Jayadeva
Jaydeva worships Vishnu
Jayadeva (Oriya: ଜୟଦେବ Sanskrit: जयदे व Punjabi: ਭਗਤ ਜੈਦੇਵ) was a Sanskrit poet, who lived in
what is now Orissa, circa 1200 AD. He is most known for his composition, the epic poem Gita
Govinda, which depicts the divine love of the Hindu deity Krishna and his consort, Radha, and it
is mentioned that Radha is greater than Krishna, and is considered an important text in the Bhakti
movement of Hinduism [1]. He was born to an Utkala Brahmin family in a village called Kenduli
Sasan in Orissa.
Biography
Basohli painting (circa 1730 AD) depicting a scene from Jayadeva's Gita Govinda.
Jayadeva was born in Kenduli Sasan (formerly Kendubilva), in the Prachi valley, Khurda district
in Orissa. Kenduli Sasan is a village near the famous temple city of Puri. At the time of
Jayadeva's birth, Orissa was under the rule of Ganga dynasty king Chodaganga Deva. It was
during the reign of this monarch and his son and successor, Raghava, that Jayadeva composed
his Sanskrit epics. Chodaganga Deva, originally a Shaiva, was strongly influenced by the
devotion to Krishna in and around Puri and became a Vaishnava devotee of Krishna himself.
The poet's parents were named Bhojdeva and Vamadevi. From temple inscriptions it is now
known that Jayadeva received his education in Sanskrit poetry from a place called Kurmapataka,
possibly near Konark in Orissa. Later on, Jayadeva married Padmavati, who according to temple
inscriptions, may have been an accomplished temple dancer on her own right.
Prachi valley has a long history of worshipping Madhava, another name for Krishna. During
Jayadeva's period, it was known as a religious place dominated by Vaishnava Brahmins. Even
today, the village of Kenduli Sasan is replete with images of Madhava. Undoubtedly, the great
poet must have been influenced by the devotional milieu in that area when he composed his
magnum opus, the Gita Govinda.
Historical records on Jayadeva's life
Inscriptions at Lingaraj temple, and the more recently discovered Madhukeswar temple and
Simhachal temple that were read and interpreted by Dr. Satyanarayan Rajaguru shed some light
on Jayadeva's early life. These inscriptions narrate how Jayadeva had been a member of the
teaching faculty of the school at Kurmapataka. He might have studied there as well. It must have
been right after his childhood education in Kenduli Sasan that he left for Kurmapataka and
gained experience in composing poetry, music and dancing.
The earliest mention of Jayadeva outside Orissa are by Chand Bardai, the court poet of Prithviraj
Chauhan. The next earliest reference outside Orissa is found in an inscription of Raja Sarangadev
in the year 1201 A.D. These records establish that the Gita Govinda became popular throughout
India within a brief period of its composition, perhaps because it was regularly performed in the
Jagannath temple of Puri.
Some further details about Jayadeva have been garnered from a book by an Oriya Vaishnava
poet Madhava Patnaik, who was contemporaneous to Chaitanya in the fifteenth century.
Madhava Patnaik's book gives a clear account of Chaitanya's visit to Puri. He mentions that
Chaitanya paid a visit to Kenduli Sasan near Puri to pay homage to Jayadeva and to chant
passages from the Gita Govinda. The book mentions that Kenduli Sasan was in fact the
birthplace of the illustrious poet. Madhava Patnaik's book also gives an account of Jayadeva's
early life from the legends around Puri. It mentions Jayadeva as excelling in the Shastras and the
Puranas from early childhood.
Literary contributions
Jayadeva was instrumental in popularizing the Dasavatara, the ten incarnations of Vishnu in
another composition, Dasakritikrite. Furthermore, the classic Tribhangi (three-fold) posture of
Krishna playing the flute gained popularity due to him.
Two hymns composed by Jayadeva have been incorporated in the Guru Granth Sahib, the holy
book of the Sikh religion. Although it is not clear how these medieval Orissan hymns found their
way to the Sikh religion, there are records narrating how Jayadeva's work had a profound
influence on Guru Nanak during his visit to Puri [2].
The illustrious poet also institutionalized the Devadasi system in Orissan temples. Devadasis
were women dancers specially dedicated to the temple deity, and as a result of the great poet's
works, Orissan temples began to incorporate a separate Natamandira, or dance hall, within their
precincts for Odissi dance performances.
The Gita Govinda
Gita Govinda manuscript c. 1500.
The Gita Govinda is the best known composition of Jayadeva. It is a lyrical poetry that is
organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions
called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadas.
The first English translation of the Gita Govinda was published by Sir William Jones in 1792,
where Kalinga (ancient Orissa) is referred to as the origin of the text. Since then, the Gita
Govinda has been translated to many languages throughout the world, and is considered to be
among the finest examples of Sanskrit poetry.
Works of Jayadeva
Jayadeva was a well known Sanskrit poet and lyricist who was born in Kenduli, Orissa in the
11th century AD. The works of Jayadeva have had a profound influence on Indian culture. It
forms the basis of the east Indian classical dance form, Odissi, and has strongly influenced the
Bharatanatyam classical dance as well as Carnatic music. Jayadeva's composition has also been
incorporated in the Guru Granth Sahib.
Religion
Jayadeva has had a profound influence on the religious practices of Hinduism. The classic
Tribhangi (three-fold) posture of Krishna playing the flute gained popularity due to him.
Dashavatara
Jayadeva was instrumental in popularizing the Dasavatara, the ten incarnations of Vishnu in his
composition, Dasakritikrite. Additionally, the Gita Govinda begins with a Dasavatara stotra. In
Jayadeva's version of Dasavatara, Buddha as an incarnation of Vishnu, while Krishna is not
incorporated. This was possibly due to the fact that from the poets perspective, Krishna was
synonymous with Vishnu.
In July 2009, the government of India's Department of Posts has decided to release 11 stamps in
Bhubaneswar to commemorate the birth of Jayadeva. One stamp depicts the poet himself, while
the other ten depict the Dasavatara[1]. Chief Minister Naveen Patnaik unveiled the stamps at a
special function in Jayadev Bhawan. The stamps are in the denomination of Rs 5. A total of
800,000 stamps were released for sale in Orissa[2][3].
Hymns in the Guru Granth Sahib
Two hymns composed by Jayadeva have been incorporated in the Guru Granth Sahib, the holy
book of the Sikh religion. Although it is not clear how these medieval Orissan hymns found their
way to the Sikh religion, there are records narrating how Jayadeva's work had a profound
influence on Guru Nanak during his visit to Puri [4].
