CHAPTER - I

INTRODUCTION : GENERAL DISCUSSION ON THE

VIDAGDHAMADHAVA

Sri Rupa Goswami, a well known Vaisnava writer of 16th century A. D.

composed the Vidagdhamadhava, a Sanskrit Nataka in seven Acts.

The theme of the drama centred round the playful activities of Sri-Krsna

while he was in Gakula-Vrndavana. Herein, the author delineates the

story of love-plays of Sri-Krsna and Radha as depicted in the

Krsnajanmakhanda of Brahmavaivartapurana and Patalakhanda of

Padmapurana. Although the love-plays of Radha and Krsna is depicted

by Jayadeva in his lyrical poem, the Gitagovinda and by Lilasuka

Vilvamangala in his Srikrsnakarnamrta, Rupa Goswami is the first au-

thor to give it a dramatic form.

Seven incidents are depicted in the seven Acts of the play, and, ac-

cordingly, the Acts are termed as, Venunadavilasa, Manmathalekha,

Radhasanga, Venuharana Radhaprasadana, Saradavihara and

Gaurivihara.
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1. Venunadavilasa - In this Act Radha is attracted towards Srikrsna

after she heard the Venuvadana of Krsna. Moreover she was mesmer-

ized by the portrait of Krsna, drawn by her friend Visakha.

2. Manmathalekha - In this act the love-lorn condition of the hero

and the heroine is depicted and exchange of love-letters are portrayed.

3. Radhasanga - In this act Krsna enjoys the company of Radha with

the help of their friends.

4. Venuharana - Radha steals the Venu (flute) of Krsna in this act. In

this act, meeting of Krsna and Candravali is also depicted.

5. Radhaprasadana - Krsna appeases Radha as she was anger

with him hearing the name of Candravali in his speech.

6. Saradavihara - In this act Radha and Krsna enjoyed their amo-

rous play along with their friends in the Vrndavana at autumnal season.

7. Gaurivihara - Krsna acts as Gauri to deceive Jatila Radha’s mother-

in-law and Abhimanyu, husband of Radha and finally they are united

without any obstacle,

Apart from Radha, Krsna had affairs with another gopi viz, Candravali.

Hence she posed as upanayika. Both Radha and Candravali are

parakiya stri, so the concept of Rasalila with the cowherds’ wives stand

by, and our author does not deviate from the original concept of Rasalila.

Rupa Goswami contributed seventeen works to the Sanskrit literature.

Among these Vidagdhamadhava is a Nataka type of Rupaka. Generally

Sanskrit Rupaka is divided into ten classes viz, Nataka, Prakarana, Bhana,
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Vyayoga, Samavakara, Dima, Ihamrga, Anka, Vithi and Prahasana.*1 Ac-

cording to Natyasastra of Bharata the story of a Nataka should be taken

from the traditions. This rule propounded by Bharata is followed by

Dhananjaya in his Dasarupaka and Visvanatha Kaviraja in the

Sahityadarpana. It is also said that the hero of a drama should be a king,

a royal sage or a god. This type of heroes may appear in human form.*2

As recommended by the dramaturgist, the story of the

Vidagdhamadhava has been taken by the author from a traditional

source like the Krsnajanmakhanda of Brahmavaivartapurana and

Patalakhanda of Padmapurana. The hero of the drama is a god i,e,

Krsna in human form.

According to the rule, heroic or the erotic sentiment must be the domi-

nant rasa of a Nataka. So in our present play, the erotic sentiment is the

delineated as principal rasa while the other rasas are delineated as

subordinate.

Apart from these, Rupa Goswami followed all the qualities and norms

of a Sanskrit drama, which are postulated by Indian dramaturgist. These

qualities are most essential to show the general structure and arrange-

ment of a Sanskrit drama.

1 natakamatha prakaranam bhanavyayoga samavakaradimah /

ihamrgankavithyah prahasanamiti rupakani dasah //
SD (VI). 3.
2 NS XVII. loff. DR. (III) 1. 34. SD. VI. 7. 9.
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Generally, in Sanskrit, poetry is divided into two kinds viz, - drsya

(what is capable of being seen or exhibited) and sravya (what can only

be heard or chanted). The drama falls under the first division. Rupaka is

the general term in Sanskrit for all dramatic compositions.

Vastu or the plot of the play, neta or the hero and rasa or the senti-

ment, these three are the essntial constituents of a dramatic composi-

tion.

However, every dramatic piece opens with a prelude or prologue which

is called by Nandi. This Nandi suggest the gist of the whole plot. Some-

times the Sutradhara retire after the recital of the Nandi in which case

another actor called Sthapaka takes his place. In the prelude, the

Sutradhara or the Sthapaka suggest the subject in the form of the Bija,

or by the simple beginning or by naming the character who is about to

enter. He must please the audience with sweet songs, descriptive of

some season and couched in the Bharati Vrtti.

The whole subject matter should be well determined and divided into

acts and scenes. A Nataka may be consisted of from five to ten acts.

The hero should be of the Dhirodatta class. But, in some cases, the

hero may be of any class among the four types of hero viz, Dhirodatta,

Dhiroddhatta, Dhiralalita, and Dhiraprasanta. The principal sentiment

should be Srngara or Vira others being introduced as conductive to its

developement. An Act must not be tiresomely long. But it should be full

of Rasa and introduced by Viskambhaka. Its end is marked by the exit

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of all characters. The incidents like journeys, massacres, wars should

not be represented in a play, but they may only be indicated. The death

of the hero must never be exhibited. The play should end and began

with a benediction called Bharatavakya. As regards of the language to

be used in a piece, the hero and the higher characters should speak in

classical Sanskrit, while female and other minor characters speak in

different prakrt dialects.*3

All these norms of a Nataka are present in the Vidagdhamadhava

and thats why it belongs to the Nataka type of Rupaka in perfect form.

a) TITLE OF THE PLAY

Sri Rupa Goswami strictly followed the tradition of Indian dramaturgy

in choosing the title of his drama. As tradition goes, the title of a drama

or a poem should be coined after the name of the hero or heroine or

the subject matter*4

Visvanatha Kaviraja opines that the title of a Nataka should indicate

the very nucleus of the dramatic action.*5 Sagaranandin also says that

3 Introduction of Abhijnanasakuntalam.
edited by M R Kale. pp. 7, 8, 9.
4 “ityadyasesamiha vastuvibhedajatam ramayanadi ca vibhavya vrhatkatham ca /
asutrayettadanu netrrasanugunya ccitram kathamucitacaruvacahprapancaih //”
DR. (I) 68. p. 71
5 “nama kaya natakasya garbhitarthaprakasakam //”
SD. (VI) 142. p. 202
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the title may refer to the names of the principal characters or to some

important pivot in the dramatic action. Following these rules Rupa

Goswami selected the name Vidagdhamadhava for his dramatic com-

position. The main purpose of his drama is describe of the amorous

sports of Radha and Krsna. On the other hand, the character of Krsna

is a powerful, historical great person in the whole Indian tradition. There-

fore Rupa Goswami selected this character with his history as the main

theme of the play. Visvanatha Kaviraja also says, the main plot of the

drama should be famous one. So he says in his work Sahityadarpana :

natakam khyatavrttam syatpancasandhisamanvitam /

prakhyatavamso rajarsidhirodattah pratapavan /

divyo’tha divyadivyo va gunavannayako matah //*6

Before discussing about the title of the play, we should first describe

about the playfull character of Radha and Krsna. In the prologue itself

the author delineates about the amorous sports of Hari through which

he tries to explain the title of his play as–

sudhanam candrinamapi madhurimonmadadamani

dadhana radhadipranayaghanasaraih surabhitam /

samantatsamtapodgamavisamasamsarasarani

pranitam te trsnam haratu harililasikharini //*7

The author narrates the ‘Lila’ or sports of hari as ‘sikharini’, which is a

6 SD (vi) 7. 9. pp. 170-171

7 VM 1st act. 1. p. 1.
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kind of drink. He means that a traveller can remove his thirst arising

from his journey by drinking this type of drink such as ‘sikharini’ as like

as a ‘jiva’ can remove his thirst arising from the wordly agony by hear-

ing, learning and remembering the sportive activities of Hari. Here the

author uses the ‘sikharini’ to compare the amorous sports of Hari i.e.

Krsna.

When we observe, we find a vast description about the great charac-

ter of Krsna in the whole puranic literature as well as in the Mahabharata

and Harivamsa. The theme of the play is taken from the

Krsnajanmakhanda of Brahmavaivartapurana, wherein the elegant

sports of Radha and Krsna is depicted. We have found, mainly three

stages of life of Krsna in the puranic and historical compositions. Those

are viz 1. gopivallabha Krsna 2. Krsna as the orator of Gita and 3.

Krsna as a guide of the Pandavas. Though the principal theme of the

Mahabharata is the conflict between the Kauravas and the Pandavas,

the character of Krsna is depicted as a guide of the Pandavas through

the whole epic (Mahabharata). But puranic literature like the

Srimadbhagavata Mahapurana, Harivamsa, Visnupurana etc. narrate

the character of Krsna from his very childhood to mahaprayana. Krsna’s

description in the Visnupurana is similar to that of the Srimadbhagavata

purana. However the fascinating episode of Krsna related with Radha

is the principal theme of Brahmavaivartapurana and Padmapurana.

All the puranic literature delineated the character of Krsna developed in

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various stages. Among them some puranas specially the Bhagavata

and the Vishnu purana portrayed Krsna as a ‘gopivallabha’. In the

Brahmavaivartapurana the birth story of Radha is narrated along with

that of Krsna. In this way the life of Krsna may be divided in to three

stages viz.Vrajalila, Mathuralila and Dvarakalila. In his Vrajalila we find a

description of miraculous activities of child Krsna which are scattered in

Gakula. Mathuralila occurs in his youth when Krsna along with Balarama

came to Mathura and shows His strength by slaughtering Kansa, king of

Mathura and other opponents. Dvaraka Lila contains the description of

Krsna as a perfect ruler of Dvaraka.The nature of Krsna as a true politi-

cian is shown in the great epic Mahabharata. As an orator of Gita Krsna

adviced Arjuna to take refuge at His feet renouncing all worldly desires

and then only he will be able to conquer this and the other world. So we

find in the Srimadbhagavatagita that–

cetasa sarvakarmani mayi samnyasya matparah /

budhiyogamupasritya maccittah satatam bhava //

maccittah sarvadurgani matprasadat tarisyasi /*8

The Bhagavatapurana depicts a lot of sports of Krsna with cowherd

lords and ladies in Vraja. The following verse quoted from the canto

tenth of the Bhagavatapurana, shows the sports of Krsna with gopis of

Vraja

8 Srimad Bhagavatagita. 18. 57. 58. pp. 576-577

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tatrarabhata govindo rasakridamanuvrataih /

striratnairanvitah pitairanyonyabaddhabahubhih //

rasotsavah sampravrtto gopimandalamanditah /

yogesvarena krsnena tasam madhye dvayordvayoh //

pravistena grhitanam kanthe svanikatamsriyah /

At that time Lord Krsna and the gopis confined in their embrace to

each other due to love lorn condition and danced together in

Rasamandala. Then Lord Krsna took his position in between each two

of them and started dancing by holding them by their neck. This made

the gopis feel that Krsna was too near to them and so, they enjoyed

dancing in the Rasamandala with Him.*9

The Vidagdhamadhava also depicts the sports of Radha and Krsna

in the Vraja in a special manner where the name of Radha is adjoined

with Krsna. So it is necessary to delineate the character of Radha. In

the Gaudiya Vaisnava Literature, Radha occupied an unique place among

the beloveds of Krsna. In the puranic text, especially Bhagavatapurana

presents a description of rasakrida in which Krsna dances with maid-

ens of Vrndavana.He shows a special favour towards a particular maiden.

