Play on Radha and Krishna, Hindu deities.

Lalita Mādhava is praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses depicting the emotions of the highest rasa. It begins in Vṛndāvana with separation from Kṛṣṇa and ends in Dvārakā when the gopīs reunite with Kṛṣṇa as his queens, while maintaining their previous identities. Thus separation resolves into union and marriage in Dvārakā. The story included details different from the pastimes described in Bhāgavatam. Thus Viśvanātha Cakravartī explains that details of the drama were enacted in a different kalpa of Brahmā.

Sri Lalita Madhav is a timeless and spiritually profound literary masterpiece that delves into the divine love and pastimes of Lord Krishna. Written by the renowned saint and philosopher Srila Rupa Goswami, this classical work is a captivating exploration of the eternal love between Lord Krishna and His beloved consort, Srimati Radharani, set against the backdrop of Vrindavan’s enchanting landscapes.

The two works, Vidagdha-mādhava and Lalita-mādhava were written by Śrīla Rūpa Gosvāmī. The Vidagdha-mādhava describes pastimes in Vṛndāvana, and the the pastimes in Lalita-mādhava begins in Vṛndāvana and ends in Dvārakā. Both of them, praised by Rāmānanda Rāya and Caitanya Mahāprabhu for its excellent verses, wonderfully describe the emotions of the highest rasa.Vidagdha-mādhava, a seven-act play was completed by Śrīla Rūpa Gosvāmī in the 1533 A.D. This work concerning Kṛṣṇa, friend of the gopīs, is permeated with ornaments in the form of conversations. The land within Vṛndāvana has become the arena for the performance of the drama. The spring season in which the moon has become newly red in response has become the suitable time.

The book explores the various histories and aspects of Indian drama in different languages.

The Vaisnava poetry of Bengal in the sixteenth and seventeenth centuries.

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.