Music and dance
Odissi dance
In the opinion of researcher scholars, Jayadeva is among the centralmost figures in Oriya
culture.[5][6] Jayadeva's ashtapadis that are sung in dance performances of Odissi, the classical
dance of Orissa.[7]
Classical music of Orissa
Oriya bhajans (devotional songs) are based on ragas and talas specified by Jayadeva's hymns.[8]
Jayadeva was a devotee of Krishna, and Krishna in the form of Jagannath is the central deity of
Orissa.[9][10]
Fine arts
Jayadeva and his Gita Govinda had gained considerable popularity and had emerged as a
painter’s theme by the late 15th century itself, though no such early paintings are available now.
The earliest reported Gita Govinda paintings are from Mewar between 1590-1600 A.D.
Patachitra paintings
The Gita Govinda composed by Jayadeva is one of the popular themes in the traditional
patachitra paintings of Orissa.[11][12][13]
Pahari paintings
Jayadeva had a profound influence on the Pahari school during the 17th-19th centuries, which
was prevalent throughout northern India bordering the Hiimalayas (from Jammu through
Himachal Pradesh). In paricular, Jayadeva's Radha and Krishna served as popular themes for
Basohli Painting in Jammu and Kashmir[14].
The Gita Govinda
Gita Govinda manuscript c. 1500.
The Gita Govinda is the best known composition of Jayadeva. It is a lyrical poetry that is
organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions
called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis.
The first English translation of the Gita Govinda was published by Sir William Jones in 1792,
where Kalinga (ancient Orissa) is referred to as the origin of the text. Since then, the Gita
Govinda has been translated to many languages throughout the world, and is considered to be
among the finest examples of Sanskrit poetry. Noteworthy among them is Love Song of the Dark
Lord, by Barbara Stoler Miller.
Other literary contributions
Jayadeva wrote Piyusha Lahari, a Sanskrit Goshti Rupaka[15] It was based on the romantic love
between Radha and Krishna similar in line to Gita Govindam. It was translated into Telugu
language by Vavilala Somayajulu and published in 1993 by Telugu University in 1990.[16]
Gita Govinda
Gita Govinda manuscript c. 1550.
The Gita Govinda (Devanagari: गीत गोववन्द) (Song of Govinda) is a work composed by the
12th-century poet, Jayadeva, who was born in Kenduli Sasan near Puri in Orissa. It describes the
relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in
particular one gopi named Radha. This work has been of great importance in the development of
the bhakti traditions of Hinduism.
The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into
twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights,
called Ashtapadis. It is mentioned that Radha is greater than Krishna. The text also elaborates the
eight moods of Heroine, the Ashta Nayika in its verses, which over the years has been an
inspiration for many a compositions and choreographic works in Indian classical dances.[1]
Translations
Krishna Gazes Longingly at Radha Page from the "Lumbagraon Gita Govinda" Series
The first English translation of the Gita Govinda was published by Sir William Jones in 1792,
where Kalinga (ancient Orissa) is referred to as the origin of the text. Since then, the Gita
Govinda has been translated to many languages throughout the world, and is considered to be
among the finest examples of Sanskrit poetry.
Barbara Stoler Miller's translated the book in 1977 as Love Song of the Dark Lord: Jayadeva's
Gita Govinda (ISBN 0-231-11097-9). The book contains a foreword by John Stratton Hawley
and includes extensive commentary on the verse and topic of the poem.
Kenduli Sasan
Kenduli Sasan
Jayadeva Kenduli
— town of historical importance —
Kenduli Sasan
Location of Kenduli Sasan
in Odisha
20.13°N 85.60°E20.13°N
Coordinates 85.6°ECoordinates:
20.13°N
85.60°E20.13°N 85.6°E
Country
India
State
Odisha
District(s)
Khurda
Time zone
IST (UTC+5:30)
Kenduli Sasan in Khurda district is the birth place of the Sanskrit lyricist, Jayadeva. Medieval
Indian literature refer to this place by the name Kenduvilva.
Location
Kenduli Sasan is a village in the banks of the Prachi river in Khurda district. It is only a few
kilometers way from the holy city of Puri in Odisha, the seat of worship of the Hindu deity
Jagannath. It has recently been recognized as the birth place of the well known Sanskrit lyricist,
Jayadeva.[1][2][3][4][5][6]
History
Kenduli Sasan has recently been identified as the birthplace of Jayadeva, who was born into an
Utkala Brahmin family. It is also where the poet spent his childhood, with his parents, Bhojadeva
and Vamavati. Being called a Sasan (which in ancient Odisha referred to a seat of Brahmin
learning), this village appears to have been a center for Hindu literature during the 10th and 11th
centuries. Jayadeva himself refers to his birthplace in the seventh song of the Gita Govinda as
Kenduvilva, located by the sea[7]:
Kinduvilva samudra sambhaba Rohini ramanena
Basohli painting (circa 1730 AD) depicting a scene from Jayadeva's Gita Govinda.
Prachi valley has a long history of worshipping Madhava, another name for Krishna. During
Jayadeva's period, it was known as a religious place dominated by Vaishnava Brahmins. Even
today, the village of Kenduli Sasan is replete with images of Madhava. This indicates that the
great poet must have been influenced by the devotional milieu in that area when he composed his
magnum opus, the Gita Govinda[7][8].
Tourism
Kenduli Sasan has several brick temples and sculptures dating back to the time of Jayadeva in
the tenth and eleventh centuries A.D., including those of deities Bhairava, Madhava, Ambika,
Jageswari. Of significance is an image with heavy matted hair, and both arms broken, which is
revered by the local people as the sage 'Jayadeva'[7][9]. There is also a nearby temple with an
image of Nrusimha carrying Lakshmi on his lap, one of the peculiarities of the Ganga dynasty. In
fact, several such temples belonging to Jayadeva's period have also been excavated here by the
Archaeological Survey of India[10].
The Jayadeva Sanskrutika Parishad, a cultural organization, has established a museum here
containing images and other archaeological relics excavated here. An annual cultural function in
honor of the poet Jayadeva is organized at Kenduli.
Controversy
There was an earlier controversy surrounding the birthplace of the poet Jayadeva, with a section
of Bengali historians earlier claiming that another village with the same name in West Bengal
was in fact the birthplace of Jayadeva. However, this theory appears to have been debunked
recently.[11][12]
Odissi
Padma Vibhushan Guru Kelucharan Mohapatra, Odissi maestro
Odissi by Sanjukta Panigrahi
Odissi is one of the eight classical dance forms of India. It originates from the state of Orissa, in
eastern India. It is the oldest surviving dance form of India on the basis of archaeological
evidences.[1][2] The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi.
1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity.
It was suppressed under the British raj but has been reconstructed since India gained
independence.
