searching for Krishna. The friend sees Krishna in play with a bevy of maidens and describes the scene to Radha, who apparently is not willing to see for herself. As Krishna moves from girl to girl the friend describes to Radha their interaction. Krishna dances with one and sings with another. He caresses one while another kisses him. Sometimes Krishna beckons at other times he submits totally giving himself up in the revelry.
This sows the seed of jealousy, which gives rise to a painful parting. The next few songs describe both Radha and Krishna alone and coming to terms with the turmoil within themselves.
Please check my course on Hindu Mythology
Please check my articles on Mythology from India