But there is no reference to Radha in this purana. In the same manner,

we do not find the name of Radha directly in the Visnupurana. In this

purana it is stated that a particular cowherd lady became the most fa-

9 Bhagavatapurana. 10. 33. 2. 3.

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vorite of Krsna among the ladies of Vrndavana. This has been depicted

in this purana in the following manner—

‘atropavisya sa tena kapi puspairalamkrta /

anyajanmani sarvatma visnurabhyarccitoyaya //*10

However, Radha appears in some major puranas like Padma, Vayu,

Brahmavaivartapurana etc. Brahmavaivartapurana states that Radha

was the beloved of Krsna whom the Lord intensely desired. In this purana

we find the birth story of Radha. It is stated that once Lord Visnu di-

vided His body in to two halves to fulfill His desire for sexual union. The

right halve of His body remains Krsna and the left part becomes Radha.*11

In the Padmapurana we find the different manifestations of Radha

like durga, saci, savitri, visnu, krsna etc. This purana tells us that Radha

herself assumes the form of Rukmini in Dvaravati, Devaki in Mathura,

Sita in Candrakuta,Sivananda in Sivakunda whereas she is known as

Radha in Vrndavana.*12

We find this description in the following verse of the Padmapurana

as–

10 visnupurana : 5.13. 34. p. 336

11 svecchamayasca bhagavanvabhuva ramanotsukah //
riramsostasya jagatam patyustanmallikavane /
icchaya ca bhavetsarva tasya svecchamayasya ca//
etasminnantare durge dvidharupo vabhuva sah /
daksinamgaca sri krsno vamardhamgaca radhika //
Brvp. prakrtikhanada 48. 27. 28. 29. p. 506
12 padmapurana patalakhanda– 46. 36. 37. p. 387.
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sivakunde sivananda vandini dehikatate /

rukmini dvaravatyantu radha vrndavane vane //

devaki mathurayantu jata me paramesvari /

candrakute tatha sita vindhe vindhyanivasini //

After the puranic literature when we come to Sanskrit literature,we

find a work named Gathasaptasati, actually which is a prakrt poem of

Christian era written by Hala, a famous poet of Sanskrit literature. Here

he introduces Radha as the lover of Krsna. The poet describes in a

poem of his work that Krsna lovingly blows off the pollens from the face

of Radha for which she becomes a source of jealousy for other lovers

of Krsna.*13

Again we find the name of Radha in a holi dance, described in a

drama named Balacarita written by Bhasa a famous dramatist who flour-

ished in the third century A.D.

The Pancatantra was written by Visnu Sarma in the fiftt century A.D.

Here he incidentally refers to Radha as a wife of Lord Visnu in the

‘Weaver Visnu’ Story.*14

In the seven or eight century A.D. We find Radha in the Nandi verse of

Venisamhara composed by Bhattanarayana. The verse runs as follows–

kalindyah pulinesu kelikupitamutsrjya rase rasam /

13 GSS. 1. 89. p. 67.

14 Radha nama me bharya gopakulaprasuta prathamasit. sa tvamatra avatirna.
tenahamatragatah. pt. 2. 4.
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gacchantimanugacchato’srukalusam kamsadviso radhikam //

tatpadapratimanivesitapadasyodbhutaromodgate /

raksunno’nunayah prasannadayitadrstasya pusnatu vah //*15

Vallabhadeva of Kasmira of tenth century A.D., Who in the comment-

ing the Sisupalavadha of Magha quotes a poem on Radha episode. In

his comment, he used the name of Radha clearly.*16

In this way, in Sanskrit literature we have found three stages in the life

of Radha. In the first stage there is no reference to Radha at all. We

could include the name of Bhagavatapurana and Visnupurana in this

regard. In the second stage, we find the name of Radha in the puranas

like Padmapurana, Brahmavaivartapurana etc, and also in the Sanskrit

literary works like Gathasaptasati, Pancatantra, Balacarita, Gitagovinda

etc. In the third stage, Gaudiya Vaisnava poet Caitanya Mahaprabhu

and his disciples Rupa Goswami and Jiva Goswami have delineated

the character of Radha in their works. They tried to establish that Radha

is called the Hladini sakti of Lord Krsna. It is justified through a line of

Ujjvalanilamani of Rupa Goswami that– “hladini ya mahasaktih

sarvasaktivariyasi”.

Inspired by these very sportive and illuminating character Rupa

Goswami had choosen the principle theme for his play.

15 V.S. 1. 2. p. 2.
16 SPV. iv. 35. p. 139.
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The title of the drama Vidagdhamadhava may be divided into two

parts viz, ‘Vidagdha’ and ‘madhava’. Generally the word ‘vidagdha’ is

used to mean for ‘clever’. In respect of the second word ‘madhava’ we

have found a etymological meaning in the commentary section of

Gitagovinda of Jayadeva. According to Rasamanjarikara the word ‘ma’

stands for ‘Laksmi’ and ‘dhana’ stands for wealth. The wealth of Laksmi

means ‘pati’. So the word ‘madhava’ denotes the meaning pati as well

as husband of Laksmi*17

Now, in case of the word ‘vidagdha’ it is necessary to discuss each

and every act of the play to know the meaning of the word ‘vidagdha’

whether it is appropriate or not for the title of the play. For this purpose

we have to study the role of Krsna in the entire drama.

At the very beginning of the drama, it is seen that an attempt is made

to create purvaraga in the mind of the actors and actresses for comple-

tion of the purpose of the play, i.e. the union of Radha and Krsna. In the

first act we see that Krsna plays his flute with a sweet tune to create the

purvaraga in the mind of Radha. It is a nice example regarding Krsna’s

cleverness. So Paurnamasi said that– “mohana, navyastabakottamsina

bhavataiva samullasito’yam kusumesurago ballavinam. tah

kathamito nivaryatam.” *18

Her intention is that Krsna Himself creates the feeling of love in the

17 GG. iv. after the V.N. 8. Hindi commentary p. 98

18 V.M. 1. after the V.N.– 31. p. 34.
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mind of cowherd ladies. Krsna used his flute as a weapon of love be-

cause before seeing Radha he is deeply engrossed in Radha’s love by

hearing the exquisite beauty of her in the words of Mukhara. But he

skillfully concealed his feeling and pretended that he does not know

Radha and asked Paurnamasi like who the grand-daughter of Mukhara

is.

Hearing the sweet tune of the flute, Radha has fallen in love and

became anxious to see the player. Thus Krsna cleverly create the

purvaraga in the mind of his beloved.

In the second act we find that Krsna was overwhelmed with love for

Radha, for which he does not mind the presence of his friend

Madhumangala. When Madhumangala asked him about it, Krsna tact-

fully said that he has enjoyed the charming shine of the Champaka flow-

ers– “Krsna-(savahittham) sakhe, campakalataya lavanyakrstena

maya nopadrsto’si”*19

On the otherhand Radha’s mind is growing unsteady day by day and

very much afflicted with love for Krsna. Because of it, to satisfy herself

she sent a love letter to Krsna according to the advice of Paurnamasi.

Lalita and Visakha, friends of Radha, handed it over to Krsna. After

Madhumangala, read out the letter to Krsna, Krsna knew Radha’s love

for him and was very much pleased and satisfied. But in front of Radha’s

19 VM. (II). after V.N.– 26. p. 67.

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friends he did not show his feelings, instead he showed that he did not

care much for it. After seeing Krsna’s such reactions, Radha’s friends

considered him as responsible for Radha’s condition. On the otherhand,

after showing such reaction for Radha, Krsna regrets for his behaviour

and he decided to write a letter describing his whole hearted love for

Radha and his letter created delight in the mind of Radha. All these

events can be described as impact of the cleverness of Krsna.

Apart from Radha, Krsna was involved in love affairs with another

cowherd lady, named Candravali. She also loves Krsna whole heartily.

In the fourth act of the play we see that Krsna cleverly tries to give

pleasure in Candravali’s mind. So Krsna explained the meaning of the

name Candravali very fruitfully. He says, Candravali means line of the

Moon. (candrapankti). Her face, nail, kundala, forehead etc. every parts

of her body are as shining as the moon.*20 Hearing such a praise of her,

Candravali became very happy. Again Krsna said to her that he hardly

spent his nights without thinking about Candravali. Even he tries to putt

off his fire of love by sinking his body in the rivulet of the forest.*21

But right in between of their talk when suddenly Krsna took Radha’s

name, Candravali seemed to be very displeased with him. Krsna by

using all his might told the disappointed Candravali that he was going to

pronounce something like ‘Dhara’ but mistakenly it became ‘Radha’.–

20 VM. iv. 8 p. 154

21 VM. iv. 9. p. 156.
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“Krsna- priye, dharetyavadam”*22

Moreover, Krsna knew the technique how to attract his beloved to-

wards him. So, in the fifth act of the drama we find that He draws Radha’s

attention by comparing her beauty with a pomegranate tree. Further He

says that the beauty of her teeth, lips and breast surpasses the beauty

of seeds, flowers and fruits of pomegranate tree.*23

Thus, the seven act of the play is more reliable to select Krsna as

an ingenious person. In last scene of this act, Krsna has been por-

trayed as an intelligent and accomplished man. Here we find that, to

test Radha’s mind Krsna and Vrnda hinted out a plan. Krsna uttered

the name of Candravali in half way i.e, Candra— and by saying her

name in such a way, He showed himself to be in a unsettle state in

front of Radha. Vrnda also by hiding herself said that “friend’ it should

not be opposite in merryment situation.” Hearing this conversation

Radha became so anxious and felt disheartened by the thought that

her lover has been confined to a chamber by Candravali. Becoming

serious for this, she at once went away from that place for cooling

down herself. Seeing Radha, becoming disappionted, Krsna decided

to disguise himself as a woman in order to create delight in the mind

of Radha. To accomplish his mission he sought the help of Vrnda.

Madhumangala friend of Krsna advised him to go to the temple of

22 VM iv after VN. 9. p. 156

23 ibid V. 50. p. 247.
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Gauri which was the proper place for fulfilling his mission. According

to their suggestions Krsna advised Vrnda to go to the temple of Goddes

Gauri with her friends. Madhumangala and He Himself gone there and

He disguised Himself as Goddess Gauri. Radha and her friend Lalita

were also present at the Gauri temple and they wished to worship the

Goddess Gauri having a great faith in their heart as the real incarna-

tion of Goddess Gauri. They just started to worship Her, when inci-

dentally they found such mysterious behaviour from Gauri for which it

was possible for Radha to recognise Krsna disguised as Goddess

Gauri. In the meantime Jatila and Abhimanyu, husband of Radha, came

there in search of Radha. They have a intention to take away Radha to

Mathura the land of Kamsa. But there they knew that Goddess Gauri

instruct Radha to worship her and remain there to avoid some calam-

ity for Abhimanyu. Finding this favour of Gauri for escaping from evil

one, coming to his life, Abhimanyu and his mother were very much

pleased on her. They took a decision not to send Radha to Mathura.

Thus Krsna cleverly pleased the mind of Radha and made her remain

there so that he may meet her everyday without any obstacle.

After going through the whole drama it may be suggested that the

title of the play Vidagdhamadhava is a suitable one and it justifies the

events of the play. The word ‘Vidagdha’is used as the adjective of the

word ‘Madhava’ which was the purpose of the author and is unambigu-

ously correct.
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b) ABOUT THE AUTHOR OF THE VIDAGDHAMADHAVA

To know the life and date of a particular author one may depend on

two factors, those are internal evidences and external evidences. Inter-

nal evidences consist with the biographical data of the author supplied

by himself in his works. Moreover references made in the work of a

particular author to his contemporaries or predecessors are also de-

pendable evidence for determining the probable date of the particular

author. Besides, the name of a patron of a particular author may also be

considered as a help in this respect. The language and the style of a

literary work of that author may help us to know the date of the con-

cerned author. But external evidences include references to the author

and his work in the contemporary literary or other works.

Now, in regarding the date and life of Sri Rupa Goswami the author of

Vidagdhamadhava, we may examine both the evidences. But fortu-

nately, we have to depend more on the external evidences, supplied by

his nephew Jiva Goswami .

Jiva Goswami tries to bring light into the life history of Rupa Goswami.

He composed 'Laghutosani' in Saka 1504A.D. a short form of

'Vaisnavatosani' of Sanatana Goswami which is a commentary on tenth

skandha of Bhagavatapurana and at its end he furnishes his forefa-

thers name . He is the son of Anupama Goswami,the younger brother

of Sanatana and Rupa Goswami. He described about the contribution

of Sanatana and Rupa Goswami towards Vaisnava Literature. On the

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basis of Jiva Goswami's information's other authors endeavoured to

give a reliable information about Rupa Goswami and his family. From

the Bhakti-Ratnakara also some information about the relationship of

three Goswami's of Vrndavana viz Sanatana, Rupa and Jiva Goswami

can be gathered.*24

From the life history of Sri Rupa Goswami we know that he was mainly

famous for his devotion and knowledge in the Gaudiya Vaisnva society.

Sri Rupa Goswami was the very revered person among the six svamin

of Vrndavana. He was the special one among the disciples of Caitanya

Deva.