It is particularly distinguished from other classical Indian dance forms by the importance it
places upon the tribhangi (literally: three parts break), the independent movement of head, chest
and pelvis,[3][4] and upon the basic square stance known as chauka.
Origin and history
Odissi exponent Aloka Kanungo looking at the darpana or mirror
The first clear picture of Odissi dance found in the Manchapuri cave in Udayagiri which was
carved at the time of king Kharavela. Flanked by two queens Kharavel himself was watching a
dance recital where a damsel was performing dance in front of the court with the company of
female instrumentalists. Thus Odissi can be traced back to its origin as secular dance. Later it got
attached with the temple culture of Orissa. Starting with the rituals of Jagannath temple in Puri it
was regularly performed in Shaivite, Vaishnavite and Sakta temple in Orissa. An inscription is
found where it was also engraved that a Devadasi Karpursri’s attachment to Buddhist monastery,
where she was performing along with her mother and grand mother. Thus it proves that Odissi
first originated as a court dance. Later it performed in all religious places of Jaina as well as
Buddhist monasteries. Odissi, was initially performed in the temples as a religious offering by
the 'Maharis' who dedicated their lives in the services of God. It has the most closer resemblance
with sculptures of the Indian Temples.[5]
The history of Odissi dance has been traced to an early sculpture found in the Ranigumpha caves
at Udaygiri(Orissa). dating to the 2nd century BC. Thus Odissi appears to be the oldest classical
dance rooted in rituals and tradition. In fact, the NãtyaShãstra refers to Odra Magadhi as one of
the vrittis and Odra refers to Orissa.[6]
Temple history
In Bhubaneswar, the capital city of Orissa, there exists Jain caves, which date back to the 2nd
century BC which served as a royal palace for King Kharavela. It is suggested by scholars that
Odissi is the archeologically oldest Indian classical dance form due to sculptural evidence found
in the caves. There are several sculptures of dancers and musicians are in Konark Sun temple and
Brahmesvar temple in Bhubaneswar.[7] In the excavated ruins of the Buddhist Ratnagiri hills in
Orissa dating back to the 6th-9th centuries, several panels and icons of dance are found
resembling present day Odissi dance. In the Tantric temples, such as the Hirapur Shrine, many of
the yoginis especially are depicted in poses reminiscent of present day Odissi. In Orissa, when
Hinduism became a big centre of worship of Shiva, it is only natural that dance would be used as
a form of worship, since Lord Shiva was a master dancer himself. He is the Nataraj, the Cosmic
Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures
of Odissi. The Vaishnovite Temples such as Jagannath temple and Konark sun temple abound
with an array of dancing sculptures carved into the temple walls, giving testimony that a
particular school of dancing had continued from the Shaivite art tradition to the Vaishnovite art
form.
Manuscript evidences
Sage Bharata's The Natya Shastra, written in 2nd century AD, speaks of four types of Pravrittis
(local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi and the areas where each type
is employed. Some scholars have interpreted that Odra Magadhi is a reference to Odissi, in fact,
"the earliest literary reference to Odissi”. Abhinaya Chandrika written by Maheshvara Mahapatra
is a detailed study of the various movements of the feet, hands, the standing postures, the
movement and the dance reperoire. It also includes illustrations of the Karanãs mentioned in
NãtyaShãstra. Manuscript Shilpaprakãsha is among those illustrated manuscripts which deals
with the Oriya architecture and sculpture as well as the figures of dance. In this one finds a
elaborate analysis of the manner in which the salabhanjikãs or the feminine figures caleed the
alasa kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence
of sculpture in temples. A rather unexpected source, the Jain Manuscripts, especially the
Kalpasutra and Kalkacharya Kathãs show traces of Oriya dance style although they were being
executed in Gujarat. The marginal figures of dancers show women in poses and movements
similar to the distinctive style of Orissa. E.g. in one of the famous illustrated Jain Manuscript
called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the samapada, the
tribhangi and the chuaka. This shows that there was a great deal of mobility between east and
west and many migrations took place. According to some historians, there were groups of
dancers who were brought to Puri from Gujarat and also from Andhra.
Mughal and British period
During the Mughal rule of India, the duties of the maharis, the temple dancers, shifted as they
were also employed to entertain the royal family and courtiers in the royal courts. They became
associated with concubinage in respect to the king and ceased to be respected solely as servants
to Lord Jagannath. Although the British have helped India in several ways, a decline and
degradation occurred in all the Indian classical dance styles during the British period, especially
when a bill was passed prohibiting temple dancing. Most of these dancers associated themselves
with prostitution to survive.
Tradition and dancers
The Odissi tradition existed in three schools; Mahari, Nartaki, and Gotipua. Maharis were Oriya
devadasis or temple girls (their name deriving from Maha (great) and ‘Nari’ or ‘Mahri’ (chosen)
particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly nritta (pure
dance) and abhinaya (interpretation of poetry) based on mantras & slokas, later Maharis,
especially, performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari
gauni Maharis, were allowed in the inner temple while bahari gauni Maharis, though in the
temples, were excluded from the sanctum sanctorum.
By the 6th century the Gotipua tradition was emerging. One of the reasons given for the
emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were
young boys dressed as girls and taught the dance by the Maharis. During this period, Vaishnava
poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to
these compositions. The Gotipuas stepped out of the precincts of the temples.
Nartaki dance took place in the royal courts, where it was much cultivated before the British
period. At that time the misuse of devadasis came under strong attack, so that Odissi dance
withered in the temples and became unfashionable at court. Only the remnants of the gotipua
school remained, and the reconstruction of the style required an archaeological and
anthropological effort that has tended to foster a conservative purism.[8]
Mahari tradition
The consecration of females to the service of temple dancing began in the Shaivite temples and
continued in the Jagannath temple in service of the Lord Jagannath. These female attendants
have been known as maharis (great women) or devadasis (servants of the lord) and have been
considered the wives of Lord Jagannath. Odissi developed through their art. The first evidence of
the Mahari institution in Orissa comes from a commemorative inscription by Udyota Kesari, the
last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple
dancers to Lord Shiva in the Brahmeswar Temple. King Anantavarma Chodagangadeva
appointed dancing-girls for ritual services in the Jagannatha temple in the 11th century, and these
Maharis were the ones responsible for keeping the dance alive for centuries. Through the
technique of unequal division of weight and firm footwork balancing a fluid upper torso, the
dancer achieves a sensuality that is uncommon in other classical dance styles. The Mahari dance
is a perfect vehicle for the balance of sexuality and spirituality, as required by Tantrism. Some
eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya) ,
Padmashri Guru Pankaj Charan Das, Ratna Roy.
