Govatsa Dwadashi * Gita Govinda * Brahma Temple in Pushkar * गोवत्स द्वादशी

 Govatsa Dwadashi * Gita Govinda * Brahma Temple in Pushkar

 

https://en.wikipedia.org/wiki/Brahma_Temple,_Pushkar

Jagatpita Brahma Mandir is a Hindu temple situated at Pushkar in the Indian state of Rajasthan, close to the sacred Pushkar Lake to which its legend has an indelible link. The temple is one of very few existing temples dedicated to the Hindu creator-god Brahma in India and remains the most prominent among them. 

 

The temple structure dates to the 14th century, partly rebuilt later. The temple is made of marble and stone slabs. It has a distinct red pinnacle (shikhara) and a hamsa bird motif. The temple sanctum sanctorum holds the image of four-headed Brahma and his consort Gayatri(goddess of vedas). 

On Kartik Poornima, a festival dedicated to Brahma is held when large numbers of pilgrims visit the temple, after bathing in the sacred lake. 

https://en.wikipedia.org/wiki/Kartik_Purnima 

https://en.wikipedia.org/wiki/Vishvamitra 

 https://www.drikpanchang.com/purnima/kartik/kartik-purnima-date-time.html

The temple is described to have been built by sage Vishwamitra after Brahma's yagna (ritual). It is also believed that Brahma himself chose the location for his temple. The 8th century Hindu philosopher Adi Shankara renovated this temple, while the current medieval structure dates to Maharaja Jawat Raj of Ratlam, who made additions and repairs, though the original temple design is retained. 

Pushkar is often described in the scriptures as the only Brahma temple in the world, owing to the curse of Savitri(Saraswati), and as the "King of the sacred places of the Hindus". 

According to the Hindu scripture Padma Purana, Brahma saw the demon Vajranabha (Vajranash in another version) trying to kill his children and harassing people. He immediately slew the demon with his weapon, the lotus-flower. In this process, the lotus petals fell on the ground at three places, creating 3 lakes: the Pushkar Lake or Jyeshta Pushkar (greatest or first Pushkar), the Madya Pushkar (middle Pushkar) Lake, and Kanishta Pushkar (lowest or youngest Pushkar) lake. 

When Brahma came down to the earth, he named the place where the flower ("pushpa") fell from Brahma's hand ("kar") as "Pushkar". Brahma then decided to perform a yajna (fire-sacrifice) at the main Pushkar Lake. In order to perform his yajna peacefully without being attacked by the demons, he created the hills around the Pushkar – Ratnagiri in the south, Nilgiri in the north, Sanchoora in the west and Suryagiri in the east and positioned gods there to protect the yajna performance. However, while performing the yajna, his wife Savitri (Saraswati) could not be present at the designated time to perform the essential part of the yajna as she was waiting for her companion goddesses Lakshmi, Parvati and Indrani. 

Annoyed, Brahma requested god Indra(the king of heaven) to find a suitable girl for him to wed to complete the yajna. Indra could find only a Gujar's daughter (a milkmaid) who was sanctified by passing her through the body of a cow. Gods Vishnu, Shiva and the priests certified her purity as she had passed through a cow, it was her second birth and she was named Gayatri (goddess of milk). Brahma then married Gayatri and completed the yajna with his new consort sitting beside him, holding the pot of amrita (elixir of life) on her head and giving ahuti (offering to the sacrificial fire). But when Savitri finally arrived at the venue she found Gayatri sitting next to Brahma which was her rightful place. Agitated, she cursed Brahma that he would be never worshipped, but then reduced the curse permitting his worship in Pushkar. Savitri also cursed Indra to be easily defeated in battles, Vishnu to suffer the separation from his wife as a human, the Agni(fire-god ) who was offered the yajna to be all-devouring and the priests officiating the yajna to be poor. 

Endowed by the powers of yajna, Gayatri diluted Savitri's curse, blessing Pushkar to be the king of pilgrimages, Indra would always retain his heaven, Vishnu would be born as the human Rama and finally unite with his consort and the priests would become scholars and be venerated. Thus, the Pushkar temple is regarded the only temple dedicated to Brahma. Savitri, thereafter, moved into the Ratnagiri hill and became a part of it by emerging as a spring known as the Savitri Jharna (stream); a temple in her honour exists here .