The ancestors of Rupa Goswami were the Bharadvaja Gotriya

Brahmana of Karnataka . The name of the prominent man of his family

was 'Jagadguru Sarvajna who was a prince of Karnataka. He was the

perfect ruler of Karnataka as well as a conversant preceptor of the three

Vedas. The name of his son and heir apparent was Anirudha who was

expert in theYajurveda.

Anirudha had two wives who gave birth to Rupesvara and Harihara

.The first son Rupesvara became an accomplished scholar but the sec-

ond took to evil ways and expelled his elder brother from his principal-

ity, Rupesvara, who by then was some where in the east,had a son

24 The Early History of the vaisnva Faith and Movement in Bengal.

SK De– P. 146.
Vide– Introduction of VM. P. 9.
 (20)

named Padmanabha, who settled down on the bank of the Ganges at

Navahatta Grama and performed a sacrifice (yajna). He had five sons,

of whom Mukunda was the youngest. On account of a quarrel, with his

relatives Mukunda left Navahatta Grama and went to Fateyabad. Mukunda

had a son named Sri Kumara and he appeared to have three sons viz,

Amara, Santosa and Vallabha whom Caitanya Deva named as

Sanatana,Rupa and Anupama respectively . According to the script of

Jiva Goswami the structure of the family of Rupa Goswami is described

as followes–

Sarvajna jagadguru
↓
Anirudha
↓ ↓
Rupesvara Harihara
↓
Padmanabha
↓ ↓ ↓ ↓ ↓
Mukunda
↓
Sri Kumara
↓ ↓ ↓
Sanatana Rupa Anupama
↓
Jiva
 (21)

Life circle of Rupa Goswami :

The life history of Rupa Goswami is available in the contemporary

work 'Caitanaya Caritamrta' of Krsnadasa Kaviraja which has an undy-

ing popularity and contains the essence of all the works of Caitanya's

school. Besides Susil Kumar De, Prabhudatta Brahmacari, Valdeva and

a few others also describe the life history of Rupa Goswami in their own

works .

According to Caitanya Caritavali, Sri Kumara the father of Rupa

Goswami had a purpose to make his three sons as perfect ones. For

this purpose he had arranged for Sanskrit learning of his three sons

under the guidance of famous preceptor Sri Sarvananda

Sidhantavacaspati, a renowned scholar of Navadvipa of that time. As

the Parsi Language was the royal language at that period, the father of

Rupa had the intention to teach this Language to his sons so that they

may have some royal opportunities in their life.*25

As a result they became perfect in Parsi Language along with San-

skrit. Knowing about the accurate knowledge of the two youths in both

the languages, Maladhara Vasu (Gunraj kha) the royal minister of Gauda

Pradesa introduced Rupa and Sanatana to the Gauda king. As a result

they were appointed in the royal court. Sanatana became a high official

at the Mohammadan court of Hussain Shah of Gauda and settled with

25 caitanya caritavali chp. iv. P. 38

vide– Introduction– VM. pp 11-12
 (22)

his brothers at the village of Ramakeli. Rupa also appears to have held

some official position at the same court. Their manners and customs

appeared to grow like muslims as they had dwelled in the court of

muslims. Even Hussain Shah changed their names according to muslim

customs and kept Sanatana's name as Dabirkhash and Rupa's as Sakir-

malik. Though they spent their life as employees in the court of muslim,

their devotion for Visnu does not become less than before. During

their stay as ministers in the court of muslims, they built a Murtisala

named 'Kanhai murtisala' which was well-known at that time and this

proved their devotion for Visnu. By virtue of their religious disposition,

they were attracted towards the great reformer Caitanya Mahaprabhu.

Finding the good advice from Caitanya Deva the life style of Rupa

Goswami was totally changed.A great disregard was produced in the

mind of Rupa Goswami for his royal position and worldly happiness. So

the ministrial works became burdensome for Rupa and therefore he

left for home along with his brother to become Caitanyadeva's disciple.

Rupa Goswami met Caitanyadeva along with his brothers. After hear-

ing the news that Caitanyadeva was going to Vrndavana Rupa and

Anupama, the youngest brother of Rupa renounced their home for liv-

ing a religious life. They met Caitanyadeva at Prayaga and Kashi. They

stayed at Prayaga with Caitanya for ten days. During this period these

two brothers took lessons from him in the Bhakti cult under his direc-

tion. They and their nephew Jiva, settled at Vrndavana in the district of
 (23)

Mathura. They wrote a large number of books in Sanskrit on the tenets

of his creed on the philosophy and theology of Caitanya schools and

on the Lilas of Sri Krsna. Among them two special work of Rupa which

were mainly based on Krsna's Lilas namely Vidagdhamadhava and

Lalitamadhava were mentioned. These two books were so highly ben-

eficial that they were praised by the disciples of Caitanya and also by

Caitanya himself. By seeing the interest of Rupa for Bhakti-Marg

Caitanya advised him to write two books consisting of the creed of

Bhakti-cult.

Distributing his properties among the members of his family, he re-

turned to Vrndavana and started worshiping God by staying at Brahma-

Kunda near Nandigrama. Though Sri Rupa was younger than Sanatana

he was popular as the eldest one in the Vaisnava society for his initia-

tion under Caitanyadeva earlier to his brothers.

Rupa was the first reformer to turn the Bhakti-cult of Caitanya into a

Sastraic one by means of composing different books like Nataka-

candrika, Bhaktirasamrtasindhu, Ujjvalanilamani.

In this way the life of Rupa may be divided in to two parts. First part

includes the period from childhood to service of the royal court of the

Mahammadans of Bengal. The second part starts from the interview

with Caitanyadeva to the end of his life.

In the first part of his life, he was a perfect ruler as a royal minister of

king Hussain-Shah and in the latter period he became a famous poet

 (24)

and came to be known as a devotee of Krsna cult.

The date of Rupa Goswami :

With regard to the exact date of Rupa Goswami no authentic infor-

mation is available. But from his relation to Sri Caitanyadeva and from

the dates of composition recorded at the end of some of his own works

we can approximately fix the period of his literary activity. When we

observe the life history of Rupa Goswami we find mainly two kinds of

evidences to fix the actual date of Rupa Goswami. Firstly we may re-

course to the period of royal ministry in the court of Hussain-Shah, the

king of Gauda-Pradesa. Another evidence is the acceptance of dis-

cipleship of Caitanyadeva. According to history the ruling period of

Hussain-Shah was the last part of 15th century to first of the 16th cen-

tury A.D.*26

In this way the rising time of Caitanya was the 1485 A.D.*27

Acaryya Valdeva Uppadhyaya also admits the date of Caitanyadeva

as 1485 A.D*28

26 The cambridge History of India Vol (III). P. 270.

Edited by L.T. colonel wolseley Haig.
vide– Introduction– VM P. 18.
27 The cultural Heritage of India.
Vol. iv. P– 186.Edited by H.D. Bhattacharyya.
vide– Introduction. VM. P. 18
28 Bhagavata Sampradaya. P. 500
vida– Introduction VM. P. 18
 (25)

On the otherhand the date of Rupa Goswami is admitted as 1492 to

1591 A.D. by Acaryya Valdeva Uppadhyaya in his work Bhagavata

Sampradaya.*29

From these two historical data we may say that Rupa was the con-

temporary of Hussain-Shah and Caitanyadeva. So we may accept the

date of Rupa as the 16th century A.D.

But Prabhudatta Brahmacari admits the date of Rupa's birth as 1488

A.D. So we find that there is only four years difference between these

two opinions. Therefore it may be determined that the date of Rupa

Goswami was the last part of 15th century A.D.

Generally it is noticed that the author of Sanskrit works mention their

times at the end of their works. But Rupa Goswami doesnot mention

his date in some of his works. For example Danakelikaumudi,

Hamsaduta and Uddhavasandesa are the works wherein there is no

reference of offering homage to Caitanyadeva. Therefore it is cleared

that these books have been composed prior to meeting with

Caitanyadeva.

Among the works of Rupa Goswami two books viz.

Vidagdhamadhava and Lalitamadhava have been composed after

meeting and initiation under Caitanyadeva. Because, both in the

Nandiverse and Prastavana of both the dramas, there is an eulogy to

29 Bhagavata sampradaya. P. 506

vide– Introduetion VM. P. 18
 (26)

his Revered Guru Caintanyadeva.*30 The name of the honourable Pre-

ceptor Caitanyadeva directly mentioned in the prologue portion of

Bhaktirasamrtasindhu. So it proves that this work also have been com-

posed after the meeting with Caitanya.

The composition time of the some works are mentioned in the Puspika

portion i.e. at the end of the works viz. Vidagdhamadhava,

Lalitamadhava, Bhaktirasamrtasidhu, Utkalikavallari. In these works,

we have found two kinds of Samvat viz. Vikrama Samvat and Saka

Samvat. Therefore Vidagdhamadhava is included in the Vikrama

Samvat while the Lalitamadhava was Saka Samvat. The

Vidagdhamadhava was composed in Vikrama Samvat in

1532A.D.(1589)*31 and the Lalitamadhava was composed in Saka-era

in 1537A.D.(1459)*32

Bhaktirasamrtasindhu contains the Saka-Samvat i.e. the 1463 (1541

A.D.) In this process we find that Utkalikavallari the last work of Rupa

Goswami was composed in 1550 A. D. Thus from 1505 A. D. to 1550

30 anarpitacari ciratkarunayavatirnah kalau

samarpayitumunnatojjvalarasam svabhaktisriyam/
harih puratasundaradyutikadamvasamdipitah
sada hrdayakandare sphuratu vah sacinandanah//
VM. 1. 2. P. 2.
31 navasindhuravanendusamkhye samvatsare gate
VM.– puspika. p. 21. vide introducation - VM
32 navenduvedendumite sakavde sakasyamasasya tithau caturthyam.
L.M. Puspika. P. 21, vide– Intraduction– VM.
 (27)

A.D.i.e. about 45 years Rupa Goswami was engaged in the activities of

literary compositions. So, the life circle of Rupa Goswami may be di-

vided in to three parts, i.e.

(1) ministry of Hussain-Shah.

(2) Disciple of Caitanyadeva and

(3) His different literary activities.

When Rupa met Caitanyadeva for the first time he was twenty-seven

years old young man. But at the time of initiation under Caitanyadeva,

he was thirty years old. On the other hand, according to historical data

the death of Caitanyadeva was 1533A.D*33. But the famous drama

Vidagdhamadhava was composed in 1532 A.D. Therefore we may

say that Rupa Goswami composed this drama by the inspiration of

Caitanyadeva.

But we have found the different opinions about the death of Rupa

Goswami. A book named Vrndavana yatra describes the date of the

death of Rupa Goswami as Vikrama Samvat 1620 (1563A.D) in the12th

bright fortnight of the month of Sravana.*34

But on the basis of historical data Rupa died in 1591 A.D.and it was

proved by the copper plate of the temple of 'Govinda' which was built

33 The History and culture of the Indian people. P. 567

vide. Introduction. VM. P. 22.
34 sri caitanya caritavali. V. Khanda– P. 243.
vide– Introduction– VM. P. 23.
 (28)

by Manasimha , disciple of Rupa Goswami, following the advice of Rupa

Goswami in 1590A.D.*35

Moreover a disciple of Rupa Goswami named Sri Nivasacarya came

to meet Rupa Goswami and Sanatana in 1592 A.D. But to his misfor-

tune he did not meet them by then as Sanatana had died four months

back and Rupa Goswami had died four days before.With this consider-

ation it may be assumed that the date of the death of Rupa Goswami

was 1591 A.D.

In this way the date of Rupa Goswami was fixed starting from

1488A.D.to 1591A.D. During this period Sikandarlodi and Great Em-

peror Akbar ruled the throne of Delhi one after another.Manasimha who

was a favourable person of Emperor Akbar was the disciple of Rupa

Goswami.

From this reliable historical data Valdeva Uppadhyaya determined

that the date of Rupa Goswami was the last part of 15th century to first

part of the 16th century A.D.*36

The works of Rupa Goswami :

The list of the seventeen works composed by Sri Rupa Goswami

mentioned, according to Sri Jiva Goswami are as follows:

35 Bhagavata sampradaya. PP. 509. 510

vide. Introduction VM. P. 23.
36 Sanskrit sastro ka itihasa. P. 257.
vide– Introduction VM. P. 24
 (29)

(1) Hamsa duta (2) Uddhava Sandesa. (3) Astadasa Chandasa.

(4)Utkalikavallari (5) Vidagdhamadhava (6) Danakelikaumudi (7)

Lalitamadhava (8) Bhaktirasamrtasindhu (9) Ujjvalanilamani (10)

Mathuramahima (11) Nataka-Candrika (12) Padyavali (13) Samksepa

Bhagavatamrtam.