Gotipua tradition
In Oriya language Gotipua means single boy. Gotipua dance is performed only by boys who
dress up as female. This dance form evolves after declination of Mahari dance form around 1497
to 1540, during the rule of king Prataprudra Dev. Prataprudra Dev, who was follower of Sri
Chaitanya, started this boy dancing tradition as Vasishnavs were not approving of the females in
to dance practices. Therefore, it is possible that this dance tradition has come after Sri Chaitanya
came to Orissa.[9]
Dance vocabulary and repertoire
Odissi group performance by Rudrakshya
Traditional Odissi repertoire consists of:
Mangalacharan
An invocational piece. After paying homage to Lord Jagganath a sloka (hymn) in praise
of some God or Goddess is sung, the meaning of which is brought out through dance.
Mangalacharan also includes the ‘bhumi pranam’, begging forgiveness of mother earth
for stamping on her, and the ‘trikhandi pranam’ or threefold salutation - above the head to
the Gods, in front of the face to the gurus and in front of the chest to the audience.
Battu Nrutya
A dance piece offered to the Lord of dance - Lord Shiva in his ‘Batuka Bhairava’ form.
This piece brings out the essence of Odissi. The interrelationship between temple
sculptural art and Odissi dance is established with an array of sculpturesque poses taken
directly from the innumerable dancing sculptures adorning the temples of Orissa. These
poses are stringed together with steps in different rhythms.
Pallavi
A pure dance item in which a raga is elaborated through eye movements, body postures
& intricate footwork. Pallavi literally means “blossoming”. This is applicable not only to
the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful
& lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to
climax in a fast tempo at the end. Both the dance and the music evolve in complexity as
the dancer traces multiple patterns in space, interpreting the music dexterously in the
multilayered dimensions of taal (rhythm) and laya (speed).
Abhinaya
An expressional dance where a story conveyed to the audience through mudra or hand
gestures (the language of Indian classical dance), facial expression and body movement.
Abhinaya can be performed on verses in Sanskrit or Oriya. Most common are Abhinayas
on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram
(depicting the ten incarnations of Lord Vishu) or Ardhanari Stotram. Most of the
abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the
kãvya 'Gita Govinda' written by the Saint Jayadev are an integral part of its repertoire .
The beginning pieces are dedicated to God of Orissa, Lord Jagannatha - an incarnation of
Lord Vishnu.[5]
Dance drama
Usually longer than Abhinaya and typically performed by more than one dancers. Some
of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are:
Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna
Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara
Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but
experimenting with the theme and form in recent years have led to extremely unique
creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga
yamuna, Shrita kamalam, Mrutyuh and Tantra.
Moksha
The concluding item of a recital. Moksha means “spiritual liberation”. This dance
represents a spiritual culmination for the dancer who soars into the realm of pure
aesthetic delight. Movement and pose merge to create ever new patterns, ever new
designs in space and time. The dance moves onto a crescendo that is thrilling to both, the
eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness
— just like Moksha or the deliverance of the soul in real life.
Odissi terminology
Sharmila Biswas performing Odissi in a dance festival in Kerala
Alap
In Indian classical music this is the slow introductory movement in raga. It is free of
rhythm.
Anadha
Hide category of the 4 musical divisions, e.g. Mardala, Tabla, and Mridangam.
Asanjukta Dhvanis
Sound created by striking the Mardala with one hand.
Avartan(a)
One complete cycle of a taal.
Bani
Odissi term used to describe the spoken drum neumonics. During dance performances
Bani are spoken by the percussionist or the guru.
Bhago
In taal, this would be the groups the taal is divided into. Also the points on which the tali,
or khali would be. e.g., Adital (Odissi) is divided into 4 groups of 4 beats. It is said that
Adital has 4 Bhago. These are the measures. Odissi music term.
Bhajan
Devotional song.
Chondo
In tal, this would be how the divisions of the tal are divided. e.g., in Adital (Odissi), the
sixteen beats are divided into 4 groups of 4. So the Chondo for Adital is 4 + 4 + 4 + 4.
This describes what the Bhagos are.
Devadasis
Original temple dancers who were "servitresses of God"
Gita Govinda
Jayadev's famous poem depicting the life of Radha and Krishna. Themes from this poem
tremendously affect the classical arts of India.
Goti
The barrel-shaped tension pegs which adorn the Mardala. These are made from wood and
can be shifted and more straps (Pitha) can overlap them to create more or less tension for
tuning.
Gotipua
Young boys trained in the fine art of Odissi dance. The Gotipuas were allowed to leave
the temple and dance for the public. The current form of Odissi is heavily influenced by
the Gotipua tradition (and also the temple carvings from Orissa.)
Khondo Ukutto
When bani and ukuttos are formed together to make phrases. e.g., Kititaka gadigana.
Odissi term.
Mano
The ending sequence that is repeated to designate that the ending of the piece or of a
section. Typically in 3 repeats. Odissi term. People in Orissa inter change Tihai and
Mano. But they mean the same.
Maharis or devadasis
the original temple dancers of Orissa, but now extinct. This is the root of Odissi dance
that was later taught to young boys, Gotipuas. The style is now modernized and work is
being done to preserve it.[10]
Odissi music
dissi dance accompanied by Odissi music. Odissi music is a synthesis of four classes of music,
i.e. dhruvapada, chitrapada, chitrakala and panchal. The dhruvapada is the first line or lines to be
sung repeatedly. The use of art in music is called chitikala. Kavisurya Baladeva Rath, the
renowned Oriya poet wrote lyrics which are the best examples of chitrakala. Chitrapada means
the arrangement of words in an alliterative style. All these were combined to form the style
peculiar to Odissi music. Chhanda (metrical section) contains the essence of Odissi music. The
chhandas were composed combining bhava (theme), kala (time), and swara (tune) The chaurisha
represents the originality of Odissi style. All the thirty-four letters of the Oriya alphabet from
'Ka' to 'Ksha' are used chronologically at the beginning of each line. A special feature of Odissi
music is the padi which consists of words to be sung in druta tala (fast beat). Odissi music can be
sung to different talas: navatala nine beats), dashatala(ten beats) or egar tala (eleven beats).
Odissi ragas are different from the ragas of Hindustani and Karnataki music. The chief Odissi
ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and
Shokabaradi. Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga
followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Geeta govinda, which are
also considered to be in the repertoire of Odissi or an allied act form of Odissi. Odissi music has
codified grammars, which are presented with specified Raagas. It has also a distinctive rendition
style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is
not very fast nor slow, and it maintains a proportional tempo which is very soothing.