 

Brahma's two consorts Savitri and Gayatri mentioned in the legend also have separate temples erected for them in Pushkar, but on hills at opposite ends of the lake. The first consort Savitri, who cursed Brahma, is described to be still seating annoyed and enraged in her shrine on the highest hill in Pushkar, while Gayatri afraid of Savatri's wrath sits at a lower hill at the other end, the eastern side of the lake

 Savitri temple located on the top of Ratnagiri hill, behind the Brahma temple, overlooks the Pushkar Lake and the sand dunes on its western side. It is reached by one hour's trek over a series of steps on the hill. The temple (also made of marble) houses a statue of goddess Savitri. An early morning visit to the temple provides a good view of the lake. 

Atpateshwar or Apteshwar temple

 

The Atpateshwar temple, which is situated in a cave next to the Brahma temple, is dedicated to Shiva. This temple was built by Brahma after he found that Shiva attended the Yagna performed by him in the garb of a Tantric mendicant holding a skull. When Shiva was accosted for this appearance, he was piqued and filled the entire area of the yagna site with skulls. The agitated Brahma meditated to know the reason for such a situation, then he realised that the mendicant was none other than Shiva. Realising his folly, Brahma requested Shiva to attend the yagna. Shiva then attended the yagna holding the skull and Brahma in appreciation erected a temple in honour of Shiva as 'Atpateshwar', next to his own temple. The Linga of Shiva is large and is encircled by a snake made of copper. Shivaratri festival is a special occasion to visit this temple.

 https://en.wikipedia.org/wiki/Gita_Govinda

 

The Gita Govinda (Sanskrit: गीत गोविन्दम्) (Song of Govinda) is a work composed by the 12th-century Hindu poet, Jayadeva. It describes the relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in particular one gopi named Radha.

The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into twenty-four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis. It is mentioned that Radha is greater than Krishna. The text also elaborates the eight moods of Heroine, the Ashta Nayika, which has been an inspiration for many compositions and choreographic works in Indian classical dances.

The work delineates the love of Krishna for Radha, the milkmaid, his faithlessness and subsequent return to her, and is taken as symbolical of the human soul's straying from its true allegiance but returning at length to the God which created it.

 

Chapters

 https://sanskritdocuments.org/sites/giirvaani/giirvaani/gg_utf/gg_utf_intro.htm

1. Sāmodadāmodaram (Exuberant Krishna)
2. Akleshakeshavam (Blithesome Krishna)
3. Mugdhamadhusūdanam (Winsome Krishna)
4. Snigdhamadhusūdanam (Tender Krishna)
5. Sākāṅkṣa puṇdarīkākṣham (Passionate Krishna)
6. Dhrṣta vaikuṇṭa (Audacious Krishna)
7. NāgaranārāyanaH (Dexterous Krishna)
8. VilakṣyalakṣmīpatiH (Apologetic Krishna)
9. Mugdhadamukunda (Unpretentious Krishna)
10. ChaturachaturbhujaH (Tactful Krishna)
11. Sānandadāmodaram (Joyful Krishna)
12. SuprītapītāmbaraH (Exultant Krishna)

 https://en.wikipedia.org/wiki/Jayadeva

  

Idol of 11th c. Sanskrit poet Jayadeba at his birthplace Kendubilwa in Odisha, India.

Gita Govinda*Priye Charuseele*Sanskrit Poem of Jayadeva

Jayadeva is widely considered as one of the earliest musicians of Odissi music. Every night during the Badasinghara or the last ritual of the Jagannatha temple of Puri, the Gitagovinda of Jayadeva is sung, set to traditional Odissi ragas & talas. This tradition has continued unbroken since the time of Jayadeva, who himself used to sing in the temple. After the time of the poet, the singing of the Gitagovinda according to the authentic Odissi ragas & talas was instated as a mandatory sevā at the temple, to be performed by the Maharis or Devadasis, systematically recorded in inscriptions, the Mādalā Pānji and other official documents that describe the functioning of the temple.

 

To this date, the Jagannatha temple remains the fountainhead of Odissi music and the most ancient & authentic compositions (including a few archaic Odia chhandas and jananas by Jayadeva himself) survive in the temple tradition, although the Devadasis are no more found owing to their systematic eradication by the British government. Jayadeva has had a profound influence on the religious practices of Hinduism. The classic Tribhangi (threefold) posture of Krishna playing the flute gained popularity due to him.  