But the Bhakti Ratnakara quotes some traditional verses from which

four more works are added to the list of Rupa Goswami's literary ef-

forts. They are named as (1) Sri Ganoddesa Dipika (both Brhat and

Laghu). (2) Prayuktakhyata Candrika (3) Krsna janmatithi Vidhi and (4)

Asta kalikaslokavali. A work entitled as Smarana Mangalaikadasa is also

prescribed to Sri Rupa Goswami.

A short discussion of some works among the works of Rupa Goswami

have been given below:

Hamsduta and Uddhavasamdesa :

This two poetical works may be regarded as the first effort of Rupa

Goswami. These works are found in the Devanagari Script in different

places. Mainly we can mention about the Jivananda Vidyasagara Kavya

Samgraha, Kalkata 1888.

Vidagdhamadhava :

Rupa Goswami composed this work on the basis of Krsna Lila. It

consists of seven acts. It has been described in details in the chapter

'Story in brief'.
 (30)

Lalitamadhava :

Rupa Goswami composed this drama consisting of ten acts. It de-

scribes not only the episode of Sri Krsna's erotic sports at Vrndavana

but also at Mathura and Dvaraka. As the episode goes Paurnamasi,

mother of Sandipani Muni and disciple of Devarsi Narada Muni reveals

the origin of Candravali and Radhika, as the two daughters of Vindhyagiri,

they were sisters, but they themselves were unaware of this fact. In this

drama it has been shown that Candravali and Radhika were wives of

Gopa Kumaras.

Candravali married Govardhana and Radhika married Abhimanyu re-

spectively. It is described as the effect of Maya. But factually they were

married to Sri Krsna.This is true in case of other gopis also, when their

so called husband, the Gopas, could never look upon them as their

wives.

The first Act of this drama is named as sayabhutsava because Krsna

tried to meet Candravali and Radhika in the evening i.e.returning after

tending the cows. But their mother-in-lows prevented their meeting.

The second Act is termed as Sankhacudavadha. Sankhacuda kid-

napped Radhika but Krsna rescued her by killing Sankhacuda.

In the third Act Akrura comes to fetch Sri Krsna and Balarama as

ordered by Kamsaraja to Mathura. The sorrows of the Gopis is de-

scribed, but the main theme of this act is called 'unmatta Radika'. Be-

cause it consists of Radhika’s wailing and mad search for Krsna. Along
 (31)

with Visakha she jumped in to Yamuna and Lalita also jumped from the

peak of mountain.

The fourth Act changes the scene from the joyless Vrndavana to

Mathura and reveals the sorrows of Sri Krsna due to separation from

Candravali , Radhika and other Gopis.

The Act fifth gives a new version of the abduction of Candravali at

Kundina Nagar, contrived by the scheme of Paurnamasi.

The sixth is concerned mainly with a new version of the winning of

Satyabhama, daughter of king Satrajita and recovery of the Syamantaka jewel.

The seventh Act describes the secret meeting of Satyabhama with

Sri Krsna who shows her a speaking image of Radhika made by

Visvakarmana, but Candravali of course comes upon the scene and

interrupt the meeting.

The eight act continues the love affairs at Dvarika in a new atmo-

sphere. This act makes a little comedy of errors based upon Candravali's

jealousy of Satyabhama by the exchange of two baskets of ornaments

made by Visvakarman for the two ladies respectively.

The ninth act reports similar rescue of Padma, Bhadra and Syamala

as well as sixteen thousands one hundred Gopis, but its pricipal theme

is the depiction of love by Krsna to Satyabhama.

The tenth i.e. last act describes the denouncement with an allround

happy ending. The Syamantaka jewel at last is sent by Satrajita king. Sri

Krsna enters in the disguise of one of the maids sent by the king with
 (32)

Syamantaka jewel, but the trick is discovered. This brings about

Candravali's recognition of Radhika and grace of the situation in the

approved style of Natika. The ends with reunion affected by the efforts

of Nanda, Yasoda and others who came to Dvarika, which is now con-

verted in to a really knew Vrndavana.

Haribhaktirasamrtasindhu :

Haribhaktirasamrtasindhu is a well known and important composition

of Rupa Goswami. Here Rupa Goswami tries to give Bhakti Rasa a

sastraic status. So this work is known as Bhakti. Formulation of the na-

ture of Bhakti Rasa is the main theme of this work. It is divided in to four

parts (Vibhagas). Those are -(I) Purva (ii) Daksina (iii) Pascima and (iv)

Uttara. Further they are divided in to Laharies. In the Purva Vibhaga

general definition of Bhakti, division of Bhakti like Sadhana Bhakti,

Bhavabhakti and Premabhakti are described. Moreover a special de-

scription of these three kinds of Bhakti are given. In the Daksina Vibhaga,

description of Vibhava, Anubhava, Sattvikabhava, Vyabhicaribhava and

Sthayibhava are given. In the end, the general definition of Gaunabhakti

Rasa is given.

In the Pascimavibhaga special forms of Bhakti Rasa are discussed.

In this Vibhaga there are detailed description of Santabhakti, Pritibhakti,

Preyabhakti, Vatsalabhakti and Madhurabhakti.

Hasya, Adbhuta, Vira ,Karuna, Raudra, Vibhatsa and Bhayanaka are

discussed in the Uttara Vibhaga along with discussions about their simi-
 (33)

larity and contrarietry. According to Rupa Goswami Bhakti Rasa is the

principal one. Others Rasas like Adbuta etc. are originated from Bhakti

Rasa. This work is published in the Achyuta Granthamala siri's of Varanasi

which is edited by Sri Damodara Goswami in 1932.

Ujjvalanilamani :

Ujjvalanilamani appears to be the composition of the author as a

supplement to the Bhaktirasamrtasindhu. It contains with a vast de-

scription of Madhura Srngara. The meaning of the word Ujjvala is

Srngara. Description of the Uddipanavibhava, Sattvika,

Vyabhicaribhava and Sthayibhava of Madhura Rasa are given in this

work. Here details description of different dasas (moods) of the two

types of Srngara viz. Sambhoga and Vipralambha are also given. In

the Ujjvalanilamani Rupa Goswami has divided the four kinds of Nayaka

which are prescribed by the Sanskrit poeticians in to two categories like

Pati and Upapati. These two types are further divided in to three as

Purna, Purnatara and Purnatama. Again Rupa Goswami has extended

this division of Nayaka in to four categories are Daksina, Dhrsta, Anukula

and Satha. Thus we have found sixteen types of Nayaka in the

Ujjvalanilamani according to Rupa Goswami.

In this way in the Ujjavalanilamani it has been described the division

of Nayika in to two types viz. Svakiya and Parakiya. Svakiya Nayika of

Krsna is eight in numbers. Those are (1) Candravali ,(Rukmini) (2)

Satyabhama (Radhika) (3) Jamvavati (4)Arkanandini (5) Saiva (6) Bhadra

 (34)

(7) Kausalya and (8) Madri.

Parakiya Nayika also divided in to two kinds-Paroha and Kanya. All

the Gopis of Vraja are regarded as Paroha type of Nayika.This Paroha

type of Nayika is divided in to three kinds viz. Sadhanapara, Devi and

Nityapriya. Thus we have found Sadhanapara is of two kinds-Yauthikya

and Ayauthikya.The Nayika which is belongs in to group called Yauthika

and it has two divisions 'Muni' and 'Upanisada'. The types of Nayika in

which the sages take birth as Gopis of Vraja is known as Muni types of

Nayika and the other in which Gopis acquired the attribute of Goddess

through their own meditation are known as Upanisadas type of Nayika.

There are two division of Ayauthikya Nayika viz. Pracina and Navina.But

Cadravali and Radhika do not belongs to these type of Nayikas. They

are known as Nityapriya types of Nayika.

Thus, in the Ujjvalanilamani all the Nayikas are again divided in to

three kinds viz. Mugdha, Madhya and Pragalbha. In fact through this

process, the author of Ujjavalanilamani delineated about three hun-

dreds sixty types of Nayikas before us.

Rupa Goswami opines that Premarati is sthayibhava of Srngara Rasa.

There are six kinds of Srngara viz. sneha, mana, pranaya, raga, anuraga

and bhava. This book is published in Kavyamala series in 1913, Bombay.

Anandacandika is the name of commentary on Ujjavalanilamani.*37

37 Saskrit sastro ka itihasa. P. 259.

vide– Introduction of VM. P. 32.
 (35)

Natakacandrika :

According to Vaisnava Sampradaya, Natakacandrika is a work on

dramaturgy. Some rules accepted by Visvanatha Kaviraja are not suit-

able to Rupa Goswami's literary compositions.Therefore he has formu-

lated some new rules in this works so that the principle of Gaudiya

Vaisnavism are not violated.

In the Sahityadarpana Visvanatha Kaviraja describs all the Gopis of

Gokula as Paroha Nayika and Krsna is depicted as Upapati. The love of

Radha and Krsna delineated as Rasabhasa which is not accepted by

Rupa Goswami. Instead he explains the love of this divine couple as

paramanand for which one may feel delight in his/ her mind.

c) DATE OF COMPOSITION OF THE PLAY

The date of a work can be determind on the basis of two factors

i.e.internal and external evidences. The date of our present work under

study can be determind from the internal evidences.

In this regard, the poet himself declares the date of the completion

of his work in the colophone of the 'puspika' of his work. He indicates

the date in a chronogrammatic form i.e.

navasindhurabanendusamkhye samvatsare gate.*38

In this expression the word 'Nava'stand for the nine number (be-

38 VM. ‘puspika’ 2. P. 369.

 (36)

cause 'Nava means nine number) the word 'sindhura' stands for eight

number (Sindhura means elephant, therefore eight elephant or astagaja

of eight directions) the word bana stands for the five number (five ar-

rows or pancasara of kama deva) and the word indu stands for number

one (because there is only one moon in the sky.)

Following the formula of Nyaya i.e., 'ankanam vamato gatih',when

we read the numbers reversely, we find the year viz 1589 AD. It implies

the period of Hussain- Shah, the ruler of Gauda and his contemporary

Caitanya Mahaprabhu who was the preceptor of Rupa Goswami. Ac-

cording to the historical patronage, Hussain-Shah ascended the throne

of Gauda in 1493A.D.*39

So his reigning period was the last part of the 15th century to the first

part of 16th century. On the otherhand , from the literary composition

we have found that Caitanya Mahaprabhu flourished at 1485 A.D.*40

From the reliable source i.e. 'Caitanyacaritavali', of Prabhu datta

Brahmacari, we have come to know that our athour Rupa Goswami was

the minister of Hussain-Shah*41 .Therefore the composition date of our

39 The Cambridge History of India, Vol - (III)- P. 270

edited by L. T. Colonel wolseley Haig.
Vide- Introduction of V.M. P. 18
40 The cultural Heritage of India Vol. IV. P. 186
edited by H.D. Bhattacharyya.
Vide- Introduction of V.M.-P. 18
41 caitanyacaritavali- chap. (IV). vide-Introduction. V.M. P. 12
 (37)

play may be considered from the external evidences also. Acarya

Valdeva Upaddhyaya, the author of Bhagavata Sampradaya says that

the time of Rupa Goswami has to be taken from 1492 to 1591 A.D. So

the birth time of Rupa Goswami should be taken as 1491 A.D.*42 An-

other famous poet sri Prabhu datta Brahmacari has admitted the time

of Rupa Goswami from 1488 to 1545 A.D. So, the time of Rupa Goswami

can be accepted in the last part of 15th century A.D., because we have

found only four years difference between these two opinions.

To know the date of our present play we must collect the other con-

temporary work of Rupa Goswami.When we have observed, we find

that among them, three famous dutakavyas viz Danakelikaumudi,

Hamsaduta and Uddhavasandesa have been composed by Rupa

Goswami before initiation as a disciple of Caitanya Mahaprabhu. Be-

cause no other word mentioned in the benedictory verse of these works

is of reverence to Caitanya Mahaprabhu. From this expression it may

be said that these three works have been composed in 1427 A.D. which

has been regarded as Sakatime. After initiation as a disciple of Caitanya

Mahaprabhu Rupa Goswami tries to develop the Bhakti-Rasa from the

view point of Sastraic angle. For this purpose he composed

Bhaktirasamrtasindhu and other two literary works viz.

