Bargeetas of Madhavadeva are among the most beautiful part of the Vaishnava literary canon. Well-versed in music, Madhavdeva not popularised the Bargeetas, but also widened their scope and adjusted and modified them to change the different moods and moments of Lord Krishna's multi-faceted life. Like Sankaradeva's, their scope was not limited to a single passion, the passion of single-minded devotion and resignation to God. Madhavdeva's Jaganar Geetas, tender and delicate as the emotions of a child, are in the nature of cradle-songs in beauty of child-life and maternal love. In fact, his absorption in the divine light of childhood as reflected in Krishna's life expands the realms of spiritual absorption. Krishna shares the joys and sorrows of his cowherd companions; with a crown of peacock feathers on his head, he dances in the company of these "Vraja chawalas" (children of Vrajadham). The music of his flute draws the cows nearer him.
The following picture of Krishna in Madhavdeva's Bargeeta (Raga Lalita) has the beauty and tenderness of a hymn:
Tasomati pakhite nay ana jurat.
Jagajana jivana bhakata parama dhana, hast hasi carana ghasai.
The childhood pictures of Krishna as unfolded in some of Madhavdeva's Bargeetas vis-a-vis the picture of maternal tenderness are as fresh and inspiring as morning dew. This is how Krishna complains to his mother:
Phirilo bane bane dhenu bicari, trine katala sava sarira hamari.
In the process of tending the cows in the forest, Krishna's body is bruised by the sharp edges of grass;
This Bargeeta is in Raaga Zinnia.
The other type of Bargeetas that Madhavdeva wrote is songs of separation. Thus the perspective is changed. In one set of songs, Krishna lives a tangible life in the form of a child and in another he is missed, but lives all the same in the agonised heart of spiritual attachment. To the saint-poet, God is the abode of compassion: Dayar Thakur Yadumani.
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