 

 

 https://en.wikipedia.org/wiki/Works_of_Jayadeva

 

 śrī rādha --- is a maha bhava - 'an ecstatic concept about an exquisite beauty...' and she is the cynosure of this mini-epic gita govindam or Gita Govinda of Jayadeva. This work Gita Govindam is a lyrical dance-drama, plussed with the then romantics, poetic aesthetics and what not with a theme of vipralambha sringara - anguish in separation and joy in uniting of divine couple rādha and Krishna. The poet sings to the joy of Krishna, wishing him to be always joyous togetherness of rādha, addressing him variously like Govinda, Maadhava, Hari, Keshava etc., according to the situation, and hence it is called Gita Govindam, like bhaja govindam i.e., devout yourself unto Govinda. For easy comprehension we have put all the names as Krishna. And rādha is none else than Krishna, the very fount of his lila sakti creative power. She transmutes his glory into prema ananda, the zenith of blissful happiness, in which alone he takes pleasure. This is the idea of gita govindam - Read the entire text here :- 

 https://sanskritdocuments.org/sites/giirvaani/giirvaani/gg_utf/gg_utf_intro.htm

 

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Jayadeva's Gitagovinda is a lyrical account of the illicit springtime love affair of Krishna and Radha, a god and goddess manifesting on earth as a cowherd and milkmaid for the sake of relishing the sweet miseries and rapturous delights of erotic love. The narrative framing their bucolic songs was composed under royal patronage in northeastern India in the twelfth century. It was to be performed for connoisseurs of poetry and the erotic arts, for aesthetes and voluptuaries who, while sensually engaged, were at the same time devoted to Krishna as Lord of the Universe. The text at once celebrates the vicissitudes of carnal love and the transports of religious devotion, merging and reconciling those realms of emotion and experience. Erotic and religious sensibilities serve, and are served by, the pleasures of poetry. In the centuries following its composition, the courtly text became a vastly popular inspirational hymnal. Jayadeva's songs continue to be sung throughout India in fervent devotional adoration of Krishna.   

 

The beauty of it is that Jayadeva keeps saying that reading his explicit verses will not only confer various kinds of benefits but also neutralise the sins of kali:

“Yadgandharva kalaasu kaushalamanudhyaanam cha yad vaishnavam, Yashrungaara viveka tatva rachanaa kaavyeshu lilayitham, tatsarvam Jayadevapanditha kave: krushnai kahaanaatmanana: saanandaa: parishodayanthu sughiya: shri Gita Govindata”

(From the Gita Govinda composed by Jayadeva, who is extremely devoted to Krishna, the wise may get proficiency in music, uninterrupted contemplation on Vishnu and knowledge of the intricate techniques of erotics (sloka).

“Sri Jayadeva vachasi ruchire sadayam hrudayam kuru mandane, haricharana smaranaamrutha nirmitha kali kalusha jwara khandane:”

(Always remember the words of Jayadeva which dispel the fever, namely, the sins of Kali and express the sweet devotion to the feet of Krishna - ‘kuru yadhu nandana.’)

The apocryphal story is that Jayadeva once toned down his explicit version in one of the stanzas and went to sleep and, on waking up, found that Krishna had appeared and restored the original version! 

 

Let us see some examples of his beautiful poetry:

“Abhinava jaladhara sundara” — beautifully dark-hued like a fresh rain-bearing cloud (shritha Kamala kucha)

“Shrimukha chandra chakora:” — longing for Goddess Lakshmi’s face as a chakora bird longs for the moon (shritha Kamala kucha)

“Shri Radhapathi paada padma bhajanaanandaabdhi magno anisham tham vande Jayadeva sathguruvaram Padmavati vallabham” — I bow down to that foremost preceptor Jayadeva, who is always immersed in the ocean of bliss in worshipping the lotus feet of the consort of Radha and who is the spouse of Padmavati (Dhyana slokam – Shri Gopalavilasini )

Rama avatar

“Vitharasi dhikshu rane dikpathi kamaniyam dasamukhamouli balim ramaniyam, Keshava dhrutha Rama sareera:” — O Keshava! One who has assumed the form of Rama! You scattered the heads of Ravana in ten directions in the battlefield as if offering oblations acceptable to the guardian deities (‘Jaya Jagadisha Hare’)

“Lalitha lavanga latha pariseelana komala malaya samire, madhukara nikara karambita kokila koojita kunja kutire:” — In the soft westerly winds embracing the soft clove creepers and in the bowers filled with the buzzing swarms of honey bees and sweet notes of cuckoos (‘lalitha lavanga’)

“Spuradathi muktha latha parirambhaNa mukulita pulakita chuthe” — As the mango tree blossoms as it were on account of the embrace of the atimuktha creeper, Krishna rejoices with the maidens (’viharathi hari riha’)

“Nityotsanga vasath bhujanga kavalakleshadi veshachalam, praleyaplavanechaanusarati shri khandana shailaanila” The soft breeze from the Malaya mountains wafts north as if it cannot stand the heat produced by the poisonous serpents in the southern mountains and wants to get cooled by the snowclad Himalaya mountains of the north.