42 Bhagavata Sampradaya. P. 506.

Vide- Introduction. V.M. P. 18.
 (38)

Vadagdhamadhava and Lalitamadhava, both are of the Nataka vari-

ety. In both the works of Rupa Goswami, there are reverence verses to

Caitanyadeva in the prologue as his preceptor.*43

In the Bhaktirasamrtasindhu also like Vidagdhamadhava and

Lalitamadhava he has eulogised Caitanyadeva as his preceptor who

have inspired him for composing these works. We find the eulogy for

Caitanyadeva in the Nandi verse of Bhaktirasamrtasindhu as follows-

hrdi yasya preranaya pravartito'ham varakarupo'pi /

tasya hareh padakamalam vande caitanyadevasya //*44

Regarding the date of composition of Nataka-candrika it may be

said that Rupa Goswami have composed it after the composition of

Lalitamadhava and Vidagdhamadhava because of the fact that he

cites quotations from these two natakas to examplify his opinions.

However, Rupa Goswami clearly mentions the dates of compositions

of his Vidagdhamadhava, Lalitamadhava and Bhaktirasamrtasindhu

43 (a) anarpitacari ciratkarunayavatirnah kalau

samarpayitumunnatojjvalarasam svabhakti sriyam/
harih puratasundaradyutikadamvasamdipitah
sada hrdayakandare sphuratu vah sacinandanah//
VM I. 2. p. 2
(b) L.M. 1. 3.
vide– Introduction of VM– p. 20
44 Hbrs. sloke No. 2
vide– Introductuction. p. 20
 (39)

in the colophone of these three works.*45

Depending on the composition time of his some works we have found

two kinds of Samvat as it is mentioned in these works viz.Vikrama

Samvat and Saka Samvat. The Vidagdhamadhava is included in the

Vikrama Samvat while the Lalitamadhava was Saka Samvat. There-

fore the Vidagdhamadhava was composed in Vikrama Samvat in 1589

(1532A.D.) and the Lalitamadhava was composed in Saka era in 1459

(1537A.D.). Bhaktirasamrtasindhu contains the Saka Samvat i.e. the

1463 (1541A.D.). In this process we find that Utkalikavallari the last

work of Rupa Goswami was composed in 1550A.D. So the period of

Rupa Goswami may be started from 1505 A.D.

From the above discussion, it may be said that the date of the

Vidagdhamadhava may be got by the following formula

'ankanam vamato gatih' as the year 1532 A.D.

45 1. navasindhuravanendusamkhye samvatsare gate/

vidagdhamadhavam nama natakam gokule krtam//
Vidagdhamadhava– Puspika.
2. navenduvedendumite sakavde sakasyamasasya tithau caturthyam/
dine dinesasya harim pranamya samapayam bhadravane pravandham//
Lalitamadhava– Puspika
3. ramanka sakraganite sake gokulamadhisthitena/
sribhaktirasamrtasindhuvitankitah ksudrarupena//
Hbrs– Puspika.
vide : Indroduction of VM. p. 21
 (40)

d) STORY OF THE PLAY IN BRIEF

Rupa Goswami's Vidagdhamadhava is a Sanskrit play consisting of

seven acts. The main theme of the drama is taken from the

'Krsnajanmakhanda of Brahmavaivartapurana. It consists also

Patalakhanda of Padmapurana, Gitagovinda and Srikrsnakarnamrta.

Act - I

The first act of the play is started with a benedictory verse. After the

benedictory verse, Sutradhara appeared on the stage and announced

that the devotees of Krsna, who came to Vrndavana from various parts

of the world, are gathered in Kesitirtha. To make these devotees of

Krsna happy, Lord Siva had told him in his dream to setup a drama on

Krsna Lila.

After the benedictory session, Paurnamasi entered the stage with

her companions. She told them that her first job was to unite Krsna and

Radha as they are attracted to each other. She disclosed the secret

and told her friends that a false marriage was set up for Abhimanyu and

Radha with the help of Yogamaya. But in reality Radha’s love was only

for Krsna. This marriage was performed only to betray Kamsa. But when

Abhimanyu came to know of Radha’s love for Krsna he decided to take

her away to Mathura in order to keep her away from Krsna. But

Paurnamasi tried her best to stop Abhimanyu from doing so. So, for
 (41)

making Radha and Krsna more attracted to each-other Paurnamasi

appointed Nandimukhi. Paurnamasi and her friends came to know from

Nadimukhi that in order to gain Krsna as lover, Radha was performing

Surya puja and Chandravali was performing Candi puja.

Moreover; Paurnamasi advised Visakha to draw the portrait of Krsna

and show it to Radha who, in turn, will be very happy and satisfied. Right

at that moment Nanda and Yasoda came to the stage along with Krsna.

They all had long time discussions on various topics. And right in the

middle, in one occasion Nanda suggested Yasoda to find out a bride

for Krsna. But Yasoda refused the suggetion of Nanda and told him that

Krsna’s age was not suitable for marriage and prevented Nanda from

doing so. Krsna didn’t take part in their talk and instead took a look in the

scenic beauty of Vrndavana and started playing his flute in joy. The

pleasent sound of the flute made everyone very happy and Balarama

and Madhumangala praised him. Even the gods came down from heaven

to listen it. Krsna along with his friend Madhumangala move around in

order to have a look at the scenic beauty of Vrndavana. Right at that

moment Paurnamasi appeared there carrying some ladoos in her hands

and told them that the ladoos were made for the marriage ceremony of

Radha. Having heard Radha’s name, the expression that struck over

Krsna’s face, made clear to Paurnamasi that he loved Radha dearly. On

the other hand Radha also along with her friend Lalita came over to

have a look at the scenic beauty of Vrndavana. Radha felt the presence
 (42)

of Krsna as soon as she stepped out. After having heard Krsna’s name

from Lalita’s mouth Radha felt very shy to come to the front of Krsna.

When they were moving around, they heard the sound of the flute and

Radha was very anxious to see the flute player. Right at that moment

Visakha came over there with Krsna’s portrait and handed it over to

Radha. They all wanted to see the portrait and so they all sat under a

tree to have a look at it.

Act - II

In the memory of her lover Krsna, Radha’s condition was becoming

worse day by day. After having known about this, Nandimukhi went to

Mukhara’s house who was Radha’s grandmother and what she saw there,

was very terrible. Nandimukhi saw that Mukhara was crying for Radha’s

ill-health and she was in a very pitiable condition. So, Nandimukhi went

to Radha herself and saw there that the depressed Radha was sitting

with her friends Lalita and Visakha. When Nandimukhi asked why was

Radha so upset, they told her in reply that her condition was so bad only

because of the portrait of Krsna drawn by Visakha, which was shown to

her. Radha also told her that her love rose for three persons i.e. Krsna,

Vainavika and Syamala Kisora at the same time. But her friends told to

her that these three persons were no other than the one and only mighty

Krsna. On the other hand, when Mukhara asked Paurnamasi about how

Radha can be cured of her bad condition, Paurnamasi told her in reply

that it was because of some evil spirits tookover Radha and to remove
 (43)

that spirit her meeting with Krsna is essential, But Mukhara told that it

would not be possible to do so as the evil Jatila, Radhas mother in law,

would stand on their way. Then Paurnamasi told Mukhara to tell Jatila

that by means of Yogavidya, Paurnamasi could create Krsna and Radha

can easily meet that Krsna.

After seeing Radha’s deep love for Krsna and to satisfy her mind

Paurnamasi told her to write a love letter to Krsna.

At this moments Krsna was also eager to meet Radha and was

discussing about it with his friend Madhumangala, Lalita and Visakha

suddenly appeared there and hand over him Radha’s love letter. After

Madhumangala had read out the letter to Krsna, Krsna knew Radha’s

love for him and was very pleased and satisfied. But in front of Radha’s

friends he didn’t show his happy feelings, instead he showed that he

didn’t care much for it. After seeing Krsna’s such reactions, Radha’s

friends considered him as responsible for Radha’s condition. Radha’s

friends wanted to see whether Krsna has the same feelings, for Radha

as Radha had for him or not. So, they played a trick to read Krsna’s

mind and garlanded Krsna with Radha’s garland. But Krsna didn’t

accepted the garland and he gave back the garland to Radha’s friend.

But unconciously he handed to them his garland along with Radha’s

one. After they got Krsna’s garland, Radha’s friends became very happy

and moved out from there. On the otherhand after showing such

reactions for Radha; Krsna decided to write a letter to her. After that
 (44)

Visakha and Lalita went to give Radha Krsna’s garland to make her

happy. Thereafter, Visakha and Radha both went to perform Surya puja.

After having heard the sound of anklet, Krsna and Madhumangala who

were present there beforehand listened to all their talks. When Krsna

knew from their talks that Radha was very much attached to him Krsna

flung himself in front of them. Finding Krsna standing so near to her,

Radha was overjoyed. But her happiness was soon parted from her as

the cruel Jatila stood there right in their front.

Act - III

When Lalita and Paurnamasi were walking together discussing about

Radha’s love for Krsna, they met Krsna and his friend Madhumangala

on their way. Paurnamasi told Krsna about the love-lorn condition of

Radha and also added that none other but Krsna himself can cure her.

And hence she told him that a gopi will be standing under the Mango

tree after the sun set and he will be taken to a desired place. Krsna took

leave of them and left with his friend. And Paurnamasi and Lalita also

left to meet Radha.

Visakha informed Radha that she will soon meet Krsna. It makes

Radha hopeful of fulfilling her desire. Paurnamasi, in order to test

Radha’s love for Krsna, lied to her that Krsna was not attracted to her.

After hearing this, Radha turned very sad and depressed. Purnamasi

then told her, about her plan and she told her the real fact. Visakha, who

was sent by Paurnamasi to bring Krsna with her, was present there
 (45)

along with Krsna right at that time. In order to test Krsna’s love for Radha

Visakha told him that Abhimanyu has taken away Radha to Mathura.

After hearing this Krsna turned to be very displeased and dissatisfied,

and when Visakha saw such condition of Krsna she told him the truth.

And then Visakha took Krsna to Radha. Seeing Krsna standing in front,

sudden appearance Radha was very much surprised and she felt shy

to appear before him. So she quickly hide in the back of the bushes.

Having seen Krsna’s eagerness for her, Radha stepped out from the

bushes. Right at that moment Mukhara suddenly appeared there and

scolded Krsna for making the girls mad by playing his flute. Krsna calmed

Mukhara by playing a trick and Mukhara believing it to be the truth move

away from there. Visakha and Lolita decided to leave Krsna and Radha

all alone to talk and so they moved away from that place. So, for their

union Radha and Krsna went to the bank of the river Yamuna.

Act - IV

Nandimukhi came to know that Krsna was going to the Govardhana

Mountain at that time. And that is why Nandimukhi decided to meet

Krsna’s friend Suvala. As Nandimukhi was about to leave, Candravali’s

friend Padma came to her and told her that Candravali was eager to

meet Krsna. And so Nandimukhi told her to tell Candravali that Krsna

loved all the gopis as He did to Radha. Right at that moment they heard

Krsna coming by playing his flute. Nandimukhi told Padma to go and

console Candravali and she herself went to meet Suvala. On the

 (46)

otherhand Candravali along with Vrnda was also coming to find Padma.

As soon as Padma saw Candravali, she in order to satisfy Candravali

told her that Krsna was coming to meet her.

After hearing, Krsna playing his flute, Candravali, who was coming by

that way, met Him along with his friend Suvala and was taken aback with

excitement. Krsna also, after seeing Candravali came closer to him

expressed his love for her. To give pleasure in Candravali’s mind, Krsna

explained the meaning of the name Candravali very fruitfully. Krsna’s friend

Suvala told Candravali about Krsna’s love for her. Right in their conversation

when suddenly Krsna took Radha’s name, Candravali seemed to be very

displeased with him. Krsna by using all his might told the disheartened

Candravali that he was going to pronounce something like ‘Dhara’ but by

mistake it became Radha. And so he told Candravali not to be

disheartened. But Candravali was not pleased with Krsna’s words and so

she went with her friend Padma to worship Goddess Kali. After this

incident Suvala, seeing his friend Krsna very upset, gave him the idea to

meet Radha. When Padma was coming by that way with Madhumangala

she saw Krsna very upset and thought that the only reason for this could

be Candravali and so she brought Candravali to him. After hearing Radha’s

name again from the lips of grief striken Krsna, Candravali was again left

heart broken. But Madhumangala interpreted the meaning of the word

Radha as something else to Candravali and made Krsna devoid of guilty.

Then Candravali who was filled with shame went to Krsna and put the
 (47)

Ranjanmala in Krsna’s neck. Then Padma and Madhumangala left them

alone. Krsna also left with Candravali to some other place fearing Radha’s

presence there.

