The Jagannatha-vallabha-nataka by Ramananda Raya occupies an important place in the history of Sanskrit literature in general and in the devotional literature of Gaudiya Vaisnavism in particular. Consisting of five acts, this drama deals with the amorous pastimes of Sri-Radha and Sri-Krsna. The verses of Jagannatha-vallabha-nataka are frequently found in Caitanya-caritamrta by Krsnadasa Kaviraja.

On Krishna and Rādhā, Hindu deities.

Includes text with translation.

The Gaudiya Vaisnava movement is one of the most vibrant religious groups in all of South Asia. Unlike most devotional communities that flourished in 15th-, 16th-, and 17th-century Bengal, however, the group had no formal founder. Today its devotees are uniform in their devotion to the historical figure of Krishna Caitanya (1486-1533), whom they believe to be not just Krishna incarnate, but Radha and Krishna fused into a single androgynous form. But Caitanya neither founded the community that coalesced around him nor named a successor. Tony Stewart seeks to discover how, with no central leadership, no institutional authority, and no geographic center, a religious community nevertheless comes to successfully define itself, fix its canon and flourish. He finds the answer in the brilliant hagiographical exercise in Sanskrit and Bengali titled the Caitanya Caritamrita (CC) of Krishnadasa Kaviraja.

The heart of this book is a dramatic love poem, the Rasa Lila, which is the ultimate focal point of one of the most treasured Sanskrit texts of India, the Bhagavata Purana. Judged a literary masterpiece by Indian and Western scholars alike, this work of poetic genius and soaring religious vision is one of the world's greatest sacred love stories and, as Graham Schweig clearly demonstrates, should be regarded as India's Song of Songs. The story presents the supreme deity as the youthful and amorous cowherd, Krishna, who joins his beloved maidens in an enchanting and celebratory "dance of divine love." Schweig introduces this work of exquisite poetry and profound theology to the Western world in the form of a luminous translation and erudite scholarly treatment. His book explores the historical context and literary genre of the work and elucidates the aesthetic and emotional richness of the composition, highlighting poignant details of this drama of divine love. Schweig illuminates the religious dimensions and ethical nuances of the drama, drawing widely from the commentaries and esoteric vision of masters of the Caitanya school of Vaishnavism, a prominent devotional Hindu tradition. Themes such as transcendence of death through love, the yoga of devotion, the contrast between worldly love and passionate love for God, and the dialectical tension between ethical boundaries and boundless love are presented. The final event of the Rasa dance, the author concludes, presents a dynamic symbol of supreme love that provides the basis for a theological vision of genuine religious pluralism.

With a literary history spanning centuries, the languages of Odisha have found myriad expression in prose, poetry, mythology, history, and politics. The Big Book of Odia Literature goes where very few have dared—into a history of language, literature and song that can be traced back all the way to the tenth century. In this careful curation, The Big Book curates essays, stories, poems, and plays that have defined the culture of a state and a people. A first of its kind, the volume is for lovers of linguistic history and literary traditions.

The book attempts to trace an overview of the different components that define the cultural landscape of the state of Odisha in relation to its history, religious cults, art, and literature and to link the development of the various aspects to the role played over the centuries by the Geeta Govinda poem in its different manifestations. From being an important component of the rituals performed in the Jagannath Temple to becoming an essential part of the people’s daily lives and artistic expressions, this immortal poem has exercised its influence on the cultural landscape of the state from its early inception in the twelfth century until present times. Religious beliefs, visual representations, performative expressions, and literary compositions have been influenced by the strong emotional appeal contained in its verses. Its musical structure, spiritual underline and histrionic content have been an essential font of inspiration in the process of the rediscovery of a cultural identity during the last century and continue to exercise a strong influence on the performing arts of the present times. Among all the art forms, the classical style of Odissi dance, the way it has been re-structured in the middle of the last century, is perhaps the one which bears the closest contact with the poem, almost being synonymous with it. The dance’s lyrical quality and its emotional appeal steeped in a long history of association with devotional and spiritual values make it an ideal form of visual expression for the literary content of the poem.