“Jalada patala chaladindu vinindaka chandana bindu lalatam” — (The sandal paste pottu on Krishna’s forehead in its beauty mocks at the moon, which moves slowly through the banks of cluds (‘sancharadhara sudha’)

“Varnitam Jayadevakena hareritam pravanena, kindubilva samudrasambhava rohini ramanena” — Just as the moon, which rises from the ocean makes it happy, Jayadeva, who was born in kindubilva makes it happy (‘mamiyam chalita’)

“Shashimukhi! tava bhaathi bhangura bhru yuvajanamohakar aalakaala sarpi” — One who has a beautiful face like the moon! Your curved eyebrow is like the cruel black cobra that stupefies youth (‘dhyana slokam — parihara kruthathanke’)

 

“Shashimukhi! mukharaya manirashanagunamanuguna kanTaninadam, shrutiyugale pikarutavikale mama shmaya chiradavasadam” — “O moon-faced one! Let the bells in your girdle ring in resonance with the sweet notes of your voice. It will soothe my ears which have found even the notes of cuckoos harsh due to separation from you (‘kisalaya shayanatale’)

Jayadeva ends his kaavyam with a striking compliment to himself: “Saadhvi maadhvika! chintha na bhavati bhavata: sharkare! karkashasi, dhrakshe! dhrakhshayanti ke tvaamamrutha! mruthaamasi ksheera! niram rasasthe, makand! krandha kanthadhara! dhara na thulam gala yachchanthi bhavam, yaavatshrungarasaaram shubhamiha Jayadevasya vaidagdhya vaacha” — O sweet wine, do not consider yourself sweet any longer. O sugar! you are crude and harsh. O grapes! who would bother to look at you? O milk! You are tasteless and insipid. O mango fruit ! You lament that you are worthless. O ruddy lips of lovely women! Do not aspire to any comparison as long as the words of Jayadeva last.

 http://www.ocasopress.com/jayadeva-gita-govinda.html

 http://www.ocasopress.com/pdf/jayadeva_gita_govinda_translation.pdf

 

 The poem can be dated to the twelfth century and was almost certainly written in north-eastern India, as it shows familiarity with Jagannath sects in Orissa and mentions fellow poets at the court of the last Hindu ruler in Bengal, Maharaja Laksmanasena (AD 1175-1200). Many lines of evidence point to Jayadeva being born in Orissa, probably in Kenduli Sasan village, which lies in the Prachi valley of the Khurda district of Odisha, then under the rule of the Ganga dynasty king Chodaganga Deva. In Orissa Jayadeva probably continued to live, the Laksmanasena connection possibly arising over confusion with another poet of the same name in Bengal. If, as some scholars believe, Gita Govinda was first performed on the Srimandir and the coronation of Kamarnava as the crown prince in 1142 AD, the Laksmanasena lines must be a later interpolation. Whatever the details, Jeyadeva appears by this interpretation part of the Oriya culture that built the erotic temples of Konark, Puri and Bhubaneswar. Poets are chameleon characters, however, and Jayadeva himself is reputed to have been a saintly ascetic induced to settle by marrying the temple dancer, Padmavati, and take up writing the Gita Govinda.

 

The latter was apparently a model wife, modest and devoted to Jayadeva, and very different from Radha, who is the typical heroine of classical Sanskrit poetry: proud of her heavy breasts and hips, consumed by longing, but also playful, sulking, jealous, tempestuous and despairing. Krishna is the eternal male: urgent and charming and uncommitted. Radha submits to his entreaties, but feels abandoned when Krishna returns to his other women. The ten long parts of the poem that separate Radha's first submission to her final reconciliation with Krishna, in which the lovers declaim and despair, appearing to say a few verses to each other or sending the go-between to plead their cause, allow Jayadeva to explore the changing moods of attraction, which are both natural to the situation, and what audiences expected. Krishna repents, longs for Radha, commiserates with her distress, waits for her, makes her jealous, importunes and praises her, enjoys and assures her of his love. Radha sulks and despairs, wastes away, flies into tempers, rails at Krishna, consents and finds joy and contentment with him.

