Three more Imitations of the Gitagovinda
Summary
The article examines three additional Sanskrit imitations of Jayadeva’s *Gitagovinda*, a highly influential medieval poem that practically created a new literary genre. The author notes that while these imitations are "literary counterfeits" that never achieved the same popularity as the original, they remain historically significant as sparks of the devotional tendency Jayadeva inspired. The first imitation discussed is the *Sangitacintamani* by Kamalalocana. The text observes that this work adopts the *Padavali* form and the Caitanya School of devotion, focusing on the daily sports of Radha and Krsna in Vrndavana. The author identifies Kamalalocana as a Bengali Brahman likely brought to Nagpur by the Bhonsle Raja, tentatively dating the work to the middle of the eighteenth century. The second work is the *Gitamukunda* (also called *Gitamrta*), another ambitious imitation by the same author. It contains fourteen cantos describing the love sports of Radha and Krsna, heavily modeled on the *Gitagovinda* with similar melodies, ragas, and emotional expressions. The third imitation is the *Sangitaraghava* by Gangadhara, composed in Saka 1736 for the young King Janoji Bhonsle of Nagpur. Unlike the others, this work changes the theme to the Rama story, attempting to abridge the Ramayana within six cantos. It features *Astapadis* in Malava and other ragas, maintaining Jayadeva's stylistic form while serving as courtly entertainment. The article relies on manuscript catalogues, such as those by R.B. Hiralal and Aufrecht, as well as the *History of Classical Sanskrit Literature* by Krishnamachariar to identify and contextualize these texts.
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Conclusion
This article identifies and examines three previously unrecorded imitations of Jayadeva’s *Gitagovinda*—Kamalalocana’s *Sangitacintamani* and *Gitamukunda*, and Gangadhara’s *Sangitaraghava*—highlighting the enduring literary legacy of the original text. While these works replicate the specific Padavali structure, thematic focus, and musical ragas of Jayadeva’s masterpiece, they diverge significantly in their central themes, shifting from the traditional Radha-Krishna devotion to figures like Rama, Hara, and Parvati. The study underscores that although these imitations lack the original’s profound emotional expression and literary merit, they remain historically significant. They serve as crucial cultural artifacts, illustrating the widespread regional influence of the *Gitagovinda* and the adaptation of its devotional framework to suit the specific theological and royal patronage contexts of eighteenth-century Nagpur.