Costume and Jewellery
Odissi dancer in front of the Sun temple in Konark in tribhangi posture
The jewelry is made from intricate filigree silver jewelry pieces. Filigree, in French, means “thin
wire,” and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old
and is traditionally done by local artisans on the Eastern shores of Orissa.[11] The jewelry pieces
themselves are an important part of the Odissi dancer’s costume. They are the tikka (forehead
ornament), allaka (head piece on which the tikka hangs), unique ear covers in intricate shapes,
usually depicting a peacock’s feathers, with jimkis (bell shaped earrings) hanging from them,
two necklaces- a smaller necklace worn close to the neck and a longer necklace with a hanging
pendant, and two sets of bangles worn on the upper arm and wrist. The process of creating each
piece takes the collaboration of many artisans each specialized in one step of the many that turns
a lump of raw silver into a handcrafted work of art.
Head piece
The crown, or mahkoot, worn by the Odissi dancer is made only in the devotional city of Puri in
Eastern Orissa. It is formed from the dried reed called sola in a tradition called sola kama. The
reed is carved by a series of cuts into the rode-like stem and forms various types of flowers when
a string is tied in the middle of the rod and pulled tight. As the string tightens, flowers bloom
into, jasmines, champa-one of the five flowers of Lord Krishna’s arrows, and kadamba -the
flowers under which Rhada would wait for her beloved Lord Krishna.
The mahkoot consists of two parts. The flower decorated back piece, called the ghoba, sits
around the dancer’s hair pulled into a bun at the back of the head. This piece represents the lotus
with a thousand petals that lies above the head in the head chakra, or energy center. The longer
piece that emerges from the center of the back piece is called the thiya and this represents the
temple spire of Lord Jagannath or the flute of Lord Krishna.
The saree worn by Odissi dancers are generally coloured with bright shades of orange, purple,
red or green. This saree features traditional prints of Odisha and shiny embellishment. This
costume are drapped around the body in unique traditional way unlike other classical dance of
India. Generally Sambalpuri Saree is being used in Odissi dance more than any other type of
Sarees. The make-up of an Odissi dancer include Bindi (red dot) is applied on the forehead with
a pattern made from sandalwood around it. Kajal (black eyeliner) is applied around the eyes with
a broad outline to give them an elongated look.
Odissi gurus and performers
Padma Vibushan Kelucharan Mohapatra, Guru Pankaj Charan Das ,Guru Deba Prasad Das and
Guru Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early
fifties. Sanjukta Panigrahi, the great exponent of Odissi, was a leading disciple of Guru
Kelucharan Mohapatra's and popularized Odissi by performing extensively, both in India and
abroad. In the mid-sixties, two other disciples of Kelucharan Mohapatra, Kumkum Mohanty and
Sonal Mansingh, were best known for their performances, both in India and abroad. Shrimati
Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in
Cuttack in 1948. This is widely upheld as the first ever performance of a classical Odissi dance
item after its contemporary revival.[12]
Most of the present day gurus were Gotipua dancers themselves, and have trained dancers and
teachers all over India and abroad. In the early fifties, the outside world began to take note of
Odissi. Priyambada Mohanty Hejmadi and Dr. Susama Tej represented Orissa in the classical
dance category at the Inter University Youth Festival, New Delhi, in 1954 and 1955. It was here
that Dr. Charles Fabri witnessed their performances, hailed Odissi as a great classical dance
form, and helped Indrani Rehman and Sonal Mansingh study it. Sadly, Priyambadi Mohanty
Hejmadi left for the US for 16 long years, where she hardly performed, barring a recital or two
here and there. She returned to India only in the mid-nineteen seventies, by which time well
known dancers had already occupied a permanent and prominent space on the Odissi horizon,
and by which time Odissi had evolved considerably. The baton in India was wielded gloriously,
and with outstanding success and public acclaim, by Sanjukta Panigrahi, Kumkum Mohanty and
Sonal Mansingh, each of whom was a major and distinctive star.
Odissi dancer, Rahul Acharya performing abhinaya
Kelucharan Mohapatra, Pankaj Charan Das, Deba Prasad Das, Mayadhar Raut, Raghunath Dutt,
Sanjukta Panigrahi, Surendranath Jena, Kumkum Mohanty, Ritha Devi, Minati Misra, Bandana
Das, Sonal Mansingh, Oopali Operajita, Kumkum Lal, Cuckoo Meena Mohanty, Dr. Nandita
Samuel and Protima Bedi contributed notably to the propagation of Odissi starting in the fifties,
right up to the eighties and nineties.
Eminent contemporary gurus and performers include Hare Krishna Behera, Gangadhar Pradhan,
Sonal Mansingh, Gita Mahalik, Durga Charan Ranbir, Oopali Operajita, Aruna Mohanty,
Nandita Behera, Madhavi Mudgal, Trinath Maharana, Sharon Lowen, Kiran Segal, Sharmila
Biswas, Sutapa Talukdar, Ileana Citaristi, Aloka Kanungo, Ratikant Mohapatra, Sujata
Mohapatra, Ranjana Gauhar, Daksha Mashruwala, Poushali Mukherjee, Sharmila Mukherjee,
Jhelum Paranjape, Chitralekha Patnaik, Ramli Ibrahim, Manoranjan Pradhan, Dibakar Khuntia,
Madhumita Raut, Jyoti Rout, Ratna Roy, Bijayini Satpathy, Kasturi Pattanaik, Surupa Sen,
Meera Das and Bichitrananda Swain.
Some of the upcoming Odissi performers are Rahul Acharya, Ramesh Chandra Jena, Devraj
Patnaik, Ellora Patnaik, Kavita Dwivedi, Yudhistir Nayak, Lingaraj Pradhan, Pabitra Kumar
Pradhan, Bijay Sahoo, Rajashri Praharaj, Madhusmita Mohanty, Rajashree Chintak Behera,
Sandhyadipa Kar, Rajika Puri, Vishnu Tattwa Das, Masako Ono, Saswat Joshi, Shibani Patnaik,
Sreyashi Dey, Bani Ray, Shreelina Ghosh, Aadya Kaktikar, Sonali Mishra, Niharika Mohanty,
Arushi Mudgal, Kakoli Mukherjee, Ayona Bhaduri, Rekha Tandon and several others around the
world.
Odissi in Popular Culture
In India
Dressed in a resplendent orange sanyasin dhoti (probably inspired by the Mayurbhanj Chau
costume worn in Shiva Tandava items), renowned actress Meenakshi Sheshadri danced a
tandava item composed chiefly in Odissi, by none other than her guru late Padmabhushan Shri
Kelucharan Mohapatra, in the film Damini – Lightning.
Rekha was seen imparting Odissi dance lessons (Shikhandika pose) to a group of young learners,
while Indira Varma was shown learning Odissi steps to the accompaniment of the mardala in
Mira Nair's magnum opus film Kama Sutra: A Tale of Love.