Radha along with Lalita came to meet Krsna in that place. But Krsna was

not there. So she started searching Krsna behind the bushes. Krsna also

came to that place depicting the Radhas condition and sat on the alter of

Sun worship. After some time Radha saw him sitting on an altar and went to

meet him. Having been made waited by Krsna for a long time, Radha got

angry. So in order to make Radha satisfied and happy Krsna brought some

flowers for her. Radha, as soon as saw the flowers was very much affected

by them and begged to Krsna for them. Krsna was so pleased that without

his knowledge he gave away the flute with the flowers.

Madhumangala, who came there in search of Krsna, saw Radha and

Krsna together and went to meet them. Right in between their talk

Madhumangala told about Krsna’s union with Candravali and this

dissatisfied Radha very much. But the witty Krsna satisfied her by saying

her that she was the only girl whom he loved. After that, when

Madhumangala was about to take Krsna with him, Krsna suddenly

realized that his flute was missing and when he asked Radha about it,

she told him that she didn’t know even a pie about it. Right at that moment,

Mukhara appeared there and took Radha with her.

Act - V

Right in the beginning of the act five Suvala and Vrnda showed their
 (48)

respect for Paurnamasi. Paurnamasi told them that Abhimanyu came to

know about Radha and Krsna’s affair and was going to take Radha

along with him to Mathura. This is the only cause for Paurnamasi’s tension.

And then after having told Vrnda and Suvala to wait under the Kadamba

tree, Paurnamasi herself went to meet Radha. She met Lalita on the

way, and Lalita also told Paurnamasi about Radha’s love for Krsna, When

Paurnamasi and Lalita saw Radha very sad they decided to take her to

Krsna. Right at that moment Visakha came to them carrying a letter

from Suvala in her hands which she handed over to Lalita, and she read

it. Having thought about Krsna’s loneliness Visakha made Radha to be

patient. Right at the moment, when Radha heard the announcement

about Krsna’s flute has been stolen, Radha took out the hidden flute of

Krsna and played it. When Jatila, the mother in law of Radha, heard

Radha playing the flute, appeared along with Vrnda. No sooner had

Jatila saw the flute in Radha’s hand, she became furious and snatch the

flute away from Radha. And when as Suvala saw that Jatila was taking

away the flute, he in order to take it away from her, played a trick with her

and told her that some evil monkey has entered her house. But Suvala’s

trick about the monkey came to be true. A monkey had really entered

Jatila’s house. Jatila, who became furious by that time, threw the flute at

the monkey and as a result the monkey took away the flute with him and

climbed up a Kadamba tree.

On the other hand Suvala and Vrnda made a plan to get back Krsna’s
 (49)

flute. To get back Krsna’s flute Suvala disguise as Radha and Vrnda

disguise as Lalita and when they got it they threw it to Krsna. As soon as

Krsna got the flute he was much over joyed and played the flute. After

hearing the sound of flute real Radha and Lalita came there and Krsna

and Madhumangala thought them to be Vrnda and Suvala in disguise.

When Vrnda told the truth, their misunderstanding disappear. Right in

between of their talk, Jatila appeared suddenly and took away Radha

along with her friends.

Act - VI

When Jatila heard that Radha was wearing a pitamvara, she asked

Visakha to bring Radha. Visakha brought Radha to Jatila. As soon as

she saw Radha wearing that Pitamvara, she became angry. When Radha

sought help from Visakha, she wittily told Jatila that while they were

playing, mistakenly the mixture of some kesor and turmeric fell on

Radha’s cloths and became yellow. Jatila insulted and scolded Visakha

for taking Radha to the festival. After this scene Padma along with Lalita

came to meet Radha and Visakha Seeing the pitamvara that Radha

was wearing, Padma teased Radha like anything. But Lalita has managed

the situation. On the other hand Krsna sent a letter to Radha through

Lalita. As per Krsns’s letter Radha and Lalita went up to him. At that

moment Krsna played his flute. Having heard the sound of Krsna’s flute

they went along with their companions to Vrndavana. Having met Krsna

suddenly, Radha appeared to be very shy and so she rushed to the

 (50)

bank of the river Yamuna. But Krsna obstructed her way. To satisfy Radha,

Krsna wanted to make a crown out of the feathers of a peacock for her.

In order to do so Krsna went in search of the peacock feathers. Having

taken that golden chance Radha hide herself behind a tree. But Krsna

found Radha easily and they went to play on the bank of the river Yamuna.

Act - VII

Abhimanyu came over Paurnamasi to sought her permission to take

Radha to Mathura. Paurnamasi told Abhimanyu that Radha cannot hide

her beauty from crual Kamsa. And therefore it was not indeed good to

take Radha to Mathura. While Paurnamasi and Vrnda were busy talking

about Radha, just then Lalita stepped in and interrupted them in their

talk. Lalita told them that she had seen the garland which was given to

Krsna by Radha in Padma’s hand. Paurnamasi told the friends of Radha

that she was about to create union between Radha and Krsna in the

night of the full moon day. On the other hand Padma also wanted to

unite Candravali and Krsna on that day. So, she brought Candravali to

that place where Krsna and Radha were about to meet. Right at that

moment Visakha told them that Candravali’s mother in law Karala had

ordered Candravali to stay with her husband on the full moon night.

After hearing this news everyone was over joyed. After that Lalita was

ready to take Radha to Gauritirtha. On the otherhand Karala ordered

padma and Saiva to take Candravali along with them to Govardhana

 (51)

mountain. Two friends of Candravali were happy to hear the command

as because Gauritirtha was just next to the Govardhana mountain. While

taking Candravali to the Govardhana mountain they met Krsna on their

way. After the union of Krsna and Candravali Radha’s friends, Vrnda

and Lalita, presented themselves in front of them.

In between their talk Karala suddenly appeared and took Candravali

along with her. Right at that moment Vrnda and Radha appeared before

Krsna. Then to test Radha’s mind Krsna and Vrnda hinted out a plan.

Krsna uttered the name of Candravali in half-sense i.e. Candra... and by

saying her name in such a way, he showed himself to be in a unsettle

state in front of Radha. Vrnda also by hiding herself said that “friend, you

should not show such behaviour in a marryment situation.” Hearing this

conversation Radha became so anxious and felt disheartened by the

thought that her lover has been confined to a chamber by Candravali.

Being serious for this, she at once went away from there to calm-down

herself. Seeing Radha disappointed, Krsna decided to disguise himself

as a woman in order to create delight her mind. To accomplish his mission

he sought the help of Vrnda. Madhumangala, advised him to go to the

temple of Gauri which was the proper place for ful-filling his mission.

According to their suggestions Krsna adviced Vrnda to go to the temple

of Goddess Gouri with her friends. Madhumangala and He Himself gone

there and disguised Himself as Goddess Gauri. Radha and her friend

Lalita were also present at the Gauri temple and they wished to worship
 (52)

the Goddess Gauri having a great faith in their heart as the real incarnation

of Goddess Gauri. They just started to worship Her, when incidentally

they found such mysterious behaviour from Gauri for which it was possible

for Radha to recognise Krsna disguised as Goddess Gauri. In the

meantime Jatila and Abhimanyu, husband of Radha, came there in search

of Radha. They have a intention to take away Radha to Mathura, the land

of Kamsa. But there, they knew that Goddess Gauri instruct Radha to

worship her and remain there to avoid some incoming calamity for

Abhimanyu. Finding this favour of Gauri to escape from evil one coming

to his life, Abhimanyu and his mother were very much pleased on Her.

They took a decision not to send Radha to Mathura. Thus Krsna cleverly

pleased the mind of Radha and made her remain there so that he may

meet her every day without any obstacle.

Then Paurnamasi appeared that place and all of them showed their

respect for her and they went away from there.

e) SOURCES AND DEVIATIONS

It is observed that the Vidagdhamadhava of Rupa Goswami is based

mainly on the events delineated in the Brahmavaivartapurana and

Padmapurana.

The stories of the sportive activities of Radha and Krsna is found in

poems and dramas apart from puranic literature. Regarding the puranic

literature our author mainly depends on the Krsnajanmakhanda of the

 (53)

Brahmavaivartapurana and Patalakhanada of the Padmapurana. Apart

from these Puranas he is indebted to the Kavyic Literature like

Gitagovida and Srikrsnakarnamrta also.

(1) The following element of the story are adopted from the

Brahmavaivartapurana :

(a) Lord Krsna plays his flute to excite Radha along with cowherd

ladies of Vrndavana.*46

(b) Radha has stolen the flute of Lord Krsna.*47

(c) Description of union between Radha and Krsna.*48

(2) Rupa Goswami was indebted to the Padmapurana in respect

of the following events :

(a) The flute of Krsna is stolen by Radha.*49

(b) Krsna disguise himself as a Brahmana.*50

(3) The elements of the story have taken from the Gitagovida are

as follows :

(a) Naming every act of the play.*51

(b) Description of the ten incarnation of Lord Visnu.*52

46 BVP– (krsnajanmakhanda) 28. 6, 18, 19, 20, 21, 23. pp. 324, 325, 326.
47 ibid–28. 135–141. pp-335.
48 BVP. (Assamese) pp-312-320.
49 Pdmp. Patalakhanda- 52. 48, 49, 50.
50 Pdmp. (patalakhanda) 52. 77, 78, 79, 80.
51 Introducetion of Gitagovinda. p-1.
52 GG Dasavatara stotram. canto - 1, 1-10, pp 11-23
 (54)

(c) Krsna plays his flute.*53

(d) Drawing the picture of Lord Krsna.*54

(e) Radha’s suspect on Krsna.*55

(f) Radha wears the pitamvara of Krsna.*56

(4) Srikrsnakarnamrta :

(a) Radha has stolen the flute of Krsna.*57

Sources and Deviations from the original sources :

(1) The Brahmavaivartapurana is the most important and wellknown

puranas among the eighteen Mahapuranas. It consists of all the

characteristics features of a Mahapurana, which are listed in the

traditional definition of the purana. *58 According to some puranas

‘Vedavyasa’ the author of Mahabharata is the author of eighteen

Mahapuranas. It is justified in the Matsyapurana in this way–

astadasa puranani krtva Satyavati Sutah /

bharatakhyanam akhilam cakre tadupabrmhanam. //*59

53 GG–5, 9. p. 117
54 ibid–4, 6. p. 96
55 ibid–7, 11. p. 141
56 ibid–7, 42. p. 160
57 Skrk Hindi commentary of V. N. 21. p. 36.
58 Sargasca pratisargasca vamsamanvantarani ca /
vamsanucaritam caiva puranam pancalaksanam. //
59 Matsyapurana. 53. 70.
 (55)

Among the puranas, Vayupurana praises the Brahmavaivartapurana

as the– “vivartanad brahmanaste brahma vaivartamucyate”. The whole

purana delineates the glories of Lord Visnu. This purana is divided into

four khandas or books. Viz (i) Brahmakhanda, (ii) Prakrtikhanda, (iii)

Ganapati khanda and (iv) Krsnajanmakhanda. Among the four books or

khandas, last one i.e. Krsnajanmakhanda is considered as a unique

and principal one. The supremacy of Lord Krsna is established here by

describing His mervellous deeds from his birth to youth. This purana

also narrates the different stories of the divine couple ie. Lord Krsna

and his favourite consort Radha.

Our author has selected the story for his play from the

Krsnajanmakhanda of Brahmavaivartapurana. He mainly depends

upon the story of union between Radha and Krsna which covers the

chapter twenty eight (28) of the Purana in dialogue form where in

Narayana narrates the story to Narada.

Thus by drawing the materials from the above mentioned sources,

Rupa Goswami made up the story and composed his play. However

while making up the story he sometimes deviated the incidents as per

as the situation by creating some new incidents and inserting some

new characters.

(a) Brahmavaivartapurana describes that in the full moon day of

the autumnal season Lord Krsna plays his super-natural flute with a

sweet tune. Lord Krsna was very much attracted to the beautiful scenery
 (56)

of Vrndavana. The place with its scenic beauty made his mind a fruitful

one and so he wanted to dance with the beautiful gopis of Vrndavana

with his whole heart and soul. Krsna as everyone knew was the master

of one’s mind and heart. He and his super-natural flute were just enough

to attract the gopis towards him. And it so happen that beautiful Radha

of Vrndavana, when she heard Krsna play his flute, she was very much

eager to see his face as she thought that she would find a lover’s face

in this player’s outlook. So, to find this lover of her she came out to find

him by giving up all her bondage of a wordly life. Just like Radha, the

other cowherd ladies also left their household works and moved out to

find this world charmer.