 

 

What kind of poem is this? In response the poet says, “This poem is predominated by shrugara-rasa and it is exceptionally sweet. Its meaning is readily comprehensible. Every verse is immensely endearing,  Radha-Krishna’s attribute of beauty enhanced by love. As a lover is dear to her beloved, this charming composition is extremely dear to the pure devotees. The theme of it is the love of Radha and Krishna, symbolizing the longing and striving of the individual, for communion with God, culminating in their blissful union. Love naturally takes expression in song, so Sri Gita-govinda has naturally assumed the format of a musical. It should be sung in a melodious voice.”

 

Yad Gopi vadanendu Mandana Mabhuth * Kasturika Patrakam….

Yen Lakshmikuja shata kumba kalashe *, vyakosham Indiwaram…

Yen nirmana vidhana sadana vidhau, sidandhanam yoginam

Tanaha… Shyamalam avirastu nidhaye, Krishna bhidhanam mahaha||1||

 

Radha mano rama ramavara rasaleela

Gana mrutaika panitam kaviraja Ra…jam

Sri Madhava chana vidhau, anuraaga sadma

Padma…vati priyathamam Pranathosmi nityam ||2||

 

Sri Gopala vilasini valyatha dattathi mukta kriti –

Sri Radha… pathi, pada Padma bajana nandabdhi, magnonisham

Loke sathka viraja raja etiya:, kyathodiyam bhonidhi:.

Tham vande Jayadeva sadguru maham, Padmavati vallabham…||3||

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  https://thegod.wordpress.com/gita-govinda/

 

With clouds the sky is thickened, and the woodlands

darken with Tamála trees. Tonight

comes someone leading home a doubting Rádhá

near the Yamuná, by Nanda sent:

from each path wandering, from wood to bower,

to win her Mádhava in honeyed sport.

 

As speech's deity adorns this house

by grace of Padmávatí's turning feet,

and prince of wandering poets, Jayadeva,

tells of Vásudeva and his Shrí.

 

If, passionate for Krishna's mind,

you're keen to learn the arts of love,

then hear the coaxing eloquence

of Jayadeva's tender verse.

 

Umápatidhara causes words to bloom,

Sharana dazzles with his lightning thought.

Dhoyí's lord of poets, Govardhana

has his love skills, Shrutidhara fame,

but Jayadeva is both deep and pure.

The sky is encompassed by clouds.

With the hue of Tamāla trees,

darksome appear the sites of woods.

This dear Kāhnā

feels very timid at night.

O Rādhā! You therefore please

accompany him to reach home aright.'

Thus by the words of King Nanda,

stepped ahead both Rādhā and Mādhava

towards the tree of bowers on the way.

Glory to their plays of love, secret and gay,

on the bank of river Yamunā.'

'If your mind is fraught with sentiment

in remembering Lord Hari,

if you have any curiosity

in the arts of joyful dalliance,

then listen to Jayadeva's writing literary,

that contains the words sweet, delicate and lovely.' 

 

'Here appears the pleasurable Spring,

wherein the delicate zephyr

of Malaya mountain

gently blows having loving embrace

of the graceful Lavańga creeper

and wherein the cottage of bowers is

filled with the sweet cooing of cuckoos

mingled with the humming of black-bees.

O Dear Friend! Hari enjoys wandering

and dances with the young maidens

in this season which is unbearably afflicting

to the couple separated from each other.'

'During the days of Spring season,

ears of the wayfarers

painfully feel very feverish

by the noisy sound of cooing of cuckoos

sporting in the mango-blossoms

that slowly swing by the black bees

craving for the emerging sweet aroma.

These vernal days are anyhow

passed with difficulties

by the lonely wayfarers

who in cheerful sentiments enjoy union

with their life-like maidens

attained in some moments of concentration

within their mental sphere.'

 

'By this time,

as a big dot of sandal paste

on the forehead of the Direction-Damsel,

Moon, spreading own rays, illuminated

the inner area of Vrindāvana.

He had borne the beauty of a distinct stain

as if caused by sin due to own appearance

on the path of the adulterous maidens.'

'These lips of thine really bear similarity

with the beauty of flower Bandhūka.

O Self-esteemed Lady!

Thy comely cheeks compile the lustres of Madhūka.

Manifesting the beauty

of blue lotuses, thy eyes are very lovely.

The stature of Tila flower, thy nose bears.

Thy teeth, O My Dear!

spread the radiance of Kunda flower.