Rani Mukherjee performed a dance at the International Indian Film Academy Awards function
dressed in Odissi costume and a number of celebrated Odissi expressed disapproval for insulting
the integrity of the dance and the costume.[13]
An entire sequence of dance in Odissi costume was featured near the end of the Bollywood
movie Bhool Bhulaiyaa and was performed by actress Vidya Balan and Malayalam actor
Vineeth.
Bollywood actress Shilpa Shetty, who took Odissi lessons for an India-China joint film venture,
The Desire loosely based on the life of Odissi dancer Pratima Gauri Bedi.
Outside India
A short (23 second) Odissi dance scene was featured in Michael Jackson's music video of Black
or White. The legendary pop-singer and dancer performs some Odissi, too.[14]
Madonna danced along with Odissi dancers live on stage during the 1998 MTV Award
ceremony. US-based Odissi performers, Patnaik Sisters, were chosen to choreograph and
perform alongside the legendary pop artist.
Indian classical dance
Bharata Natyam a traditional dance of the Tamils
Kuchipudi, a classical dance of Andhra Pradesh
The classical dance of Bengal.
A Mohinattam performer in Ananda Sayana posture
Manipuri dance with scenes from the life of Lord Krishna
Indian classical dance is a relatively new umbrella term for various codified art forms rooted in
Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya
Shastra of Bharata Muni (400 BC).
Definitions
Odissi is originally from Orissa
Dancer performing the chakkarwala tukra, one of the popular highlights of Kathak
A Kathakali performer in the virtuous pachcha (green) role
Prakriti Ora, one of the sixty four mati-akhora or basic Sattriya exercises.
These are:


Dances performed inside the sanctum of the temple according to the rituals were called
Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soulliberating dance, unlike the desi (purely entertaining) forms.
Dances performed in royal courts to the accompaniment of classical music were called
Carnatakam. This was an intellectual art form. * Darbari Aattam form
For lack of any better equivalents in the European culture, the British colonial authorities called
any performing art forms found in India as "Indian dance". Even though the art of Natya includes
nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya
(mime acting). These features are common to all the Indian classical styles. In the margi form
Nritta is composed of karanas, while the desi nritta consists mainly of adavus.
The term "classical" (Sanscr. "Shastriya") was introduced by Sangeet Natak Akademi to denote
the Natya Shastra-based performing art styles. A very important feature of Indian classical
dances is the use of the mudra or hand gestures by the artists as a short-hand sign language to
narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion.
Many classical dances include facial expressions as an integral part of the dance form.
Dance forms
Sangeet Natak Akademi currently confers classical status on eight Indian dance styles, while the
Encyclopædia Britannica mentions six recognized schools[1] and other sources state there are
eight dance forms.[2][3]
Dance form State(s) of origin
Bharata Natyam Tamil Nadu
Kathak
Uttarpradesh
Kathakali
Kerala
Kuchipudi
Andhra Pradesh
Manipuri
Manipur
Mohiniyattam Kerala
Odissi
Orissa
Sattriya
Assam
Other art dances yet to be conferred as classical dances, whose theories can also be traced back
to the Natya Shastra[citation needed] are:
1. Gaudiya Nritya- Bengali art dance
2. Andhra Natyam - Telugu art dance
3. Vilasini Nrityam/Natyam - Telugu art dance
4. Kerala natanam - Kerala classical dance
Out of the nine recognized dance forms, the only two temple dance styles that have their origin
in Natya Shastra and are prescribed by the Agamas are Bharata Natyam and Odissi. These two
most faithfully adhere to the Natya Shastra but currently do not include Vaachikaabhinaya
(dialog acts), although some styles of Bharata Natyam, such as Melattur style, prescribe the lip
movements indicating Vaachikaabhinaya.
Kuchipudi, which also prescribes the lip movements indicating Vaachikaabhinaya, and
Mohiniyattam are relatively recent Darbari Aatam forms, just as Kathakali, and two eastern
Indian styles, Manipuri and Sattriya, that are quite similar.
Kathak originated as a temple dance. Some believe it evolved from Lord Krishna's raas lilas. The
style gradually changed during the Mughal period under the influence of Persian dance, a major
change being straight knees instead of the bent knees used in most other Indian classical forms.
Intricate footwork and spins, as well as abhinaya, are the highlights of Kathak.
Currently, Sangeet Natak Akademi does not consider the recently reconstructed dance styles of
Andhra Pradesh such as Andhra Natyam and Vilasini Natyam as "classical". Bharatanrithyam,
despite being the one most closely following Natya Shastra's precepts, is considered as a variety
of Bharata Natyam.
Sabha
Sabhas are the organizations involved in the promotion of classical art forms in South India.
Ganamukundhapriya is one such Sabha that specialises in classical dances.
Jayadeva in Sikhism
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Bhagat Jaidev whose 2 hymns are found in the Guru Granth Sahib is the celebrated Sanskrit
poet who wrote the "Gitgovind". His father was Bhoidev, a Hindu Brahman, and his mother
Bamdevi. He was born at Kenduli Sasan, a village near Puri in Orissa.
Young life
Very little is known of Jaidev’s early life. It is certain that from his youth he was a diligent
student of Sanskrit literature, and developed rare poetical talents. He is described by the author
of the "Bhagat Mal" as an incarnation and treasury of melody on which, however, he owing to
his ascetic habits, long preferred to feast his own soul rather than communicate to the world the
splendid gifts he possessed. He wandered in several countries, provided with only a water-pot
and dressed in the patched coat of a mendicant. Even pens, ink, and paper, generally so
indispensable to literary men, were luxuries which he did not allow himself. Such was his
determination to love nothing but God, that he would not sleep for two nights in succession
under the same tree, lest he should conceive an undue preference for it and forget his Creator.
Adult life
It pleased God, with the object, it is stated of saving the human race, to withdraw Jaidev from his
ascetic life. For this purpose, the chronicler relates, God devised the following expedient; An
Agnihotri Brahman of Jagannath, to whom a beautiful daughter named Padamavati had been
born as the result of many offerings and prayers, brought her up with the object of dedicating her
as a dancing girl to the local idol. Her father duly conducted her to the idol and was ordered to
take her away and bestow her on the great saint Jaidev. On this, she was taken to him, and he
was informed of the divine decision in his favour. Jaidev reasoned with the Brahman, and told
him he ought to give his daughter to some more wealthy man, who would be more suitable for
her than a homeless ascetic like him.