In the ‘Vidagdhamathava’ Rupa Goswami does not deviate this

situation from the original source of Brahmavaivartapurana. After having

heard the sweet tune of the flute, Radha’s condition is depicted by the

author in the following way–

ajadah kampasampadi sastradanyu nikrntanah /

tapano’anusnatadharah ko’ayam va muraliravah //*60

Though the tune of the flute is neither hot nor cold or sharp, the sound

pinches Radha’s heart every now and then by piercing, burning and

making her tremble.

(b) From the 28th chapter of Brahmavaivartapurana, we have got

60 VM act–1. 35.
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a hint that Radha had taken away the flute from Krsna. Once Radha and

other cowherd ladies took part in a jalakrida along with Krsna. During

their play, suddenly Radha became angry with Krsna due to his ill

behaviour. Only because of it, excited Radha snatch-away the flute from

Krsna’s hand and threw it to a far-off place to take revenge on him.

But our author took the incident and modulated it and created such a

situation so that Radha could get the flute without hurting Krsna’s

feelings.

We came to know from the 4th act that when Radha went to meet

Krsna under the bushes of the Kesara tree, she found that Krsna was

not present there, at that moment. And only for this reason Radha

became very anxious as she thought that her beloved Krsna was busy

spending time with another girl named Candravali. On the otherhand

Krsna was waiting for Radha at the altar. When Radha with her

companions came to that place where Krsna was waiting for Radha,

and they i.e. Krsna and Radha met each other. At the very first moment

Radha was angry with Krsna because he made her wait for a long time

but the clever Krsna tried to console her by saying that he went to bring

some Vakula flowers which she liked the most. After hearing this, Radha

was very much satisfied and happy. She was very much pleased with

her beloved Krsna and begged from him the flowers, he had brought

for her. When Krsna saw that he had pleased his Radha he let the

flowers move on Radha’s lap. But uncosiously, he also gave the flute
 (58)

with the flowers to Radha. This scene is describes in the following way–

“Krsna was so attracted to Radha’s fruitful glance of eyes that with his

mind lost in her eyes, he gave the flute with the flowers to Radha.”*61

Radha as well as everyone knew that it was very rare to fetch Krsna’s

flute. So, when Radha got the flute so easily from Krsna she tried to

hide his flute in her ancal as soon as possible.

(c) The story of the union of Radha and Krsna is narrated in the

fourth book i.e. Krsnajanmakhanda of the Brahmavaivartapurana.

According to the description of this purana the story runs as follows–

Radha was born as the daughter of Vrsabhanu by dint of the curse of

Sridama of Golokdhama. Her father arranged her marriage with Ayana

a youngman of Braja. But Radha falls in love with Krsna and consider

him to be her beloved. Radha and Krsna often met each-other and

played in their youth along with Radha’s friends. Radha was so deeply

in love with Krsna that she secretly cameout to meet Him during the

night time.

Once Radha pretended to pluck the flowers and worship God in order

to meet her beloved Krsna secretly. But Radha was not blessed

according to her plan. She was overviewed by her sister-in-law Kutila.

Kutila followed her and when she saw Radha and Krsna together, she

humiliated Radha for her character. The evil Kutila also tried to divert

61 VM (IV) 34. p-179

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Ayana’s mind by telling him that his wife was a crook and she was deeply

engrossed in love with Krsna. She even didn’t spare Radha’s friend

Vrnda and scolded and blamed her for inspiring Radha to do this

misdeed. The wicked Kutila told her mother Jatila about the misdeed of

Radha. She also added that Radha was known as a spotted woman of

Vraja. Jatila, the mother in law of Radha became furious and warned

Radha not to meet Krsna again.

Radha felt very much depressed after hearing this as she knew that

she wouldn’t be able to meet Krsna for a long time. She became very

anxious to meet him. But she proved to be very intelligent and

accomplished. She made a plan with Vrnda in order to meet Krsna.

Vrnda advised her to decorate herself and go to Rasamandala when

the people of Vraja will be sleeping soundly at night. But the evil kutila

followed Radha to Rasamandala to find out the real fact. After seeing

Radha and Krsna at Rasamandala she immediately returned home to

give this message to her brother. “She told her brother that his wife is a

wicked woman. She is not a pure woman instead she is a woman who

plays tricks with her husband in the midnight.”*62 Hearing this evil report

about his wife from Kutila, Ayana was furious and he promised, if it

turned to be real he is going to punish them. Then Ayana went to the

Rasamandala with Kutila in search of Radha. When Ayana saw Radha

62 BVP (Assamese edition) p. 319.

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in the Rasamandala from far away, he became very angry with Radha.

Seeing furious Ayana, Radha was very much frightened and she began

to pray Lord Krsna to save her somehow from Ayana. By rescuing her

from danger Lord Krsna told her not to fear Ayana. Then Krsna himself

appreared as a image of Goddess ‘Kali’ with his super-natural power at

his own position. Radha also shows her devotion by worshiping the

image of Goddess ‘Kali’. When Ayana saw that Radha was worshiping

an image of Goddess ‘Kali’ his anger subsided. Ayana was also a

devotee of Kali. So, he worshiped the image of Goddess ‘Kali’ alongwith

Radha.

But our author Rupa Goswami describes this incident by deviating it

from the original one some what like this. He describes this scene in

the seventh act of the play. According to the scene, to test Radha’s

mind Krsna and Vrnda made a plan. Krsna, at first uttered the name of

Candravali in a half-way i.e. Candra.... and by saying her name in such a

way, he should himself to be in a unsettled state in front of Radha.

Vrnda also by hiding herself said that “friend, it should not be opposite

in merryment situation.” Hearing this, Radha became anxious and felt

diappointed by the thought that her lover has been confined to a chamber

by Candravali. So she went away to calm-down herself. Seeing Radha

becoming disappointed Krsna decided to disguise himself as a woman

in order to create delight in the mind of Radha. To accomplish his mission

he sought the help of Vrnda. Madhumangala friend of Krsna adviced

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him to go to the temple of Gauri which was the proper place for full-

filling his mission. According to their suggestion Krsna advice Vrnda to

go to the temple of Goddess Gauri with her friends. Madhumangala

and He Himself gone there and He disguised Himself as Goddess Gauri.

Radha and her friend Lalita were also present at the Gauri temple and

they wished to worship the Goddess Gauri having a great faith in their

heart for the real incarnation of Goddess Gauri. They just started to

worship Her, when incidentally they found such mysterious behaviour

from Gauri for which it was possible for Radha to recognise Krsna

disguised as Goddess Gauri. In the meantime Jatila and Abhimanyu,

husband of Radha, came there in search of Radha. They have a intention

to take away Radha to Mathura. But there, they knew that Goddess

Gauri instruct Radha to worship her and remain there to avoid some

calamity for Abhimanyu. Finding this favour of Gauri to escape from

danger Abhimanyu and his mother were very pleased and took a

decision, not to send Radha to Mathura. Thus Krsna cleaverly pleased

the mind of Radha and made her remain there so that he may meet her

every day without any obstacle.

(2) Padmapurana :

Padmapurana tells us that it is called padma or padma purana

because it is based on the account of the lotus (padma) that existed

before creation.*63 such as

63 Pdmp 1. 56 (Srstikhanda).
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etadeva mahapadmamudbhutam yanmaya jagat /

tadvrttantasrayam yasmat padmamityucyte tatah //

This purana is pure and spotless due to the greatness of Visnu, which

Hari, the God of gods first narrated to Brahma and whichever portion

Brahma had formerly narrated to Marici that alone. Brahma narrated as

Padma in the world. That (purana), the refuge of all beings, is called

padma by the wise.*64

About its importance it says that it is a great holy text and gives the

fruit of all the Vedas.*65 It says that every purana is a part of the body of

Visnu and padma is his heart.*66

This purana has seven khandas– (i) Srsti, (ii) Bhumi, (iii) Svarga, (iv)

Patala, (v) Brahma, (vi) Uttara and (vii) Kriyayoga.

Srsti khanda tells how Brahma was born in the padma. It then

describes creation according to the samkhya terminology. Its speciality

is that Brahma is given a prominence which is absent in the other puranas.

It glorifies the supremacy of Visnu. The importance of sraddhas is stated

by this purana. It describes the lunar dynasty more elaborately than the

solar. Srstikhanda also dwells on various Vratas or observances of vows.

The second part or Bhumikhanda, describes the lives of Prahlada and

Vrtrasura, as also of Vena, Prthu etc. It deals mainly with the geography

64 1.1. 57-60 (Srstikhanda). Pdmp

65 ibid (III) 62. 24. (Svarga). Pdmp
66 ibid (III) 62. 2 (Svarga). Pdmp
 (63)

of the earth. It then proceeds to enumerate the human embodiments of

holiness and the sacred shrines of Mahakala, Prabhasa, Kuruksetra etc.

The third or Svargakhanda tells about the upper spheres inhabited by

the gods. If describes the four varnas and the four asramas and their

duties as well as karmayoga and jnanayoga. The fourth or patalakhanda

describes in detail the exploits of the kings of the Solar dynasty. The

Bhagavata purana is praised in this purana as the last and the best of

the puranas. About the fifth or Brahmakhanda is already described in

detaits. The last part of the purana is the uttara khanda, which deals with

the story of Jalandhara. It praises the mantra “om Laksmi

narayanabhyamnamah” as the greatest of all mantras. It says that it

can be taught to all classes including the sudras and women after diksa.

This purana also discusses kriya-yoga, which deals with practical

devotion as distinct from dhyana-yoga or the path of contemplation.*67

(a) We find in the Padmapurana that Krsna went to herd the cattles

and then spent time with his friends playing a lot of games. And some

times Krsna along with some of his friends went to see his beloved with

eagerness to Vrndavana. On the otherhand, when Radha came to know

that Krsna also had gone to the forest, she also in order to meet him

pretended to fetch some flowers for Surya puja and went to the forest.

After having met Krsna in the forest she played a lot with him. Thus,

67 Cultural Heritage of India. Vol. 5

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they met each other and spent time playing different games with their

friends. Sometimes they set on swings and one of their friends used to

push them. And sometimes Radha in between of this games used to

hide Krsna’s flute out of fun. Then Krsna used to find his missing flute

by saying “where my flute is?” Radha and her friends also played various

tricks so that Krsna couldn’t find his flute for a long time. When Krsna

got tired of finding his flute and sat down, the gopis used to hand over

him the flute laughingly. Krsna was also very happy to get his flute back.

This event has been describe in the Padmapurana in the following

way–

“vihayaivividhaistatra vane vikridto muda /

dolancaiva samarudhau sakhibhiddorlitaukvacit //”

kvacitvenum kayasrastam priyayapahnutam harih /

anvesayannupalabdho vipralabdhah priyaganaih

hasitairvavahodha tabhirhasitastatra tisthati

vasantavayuna justam vanakhandam kvacidmuda

But our author dscribes this event in his own manner. In the 4th act of

the play Rupa Goswami has told that Radha was very angry when Krsna

for making her waiting for a long time. And then Krsna brought the most

lovable flowers of Radha’s choice to satisfy her. Radha was very pleased

to see the flowers and begged them from him. Seeing Radha was

pleased on him, Krsna mistakenly gave his flute with the flowers in to

the laps of Radha. This event is already described clearly in the context
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of Brahmavaivartapurana.

It has been described in the Padmapurana that Radha and her friends

had hidden the flute of Krsna to have fun with it. And they themselves

gave back the flute to Krsna. But our author describe that Krsna gave

his flute mistakenly with the flowers in to the laps of Radha. He creates

a new incident to find the flute back by Krsna in his own way. For this

purpose he makes Suvala and Vrnda as Radha and Lalita who help

Krsna to get his flute back.

(b) According to the description of Padmapurana once, Lord Krsna

after having done jalakriya with his friends felt very tired and took rest in

a divine palace and slept there. After rising from his sleep he took

permission from his beloved and went to Vrndavana.