Serving thy fine face with these five flowers,

the Flower-shafted Love-god Cupid

conquers the entire universe indeed.'

'Languid are thy eyes with intoxication (Madālasā) .

Effulgent is thy face with charming moonbeam (Indumatī) .

Thy gait gladdens mind of all the beings (Manoramā) .

Thy thighs form the tremulous plantain tree (Rambhā) .

Embellished with art is thy erotic play (Kalāvatī) .

Thy brows have lovely lines of painting (Chitralekhā) .

O Slim-limbed beloved lady!

Ah, present on earth,

You bear the juvenile exuberance of nymphs

who adorn the dominion of gods.

 

'Ye noble self like the divine doctor!

All the illness of Cupid-stricken Rādhā

can be cured very well

only by the ambrosia

of your loving embrace.

If you do not make her

free from this grief so far,

O Dear Upendra!

Really very cruel

more than the thunderbolt you are.'

'O Krishna!

In the days by-gone,

she was unable to endure your separation,

by the grief caused by closing of eyes,

and now how can she tolerate having sighs

the long estrangement,

looking at the branch of mango tree

having blossoms at the top? '

'O Krishna! Owing to pangs of separation,

for Rādhā, her home seems to be a forest.

The group of her dear maiden-friends

appears as a trapping net.

With heavy sighs, the heat of separation

turns to be a vast forest-conflagration.

It is a matter of severe woe

that because of thy separation,

Oh, how she appears as a doe,

and Love-god Cupid for her,

has become Yama, the Lord of Death,

displaying the activities of a fierce tiger.'

'O My Friend! Here

florescence of new Asoka creeper

bearing few bunches of flowers

is not at all pleasurable to my eyes

and causes distress immense.

Breeze of pleasure-grove beside pond

gives me pains further.

This budding of mango-blossoms with sharp tips,

though charming with the humming of black-bees

roving over them, does not give me a gleeful sense.' 

 

'O Liquor of Madhuka!

No noble thought arises for you.

O Sugar! You're very unsavoury really.

O Grape! Who will behold you?

O Nectar! You're gone dead.

O Milk! Your essence is mere water.

You weep, O Ripe Mango!

O Lips of Beloved Lady!

Down to the nether region you go,

as long as the sweet words of Jayadeva

in this world on all sides offer

emotional feelings of erotic expression.'

 

 

Raga: Vasantha ; Adi Tala

  

vasante vasanti-kusuma-sukumarair avayavair

bhramanti kantare bahu-vihita-krishnanusaraam |

amanda kandarpa-jvara-janita-cintakulataya

valad-baha radha sarasam idam uce saha-cari

 

Once, in the splendid spring season, when Radhika was pining for Krishna, she began to search for him in one forest grove after another. Her elegant, young limbs, soft as mddhavt flowers, grew weary and Cupid made her mind delirious with anxiety. At that time, her intimate friend lovingly addressed her as follows.

 

lalita-lavaga-lata-parisilana-komala-malaya-samire |

madhukara-nikara-karambita-kokila-kujita-kuñja-kuire ||1||

 

The Malaya breeze is so enchanting as he arrives and impetuously embraces the tender, charming creepers again and again. The forest bower is permeated with the sweet kuhu sound of the cuckoos and the drone of bees as they bumble to and fro.

 

viharati haririha sarasa-vasante

nrityati yuvati-janena samam sakhi, virahi-janasya durante Radhe (viharati haririha)  ||dhruvapada||

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Moreover, Hari is also dancing in this forest bower with his Gopis when the spring is in full bloom & while being immersed in a festival of love(bhakti)

 

unmada-madana-manoratha-pathika-vadhu-jana-janita-vilape |

ali-kula-sakula-kusuma-samuha-nirakula-bakula-kalape, Radhe viharati haririha ||2||

 

The mdlati trees are covered with flowers. There is no vacant space left upon their branches. Innumerable groups of bumblebees are humming upon clusters of bakula flowers.  Manmatha’s arrows hurt the Gopis  and over there, Krishna is dancing as he revels in love with other Gopis.

 

mriga-mada-saurabha, rabhasa-vashavada-nava-dala-mala-tamale |

yuva-jana-hrudaya-vidarana manasija, nakha-ruci-kinshuka-jale, Radhe viharati haririha ||3||

 

Adorned with new leaves, the tamala trees delight in diffusing their musk-like fragrance in all directions. Sakhi, look! These lustrous paldsa flowers resemble the fingernails of Kamadeva. It seems that the King of amorous love has torn at the bosom of youthful couples .