The Brahman replied that he could not disobey God’s order. Jaidev rejoined, ‘God is master and
omnipotent. He may have thousands and tens of thousands of wives, but one for me is the same
as a hundred thousand’ that is, he had no more need or ability to maintain one than he had a
hundred thousand. After further discussion, in which the Brahman failed, notwithstanding the
exercise of all his powers of persuasion, he left his daughter with Jaidev. Before his departure he
told her it was impious to act in opposition to the will of God. She was to remain with Jaidev,
and obey him according to the instructions laid down for wives in the Hindu sacred writings.
The tender girl remained with Jaidev and attended on him like his shadow. He is said to have
represented to her the futility of living with him:
‘Thou art wise,’ he said; ‘endeavour to do something to improve thy position; I have no power to
maintain and cherish thee?
She replied, ‘What power hath this poor creature? Thou canst do as thou pleasest I am a
sacrifice unto thee and shall never leave thee’.
On this Jaidev believed that God was forcing him into the alliance, and he reconciled himself to
the situation. As the first preparation for domestic life he built a hut for his spouse, set up an idol
in it, and applied himself to its worship. He then began the composition of the celebrated poem
the "Gitgovind". This is believed to have been his second composition, his first being a drama
called "Rasana Raghava". A third work attributed to him is "Chandralok", an essay on the graces
of style.
The fact appears to be that the mantling fire of Jaidev's genius sought for an outlet that with
experience of life a change came over his religious opinions that he resolved no longer to play
the hermit, but accept the wife offered him, distinguish himself, and seek for worldly fame and
its pleasures. God has been introduced ex machina into the narrative to save Jaidev from the
charges of inconsistency and submission to human passion.
Gitagovind
The Gitagovind is well known throughout the world. It has been translated into English prose
and paraphrased in English verse. In the twelfth century AD Sanskrit was used to the same extent
that Latin was used at that time in Europe, but the great age had died when Sanskrit was a living
language — the only recognized Indian vehicle of men’s thoughts and aspirations. The
Gitagovind is still not only remembered, but nightly chanted in the Karnatik countries and other
parts of India, because it is ostensibly a love song and its strains are sweet and find a responsive
echo in the human heart.
During the composition of the Gitgovind Jaidev represented Radhika the heroine as pouting
because Krishan the hero had followed other loves. Krishan alters his ways and applies himself
to the task of appeasing her and apologizing for his conduct. The poet was preparing to make
Krishan address his lady love; ‘Adorn my head by putting on it the lotus leaves of thy feet, which
are an antidote to the poison of Cupid?’ when he reflected that it would be a dishonour to his god
if any woman were to put her feet on his head. While thus reflecting the poet ceased to write, and
went to bathe, intending subsequently to alter the sentence into more conformity with the relative
positions of the hero and heroine, What was Jaidev’s surprise when on returning from his bath he
found the verse completed exactly as he had subsequently intended! He asked his wife how it
had occurred. She told him he had returned himself, and having written the verse gone away
again. Upon this Jaidev knew that Krishan himself had written the verse, and thus hallowed the
composition. The fame of the event and of the poem spread far and wide, and Jaidev obtained the
high renown he had so earnestly sought.
Poem by the King
Satvika, King of Kalinga-Utkal Empire(Orissa) at the time, was also a poet and learned man. He
had accidentally selected for a poem the same subject as Jaidev, and he appears to have produced
a work of respectable merit, which he directed his Brahmans to copy and circulate. In reply they
showed him the composition of Jaidev. They meant by this that the Raja’s poem was as nothing
in comparison with Jaidev’s. As well compare a lamp with the suns The Raja in his pride could
not accept the Brahmans’ criticism, but caused both poems to be placed in the temple of his
capital, and promised to abide by the decision of the idol as to which was superior.
The idol rejected the king’s Gitgovind and took to his heart that of Jaidev. Upon this the Raja
thinking himself greatly dishonoured was overcome by shame and jealousy, and set out to drown
himself. Krishan is said to have taken pity on him He appeared to him and told him it would be a
vain and foolish act to put an end to his life. It was very clear that his poetical merit did not equal
that of Jaidev, but, to compensate him for his disappointment, Krishan ordered that one of the
Raja’s verses should be inserted in each of the twelve cantos of Jaidev's poem, and both
compositions should thus go forth to the world and down to distant ages. This was accordingly
done.
Power of Gitgovind
The estimation in which the Gitgovind was held may be gathered from the following anecdote; A
gardener's daughter while one day gathering eggplants was singing with great zest the following
verse from the fifth canto of the poem:— The zephyr gently bloweth on the banks of the Yamuna
while Krishna tarrieth in the grove.
On this, it is said, the idol of Jagannath followed her wherever she went, with the object of
feasting his heart on the dulcet strains. The idol wore only a thin jacket which was torn by the
brambles. ‘When the king went to worship and saw the condition of the idol’s dress, he in
astonishment asked the priests the cause. When the Raja learned what had occurred, he was
perfectly satisfied of the superiority of the product of Jaidev’s genius, and issued a proclamation
that the Gitgovind should only be read in a clean and purified place, as Jagannath, the lord of the
world, himself was in the habit of going to listen to it.
The composition has influenced people from other faiths. It is related that a Mughal on hearing
of the divine honours paid to the work, used to peruse it with the greatest delight. One day while
riding he was singing its verses when he fell into an ecstasy of pleasure, and thought that, though
a Moslem, he felt communion with Krishna.
Oriental chroniclers are enthusiastic in their praises of Jaidev. All other poets are compared to
petty kings while he is the great Chakrawarti or poetical monarch of the world. It has been said
that "as the moon can not be concealed by the stars, as the eagle cannot be surpassed by any bird
in flight, as Indar attracts notice in the midst of the gods, so is jaidev’s fame conspicuous in the
world." It may be added that Jaidev himself does not appear to have been insensible of his own
merits, At the conclusion of the Gilgovind he writes, ‘Whatever is delightful in the modes of
music, whatever is exquisite in the sweet art of love let the happy and wise learn from the sons of
Jaidev.
Notwithstanding the lusciousness and sensuous beauty of several parts of the Gitgovind, there
can be no doubt that Jaidev intended the poem as an elaborate religious allegory. This, too, is
insisted on by the author of the Bhagat Mai, who states that the love scenes and rhetorical graces
of the poet are not to be understood in the sense that persons of evil minds and dispositions
attach to them. Radhika the heroine is heavenly wisdom. Tue milkmaids who divert Krishna
from his allegiance to her, are the senses of smell, sight, touch, taste, and hearing Krishna
represented as pursuing them is the human soul, which attaches itself to earthly pleasures. The
return of Krishna to his first love is the return of the repentant sinner to God, which gives joy in
heaven.