In the mean time Radha also along with her friends went to Surya-

grha to worship God Surya. But omnipotent Lord Krsna after having

gone a little far, came back again disguised as a Brahmana and set

forth to the Surya grha. Having seen the Brahmana (Krsna) Radha and

her friends requested him to perform their ceremony. And so, the

Brahmana i.e. Krsna merrily accepted their request and started to recite

the Vedamantra. As soon as, the clever gopis heard the Brahmana recite

the Vedamantras they quickly guessed that the Brahmana was none

other than Krsna and so they were overjoyed to find Him present near

them. This story has been described in the Padmapurana in the following

way–
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krsnah kantamanujnapya gavamabhimukhamvrajet.

sa tu Suryagrham gacchet sakhimandalasanyuta

kiyadduram tato gatva paravrtya harih punah

vipravesam samasthaya yati Suryagrham prati

suryam prapujayet tatra prarthitastatsakhijanaih

tadaiva kalpitavedaih parihasavigarhitaih

tatasta jnapitam kantam parijnaya vicaksnah

anandasagare lina na viduh svam na capayam.

The impact of this Krsna’s story has been found in the play of Rupa

Goswami. But the author has described it completely in his own way.

The seventh act of the play describes the story in which Krsna took

disguise, to satisfy the dissatisfied Radha, Krsna took the disguise of

Gauri Devi and entered the Gauri Temple. When Radha and her friend

Lalita entered the Gauri temple to worship the Goddess, Krsna in disguise

of Gauri tried to embrace Radha. Seeing such behaviour of the

Goddess, both of the girls quickly recognised that it was Krsna and

they were very happy to find him there. The author Rupa Goswami has

created this scene of Krsna’s disguise in his play to fulfil the purpose of

the drama. He had tried to solve the main purpose of the drama i.e. the

union of Radha and Krsna by creating this event in his play.

From this event we have found that our author finishes his work with

the description of Krsna’s disguise as Gauri imitating the character of

Padmapurana, i.e. Krsna’s disguise as a Brahmana.

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(3) Gitagovinda : Apart from the Brahmavaivartapurana and

Padmapurana, Gitagovinda might have inspired our poet to compose

this drama. Gitagovinda or ‘the song of Lord Krsna’ is a immortal lyric

poem of Jayadeva who was a court poet of king Laksmansena of Bengal.

He was born in Kindubilva a place of Orissa. The poem describes the

love of Krsna and Radha in the form of conversation among Krsna, Radha

and the latter’s companion. Jayadeva composes this poem in a typically

lyrical language. The poem may be described as a lyrical drama as it

contains some dramatic elements. It touches all the phases of love. Krsna

stands for the Supreme Being and Radha for the individual soul. The

poem treats of the relationship of hero and heroine (nayakanayikabhava)

as existing between the God and the individul souls. It bears all the

characteristics of Sanskrit love poem. This work is also treated as

devotional lyric. Because Jayadeva was a true devotee of Visnu and he

sings the divine love of Radha and Krsna in it.

This work is divided into twelve cantoes. Although its value as a

devotional lyric cannot be minimised, its value as an erotic lyric is greater.

Rupa Goswami have taken the ideas from the Gitagovinda for his

play as follows :

(a) Jayadeva has created his Gitagovinda in 12 cantoes. According

to the act of the characters he has named each act of the drama as the

following– (i) Samodadamodara, (ii) Aklesakesava, (iii)

Mugdhamadhusudana, (iv) Snigdhamadhusudana, (v)

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Sakamksapundarikaksa, (vi) Dhanyavaikuntha, (vii) Nagaranarayana, (viii)

Vilaksanalaksmipati, (ix) Mugdhamukunda, (x) Caturacaturbhuja, (xi)

Sanandamukunda and (xii) Supritapitambara.

From these titles of the cantoes, it is clear that Jayadeva keeps the

name of the cantoes according to the mental condition of Lord Krsna.

Though Rupa Goswami has adopted the version from Jayadeva he

had made several changes in it according to his will. Rupa Goswami

does not depended on the thoughts of his characters as Jayadeva did.

He named the acts according to the incidents of every act of his drama.

Therefore the name of the seven acts of the play are as follows – (1)

Venunadavilasa, (2) Manmathalekha, (3) Radhasamga, (4) Venuharana,

(5) Radhaprasadana, (6) Saradavihara and (7) Gaurivihara.*68

(b) In the beginning of the Gitagovida jayadeva had composed a

song describing the ten (10) incarnations of Lord Visnu. These ten

incarnations of Lord Visnu refers to the different presiding deities of

ten rasas. Such as Mina (fish) is the presiding deity of the disgusting

sentiment (Vibhatsa). Accordingly the kurma (tortoise), sukara (boar),

Narahari (sphinix), Vamana (dwarf), Parasurama, Rama, Haladhara

(Balarama), Buddha, Kalki are the presiding deities of the sentiment of

Marvellous (adbhuta), Terrible (bhayanaka), Parental affection (vatsala),

Friendship (saukhya), Furious (rudra), Pathetic (karuna), comic (haysa),

68 Introduction of Vidagdhamadhava. p-42.

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quietistic (santa) and Heroic (virarasa).

Thus, the author of Gitagovinda presents his worshiping God Lord

Visnu as the presiding deity of all sentiments as well as he describes

the ten immortal incarnations of Lord Visnu in his work.

But Rupa Goswami has described the ten (10) incarnations of Lord

Visnu as compared to the parts of the body of Radha. In the 4th act of

his play, he has described the 10 incarnations as cited below–

cancanminavilocanasi, kamathotakrstastani sangata /

krodena sphurata tavayamadharah prahladasamvardhanah //

madhyo’sau valivandhano, mukharuca ramastvaya nirjita /

lebhe sridhanatadya, manini manasyangikrta kalkita //*69

Her eyes as mina (fish), Her breasts as turtle, her chest as boar, her

lips as sphinix, her triboli as dwarf, her face as Ram, Parasurama and

Valarama. Just like her sridhanata as Buddha and her mind as kalki

avatara.

(c) Jayadeva has described the playing of Krsna’s flute as a trick to give

a hint to his beloved Radha to meet him. In his play he has described it as–

namasametam krtasanketam vadayate mrduvenum //

vahu manute’tanu te tanusangatapavanacalitamapi renum //

The gopis always told Radha that Krsna plays his flute only as a sign

to meet her and spend time with her. But our author Rupa Goswami has

69 VM. 4. 41. pp. 185-186

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changed Jayadeva’s description and has rewrite it as –

Lord Krsna plays his flute only because he was in love with the scenic

beauty of Vrndavana in the autumn season. Krsna played his flute so

well that by hearing it, the gopis were much attracted to it and a feeling

of devotional love rose in their minds and so in order to meet Krsna

they all came out of their houses.

(d) Keeping Radha’s love for Krsna in his mind Jayadeva has

described it as –

“vilikhati rahasi kurangamadena bhavantamsamasarabhutam”

To satisfy the eagerness of love for Krsna Radha often used to sit

alone in a lonely place and draw the portrait of her beloved Krsna.

The scene of drawing portrait of Krsna is also seen in the play of

Rupa Goswami. But the author has shown us that the portrait of Krsna is

not drawn by Radha but it is drawn by one of her friends named Visakha.

Paurnamasi always tried to make union between Radha and Krsna.

Therefore in order to console anxious Radha, Paurnamasi has told the

expert painter Visakha to draw the portrait of Radha’s beloved Krsna. It

is described in the following way in the play–

“Paurnamasi – putri, madgira samdisyatamalekhyavicaksana

visakha yatheyam svasakhinetraravindayoranandanaya nandasunoh

praticchandam nirmati” *70

70 VM 1. paragraph after verse 16. p. 18

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(e) In his Gitagovinda Jayadeva has imagined Radha as a utkanthita

woman. And that is why he has described that when once Krsna had not

come to the bower of a cane where Radha was waiting for a long time

she became very anxious for him. She had thought in her mind that

Krsna was busy spending his precious time with some other girl. The

author describes this scene in his work as cited below–

tatkim kamapi kaminimabhisrtah kim va kalakelibhir

vaddho vandhubhirandhakarini vanabhyarne kimudbhramyati /

kantah klantamana managapi pathi prasthatumevaksamah

sanketikrtamanjuvanjulalatakunje’pi yannagatah /

But though our author Rupa Goswami derived the incident from

Jayadeva he has cleared in his new description that the woman was no

one else but Candravali. He describes it in his own way that–

ruddhah kvapi sakhihitarthaparaya sanke harih padmaya /

praptah kunjagrham yadesa na tamiyame’pyatikramati //

paulomiratibandhudinmukhamasau ha hanta santapaya /

nnunmilatyabhisaralubdharamanigotrasya satruh sasi //*71

(f) In the 7th canto of Gitagovinda it has been described that Radha

has worn the yellow garments of Krsna and Krsna has worn Radha’s

blue garment. In the morning the gopis started laughing at the sight of

the couple’s wearing each other’s garments. Radha was filled with

71 VM 4. 25. pp. 171-172

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shame when she saw her friends laughing at her like that.

In his Gitagovinda Jayadeva has describe it as cited below–

pratarnilanicolamacyutamurah sambitapitansukam /

radhayascakitan vilokya hasati svairam sakhimandale //

But our author Rupa Goswami has described this scene in the 6th act

of his play as– when Radha’s mother-in-law, Jatila saw Radha in Krsna’s

garment, she was very angry and furious with her. The frightened Radha

sought help from Visakha in order to save herself from her mother-in-

law. Visakha’s mind ran as fast as wind. She has proved to be very

clever. She tricked Radha’s mother-in-law by saying her that by mistake

while playing, the mixture of turmaric and kesara fell upon the clothes of

Radha which made her clothes yellow. In his play Rupa Goswami has

described this incident cf.–

“muda ksiptaih parvottaralahrdayabhiryuvatibhih

payahpuraih pitikrtamatiharidradravamayaih”

dukulam dormulopari paridadhanam priyasakhim

katham radhamarye kutilitadrgantam kalayasi*72

(4) Srikrsnakarnamrta :

Lilasuka is the author of Srikrsnakarnamrta, a devotional lyric poem

wherein he dedicates his body and mind to Lord Krsna. He must have

flourished about 12th century AD. He was the son of Damodara and

72 VM 6. 1. pp 254-255
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Nivi. Somagiri and Isandeva were his preceptors. Lilasuka was a devotee

of Lord Krsna and his devotion for Krsna is known as ‘Madhura bhakti.

The Srikrsnakarnamrta is regarded as a store house of the love episode

of Radha and Krsna. Here we have found some devotional poems which

are dedicated to Radha and Krsna. These are composed in a lyrical

essense wherein the imagination of poet is manifested. We can say

that the event ‘venu harana’ is an impact of this lyrical poem on the

work of Rupa Goswami.

The author has described in his work Srikrsnakarnamrta that Sripriya,

the daughter of Vrsabhanu and other cowherd ladies always wanted to

take a chance to steal the flute of Lord Krsna. One day, when they were

roaming in the Vrndavana, they found that Lord Krsna was sleeping,

under a bower of a cane, as he was tired for searching them. Meanwhile

a cowherd lady who was plucking flowers saw Krsna and called other

cowherd ladies along with Sripriya in order to steal the flute of Lord

Krsna. None but Sripriya had the courage to steal Krsna’s flute. Being

encouraged by her companions, Sripriya went to steal Lord Krsna’s

flute without making a sound of her anklet. But Krsna proved to be too

smart for her and while Sripriya was going to steal his flute, he quickly

got up from his deceitful sleep and embraced her.

But our author took the scene to suit his idea and created such a

situation so that Radha could get the flute herself.

We came to know from the 4th act that when Radha went to meet
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Krsna under the bushes of the kesara tree, she found that Krsna was

not present there at that moment. And only for this reason Radha became

very anxious as she thought that her beloved Krsna was busy spending

time with another girl named Candravali. On the otherhand and at the

same time Krsna was waiting for Radha at the altar. When Radha with

her companions came to that place where Krsna was waiting for Radha,

they i.e. Krsna and Radha met each other. At the very first moment

Radha was angry with Krsna for he made her wait for a long time but the

clever Krsna tried to console her by saying that he went to bring some

bokula flowers which she likes the most. After hearing this, Radha was

very much satisfied and happy. She was very much pleased with her

beloved Krsna and begged from him the flowers he had brought for

her. When Krsna saw that he had pleased his Radha he let the flowers

move on Radha’s lap. But without his knowledge, he also gave the flute

with the flowers to Radha. This scene is described by the author in his

work as cited below –

“nidragame’pi sakhi nandasutasya hartu

yan saknuvanti na parah pasupalavalah

dhanya kataksakalaya kila mohayanti

tan radhikadya purato muralim jahara”*73

Radha as well as everyone knew that it was very hard to fetch Krsna’s

73 VM. 4. 34. p. 179

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flute. So, when Radha got the flute so easily from Krsna she tried to

hide his flute in her Ancal as soon as possible.

Thus we find that our author has described the heroine as Radha

while Lilasuka has described her as Sripriya.