 

madana-mahipati-kanaka-danda-ruci, kesara-kusuma-vikase |

milita-shili-mukha-paatala-patala,kruta-smara-tuna-vilase, Radhe viharati haririha ||4||

 

Blossoming ndga-kesara flowers appear to be the golden rods of King Cupid, and the clusters of pdtali flowers surrounded by bumblebees appear to be his quiver

 

vigalita-lajjita-jagad-avalokana-taruna-karuna-kruta-hase |

virahi-nikruntana-kunta-mukhakruti, ketaki-danturi tase, Radhe viharati haririha ||5||

 

It seems that the whole world has become shameless by the formidable influence of spring. Seeing this, the young, compassionate trees are laughing on the pretext of bursting into flower. Look! Shaped like javelins for piercing the hearts of lonely lovers, the screw-pine flowers are blossoming brightly in all directions and the directions are also overjoyed to unite with them.

 

madhavika-parimala-lalite nava-malati-jati-sugandhau |

muni-manasam api mohana-karii taruakarana-bandhau,  Radhe viharati haririha ||6||

 

The nectar of spring flowers and the aroma of jasmine blossoms are enthralling. Even the minds of great sages are agitated in springtime and they suddenly become bewildered. Spring is the selfless friend of the young

 

sphuradati -mukta-lata-pari rambhana, mukulita-pulakita-chute |

vrundavana-vipine parisara-parigata-yamuna-jala-pute, Radhe viharati haririha ||7||

 

The mango trees in the forest groves of Vrindavana are covered with freshly sprouted buds because they are thrilled by the embrace

of the restless maddhavi creepers.  Sri Hari is affectionately playing with Gopis in the pure water of the Yamuna that flows alongside those forest groves.

 

sri-jayadeva-bhanitam idam udayati, hari-caraa-smruti-saram |

sarasa-vasanta-samaya-vana-varanam, anugata-madana-vikaram, Radhe viharati haririha sarasa.. ||8||

 

This auspicious, rasa-laden song has perfectly manifested through Sri Jayadeva. The portrayal of the forest in springtime is suffused with the erotic aberrations of Radha when she is overwhelmed with anxiety in separation from Krishna. Woven together with transformations of passion, the spring season awakens remembrance of the lotus feet of Sri Hari.

Daravi-dalita-malli, valli-chamchat-paräga

prakatitha-pata-väsai:, väsayan käna…näni |

iha hi, dahati ceta:, ketaki-gandha-bandhu:…

prasarad asama-bäna pränavad-gandhaväha:||9||

“Wind perfumes the forest with fine pollen shaken loose from newly blossomed Jasmine’s it blows love’s fragrant breath, it tortures every heart it touches.”

 

unmelan, madhu-gandha-lubdha-madhupa, vyädhüta-cütänkura

krida * kokila-käkali-kalakalai:, udgérëna-karna-jvara: |

niyante pathikai:, katham katham api, dhyänä….vadhäna

kshana präpta-präna, samä samagama, raso lläsai:, ami väsarä:||10||

 

“Sounds of Cuckoo’s mating on mango shoots shaken as bees seek honey scents of opening buds raise fever in the ears of lonely travelers  Somehow they survive like kshana prapta prana, by thinking about divine leelas with Paramatma in their dyana.”

 https://en.wikipedia.org/wiki/Govatsa_Dwadashi

 

Govatsa Dwadashi is a Hindu cultural and religious festival which marks the beginning of Diwali celebrations especially in the Indian state of Maharashtra, where it is known as Vasu Baras. In Gujarat, it is celebrated as Vagh Baras and as Sripada Vallabha Aradhana Utsav of Sripada Sri Vallabha, at Pithapuram Datta Mahasamsthan in the state of Andhra Pradesh. In Hinduism cows are considered very sacred and equivalent to mothers for providing nourishment to mankind.

In some northern states, Govatsa Dwadashi is referred to as, Vagh, which implies repaying one's financial debts, which therefore is a day, when businessmen clear their accounts books and do not make further transactions in their new ledgers.

Govatsa Dwadashi is also observed as Nandini Vrat, as both Nandini and Nandi (bull) are considered sacred in Shaivism tradition. It is a thanksgiving festival to the cows for their help in sustaining human life and thus both cows and calves are worshiped and fed with wheat products. The worshipers abstain from consuming any wheat and milk products on this day. It is believed that by these observances and worship, all wishes of the devotees will be fulfilled. The significance of Govatsa Dwadashi is stated in Bhavishya Purana.