The Thugs
After the completion of the poem Jaidev went to travel and visited Bindraban and Jaipur. To the
latter place its king had given him a pressing invitation. While on those travels it is related that
he met a party of thugs. He knew what they were from their ready offer to accompany him on his
journey. Without more ado he pulled out his purse and gave them all the money and valuables he
possessed thus reasoning, ‘Wealth is the basis of sin; gluttony produceth disease; and love of the
world purchaseth pain, so it is proper to discard all three.
The thugs(Thugees) at once suspected him. They had not been accustomed to obtain men’s
wealth without a struggle or without at least having made a request for it, and they concluded
from Jaidev’s readiness to part with his money, that he merely designed to have them arrested on
their return to the city. One of them proposed to put him to death, but another said that would be
a meaningless act. They only required his wealth, and that they had obtained. It was at last
decided that they should cut off his hands and throw him into a narrow and dark well, and this
was accordingly done.
Jaidev, it is said, meekly accepted the treatment he had received as a fate predestined for him,
and applied himself to divine contemplation and the utterance of God’s name. It chanced that
Karaunch, the King Of Utkal, passed that way, and hearing that Jaidev was in the well caused
him to be extricated. Jaidev was so little revengeful for his injuries he had sustained, that, in
reply to the king's inquiries as to the cause of his mutilation, he told him he had been born so..
The king became convinced that Jaidev was a saint, and congratulated himself on his good
fortune in meeting such a man.
Honoured by the King
The king had him conveyed to his capital where he was treated with all honour and respect, and a
house set apart for him. He was, moreover, provided with food and every article of comfort. The
king himself offered to become his servant and, with hands clasped in the Oriental attitude of
supplication, begged Jaidev to say what duty he could render him. Jaidev had one request to
make, and that was that the king should serve holy men and not him. In happy faith and with
open heart the king obeyed and performed menial service for the saints of God who were waiting
at his gate. The fact that the king was performing such services was noised abroad and the thugs
among others, heard of it.
They assumed the guise of religious men and proceeded to the monarch’s gate. This led to an
interview with Jaidev. He recognized them, and told the king that they were his brethren and
very holy persons. Fortunate was the king in having been favoured with a sight of them and
devoutly ought he to serve and minister unto them. The king took them into his palace, and
lavished on them every honour that Oriental politeness and hospitality could suggest.
The thugs, however, recognizing Jaidev, were troubled for their safety, and applied for
permission to depart. This was finally granted, and Jaidev dismissed them with a large present of
money and a convoy of soldiers for their protection. On the way the soldiers fell into
conversation with their charge. They remarked that they had never before seen visitors to the
king so heartily and kindly treated, and they inquired in what relationship the men they were
escorting stood to Jaidev. The thugs replied: ‘What shall we say? It is not a fit thing to tell. The
soldiers promised them perfect secrecy.
The thugs then proceeded to exercise their inventive faculties developed by long practice. They
said that Jaidev and they had been servants of a king. For some offence Jaidev had been
condemned to death, and. they had been appointed his executioners. They merely, however, cut
off his hands and thus saved his life. Through gratitude for that favour Jaidev induced the king to
pay them such extraordinary attention. It is said that God could no longer endure the fabrication
of false charges against His saint. The ground opened beneath the feet of the thugs, and they sank
into the pit of hell!
King convinced about Jaidev
The soldiers in amazement returned to Jaidev and told him what had occurred. He began to
tremble with pity for the thugs, and made a gesture as if rubbing his hands — the Oriental
attitude expressive of grief - whereupon, it is related, new hands sprouted from his body. The
soldiers went and informed the king of the two miracles their eyes had beheld. The king
proceeded to Jaidev and performed before him the prostration due to saints.
He begged Jaidev to explain how the incidents had occurred. The saint for a long time refused,
but, when greatly pressed by the king, gave him a detailed account of all the circumstances. The
king’s faith in Jaidev had now reached its utmost limit, and he knew that the man before him in
the guise of a saint was really a divine incarnation it is the usual custom of saints when they
receive evil always to return good, even as bad men return evil for evil, so the king deemed his
conclusion warranted by the forgiving conduct of Jaidev.
Jaidev felt a longing for home and told the king of his determination to take his leave. The king
put his head on the saint's feet, and represented to him that his country had turned to God and the
practice of virtue, since it had been trodden by his holy feet. If the saint were to depart, the kings
subjects would turn away from their faith. He therefore implored him to defer his departure. As a
further inducement to Jaidev to abide with him, he went himself and brought Padamavati so that
the saint’s happiness might be complete, and his distant home forgotten. Padamavati was
installed in the royal palace, and the queen received stringent orders to perform all menial offices
for her.
Dedication of Padamavati
While Padmavati resided at the court the queen’s brother died, and his wife was burned with him
on the funeral pyre. One day when the queen was boasting of the wonderful devotion of her
sister-in-law, Padamavati smiled! When asked the reason she replied ‘To burn oneself alive with
one’s husband’s corpse is far from being the acme of affection. True affection and love require a
woman to sacrifice herself directly she even heareth of her husband’s death.' In the present age,’
replied the queen, ‘thou alone art such a Sati,’ a word defined by the author of the Bhagat Mal as
a ‘woman who considereth her husband a god and hath no concern with any other deity.’ Not
feeling flattered by the well-nigh unapproachable standard of conjugal devotion which alone
Padamavati considered as worthy of admiration, the queen determined to put her to the test at the
first opportunity.
One day when Jaidev was absent from home, the queen arranged that one of the royal servants
pretended haste was to come to her when with Padamavati, and inform the latter that Jaidev had
been attacked and killed in the forest by a tiger. On the servant coming to where they were seated
and repeating this carefully tutored Story, Padamavati swooned and fell lifeless to the ground.
The queen who had brought about this disaster, turned pale and became distracted at the
unexpected turn of events. She was severely rebuked by the king when he heard of the
occurrence. Life became bitter to her, and she made preparations for death on a funeral pyre
which she had constructed. When the circumstances were communicated to Jaidev, he appeared
in time to hinder the immolation of the queen, and approaching the dead Padamavati sang his
well-known ashtapadis. To the surprise and joy of all, she was restored to life, it is said, and
joined her husband in his song.
Jaidev and his wife by this time had had sufficient experience of regal life. They were glad to
abandon all state and return to their lowly home at Kenduli, where they enjoyed the society of
saints and transferred their idolatrous devotion to the love and homage of the one true God.
On the anniversary of Jaidev's birth a religious fair is held at Kenduli, the poet’s birthplace, and
is attended by thousands of Vaishnavs who celebrate the occasion by assembling round his
cenotaph for worship, and singing the most sublime portions of his immortal songs.
Gurbani by Bhagat Jayadeva
The following hymns of Jaidev in far other style and manner, and written in the popular language
of his time are found in the Granth Sahib.
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SGGS Page 526
SGGS page 1106