The cows and calves are bathed, draped in clothes and flower garlands; and vermilion/turmeric powder applied on their foreheads. In some villages people make cows and calves of mud, dressing them and adorning them as such, symbolically. Aartis are performed. Wheat products, gram and Mung bean sprouts are then fed to the cows, symbolizing the sacred cow Nandini, on earth, who was the daughter of Kamadhenu, and lived in Sage Vasishtha's ashram. Devotees sing songs praising the love of God Sri Krishna for cows, and being their benefactor. Women observe Nandini Vrat/fast for the well being of their children and abstain from water and eatables. As cows are symbolic to motherhood and chief source of livelihood in many villages in India, they are central to Diwali worship.

Begins        Twelfth day of the waning moon fortnight (Krishna Paksha) in the month of Kartik

Date      -        October/November

2019 date  -  25 October 2019

2020 date  -  12 November 2020

 

https://www.drikpanchang.com/festivals/govatsa-dwadashi/govatsa-dwadashi-date-time.html

भाद्रपद मास में कृष्ण पक्ष की द्वादशी तिथि को बछ बारस या गोवत्स द्वादशी का पर्व मनाया जाता है। इस दिन लोग गाय और उसके बछड़े की पूजा-अर्चना करते हैं। इसे वत्स द्वादशी के नाम से भी जाना जाता है। यह पर्व एक वर्ष में दो बार मनाया जाता है। पहला भाद्रपद मास में कृष्ण पक्ष की द्वादशी तिथि को तो दूसरा कार्तिक मास के शुक्ल पक्ष में। धार्मिक मान्यताएं के अनुसार, गौमाता में समस्त तीर्थ होने की बात कही गई है। गौमाता के दर्शन से ही बड़े-बड़े यज्ञ, दान आदि कर्मों से भी ज्यादा लाभ प्राप्त होता है।

पौराणिक जानकारी के अनुसार, माता यशोदा ने भगवान श्रीकृष्ण के जन्म के बाद इसी दिन गौमाता के दर्शन और पूजन किया था। माता यशोदा ने इसी दिन गौमाता का दर्शन और पूजन किया था। जिन्होंने गौमाता को खुद नंगे पांव जंगल-जंगल घुमाया हो और अपना नाम ही गोपाल रख लिया हो, गौमाता की रक्षा के चलते ही श्रीकृष्ण ने गोकुल में अवतार लिया था। शास्त्रों में कहा गया है कि हर योनी में मनुष्य योनी सबसे श्रेष्ठ है। ऐसा इसलिए कहा गया है जिससे मनुष्ट गौमाता की निर्मल छाया में अपने जीवन को धन्य कर सके। इनकी सेवा से बड़ा कोई अनुष्ठान नहीं है। माना जाता है कि गौमाता को एक ग्रास खिलाने से ही सभी देवी-देवताओं तक यह अपने आप ही पहुंच जाता है।

भविष्य पुराण के अनुसार, गौमाता कि पृष्ठदेश में ब्रह्म का वास माना गया है। इनके गले में विष्णु का, मुख में रुद्र का, मध्य में समस्त देवताओं का समावेश है। वहीं, रोमकूपों में महर्षिगण, पूंछ में अनंत नाग, खूरों में समस्त पर्वत, गौमूत्र में गंगादि नदियां, गौमय में लक्ष्मी और नेत्रों में सूर्य-चन्द्र विराजमान हैं।

इस दिन महिलाएं अपने बेटे की दीर्घायु के लिए और परिवार की खुशहाल के लिए व्रत करती हैं। इस दिन विशेषकर परिवार में बाजरे की रोटी बनाई जाती है। साथ ही अंकुरित अनाज की सब्जी भी बनाई जाती है। इस दिन भैंस या बकरी का दूध इस्तेमाल किया जाता है। शास्त्रों में इसका माहात्म्य बताया गया है। इसके अनुसार, बछ बारस के दिन अगर महिलाएं गौमाता की पूजा करती हैं और रोटी समेत हरा चारा खिलाती हैं तो उनके घर में मां लक्ष्मी की कृपा सदैव बनी रहती है।

 https://en.wikipedia.org/wiki/Pearl_millet

 

https://radhakrishnasanatandharmamamtadhody.blogspot.com/2020/11/shri-ashta-lakshmi-stotram.html

 

 https://www.hindujagruti.org/hinduism/why-is-the-vrat-of-govatsa-dwadashi-performed-before-dipavali