Ashtapadi

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Aṣhṭapadhi - It is lyrical poetry in 12 chapters, which is further sub-divided into 24 divisions called Prabandhha. Each Prabandhha is again sub-divided into two, comprising eight couplets called Aṣhṭapadhis.

Each song of the Aṣhṭapadhiis set in a special rāga and thāḷa. It is a rhyme of eternal love and supreme devotion. The literal meaning of "Aṣhṭapadhi" is "eight steps".

Gītha Govindha composed in the 12th century by Indian poet Jayadheva in Sanskrit language is a lyrical poetry in twelve chapters, sub-divided into twenty four divisions called Prabandhha. The songs in Gītha Govindha symbolize the eternal love of Lord Kriṣhṇa and his beloved Rādhhā and the sublimation of love in God through complete surrender.

Chapter one and chapter two, four, five and twelve contain two Aṣhṭapadhis each; chapters three, six, eight, nine and ten contain only one Aṣhṭapadhi each. Thus there are twenty-four Aṣhṭapadhi. These Aṣhṭapadhis can be set to music in different melodious ragas, which were appreciated and followed by the poets later period. On which more than hundred commentaries has been written in Sanskrit and over fifty more than hundred commentaries have been written in Sanskrit and over fifty in regional languages in India also in many foreign languages.

Since the Gīthagovindha was composed specifically for dance performance during the night worship of Lord Jagannātha, the composition is so deftly made as to be sung to the beats of a dancer's foot movements. The author himself at the end of the Kāvya again states this fact, where he again emphasizes that the poem was intended to be a prop for meditation on Viṣhṇu and it is clothed in Śhrungāra rasa by the kavi Jayadheva panḍitha immersed in the contemplation of Krishna. The poem became so popular that within a century or so, it spread to all corners of the country from east to south, west and north and was adapted to dance, music, painting and temple worship.

In short, these songs describe the celestial love between Rādhhikā and Kriṣhṇa, The egoistic nature of Rādhhikā, Her anger towards Kriṣhṇa, Her viraha thāpam (sorrow in separation), reunion and their Sallāpam.

 

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Chapter 3

Mugdhha Madhusudhanam: Winsome Kriṣhṇa

Aṣhṭapadhī – 7: Mugdhha Madhusudhana Hamsa Krīḍam

Māmiyam Chalitha

 

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_3_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

 

Kamsārirapi Samsāra Vāsanā Baddhhashrunkhalām

rādhhāmādhāya Hrudhaye Thathyāja Vraja Sundharīhi||1||

Ithasthathasthām Anusruthya Rādhhikām Anangabāṇavraṇakhinnamānasaha Kruthānuthāpaha Sa Kalindhanandhinīthaṭāntha Kunje Viṣhasādha Mādhhavaha||2||

1.Māmiyam Chalithā Vilokya Vrutham Vadhhūnichayena

sāparādhathayā Māyāpi Na Varitha Athibhayena ||

Hari Hari Hathādarathayā Gathā Sā Kupithaiva||Dhhruvam||3||

2. Kim Kariṣhyathi Kim Vadiṣhyathi Sā Chiram Virahena

kim Dhanena Janena Kim Mama Jīvithena Gruheṇa||4||

3. Chinthayāmi Thadhānanam Kutilabhru Kopabhareṇa

Śhoṇa Padhmamivopari Bhramathākulam Bhramareṇa||5||

4.Thāmaham Hrudhi Sangathām Aniśham Bruśham Ramayāmi

kim VaneSnusarāmi Thāmiha Kim vruthhā Vilapāmi||6||

5.Thanvi khinnam Asūyayā Hrudhayam Thavākalayāmi

thanna Vedhmi Kutho Gathāsi Na Thena TheSnunayāmi||7||

6.Dhruśhyase Puratho Gathāgatham Eva Me Vidhadhhāsi

kim Pureva Sasambhramam Parirambhaṇam Na Dhadhhāsi||8||

7.Kṣhamyathām Aparam Kadhāpi Thavedhruśham Na Karomi

dhehi Sundhari Darśhanam Mama Manmathena Dhunomi||9||

8.Varṇitham Jayadhevakena Hareridham Pravaṇena

kindhu Bilva Samudhra Sambhava Rohiṇī Ramaṇena ||10||

 

 

 

 

Meaning:

 

On establishing Rādhhā's longing for Kriṣhṇa in the earlier chapter, now the poet commences this chapter to show how Kriṣhṇa feels for her, in an equal yearning.

 

 

Kamsārirapi Samsāra Vāsanā Baddhhashrunkhalām

rādhhāmādhāya Hrudhaye Thathyāja Vraja Sundharīhi||1||

Ithasthathasthām Anusruthya Rādhhikām Anangabāṇavraṇakhinnamānasaha Kruthānuthāpaha Sa Kalindhanandhinīthaṭāntha Kunje Viṣhasādha Mādhhavaha||2||

 

Kamsārirapi - kamsa's, enemy [Kriṣhṇa];

Api - even [also, not only Rādhhā but Kriṣhṇa also];

Samsāra - this worldly;

Vāsanā - by nostalgic reminiscences;

Baddhha - bondage;

Shrunkhalām - shackle [like];

Rādhhāam - of Rādhhā;

Ādhāya Hrudhaye - retaining, in heart;

Thathyāja Vraja Sundharīhi - refrained from, Vraja, beauties.

Ananga - formless one's [love-god's];

Bāṇa - arrow;

Vraṇa - wounded;

Khinna  mānasaha - disheartened, with heart;

Kruithā anuthāpaha - made [became,] regretful [for unnecessarily neglecting Rādhhā];

Sādha Mādhhavaha - he, that Kriṣhṇa;

Ithasthathas - here, there;

Thām rādhhikām  

Anusruthya - after her, that Rādhhā, followed [on searching];

Kalindha - mountain named Kalindha;

Nandhini - one who gladdens that mountain, namely river Yamunā, as she originated from this mountain.

Visasādha - slumped.

 

Even Kriṣhṇa refrained from the beauties of Vraja, retaining Rādhhā in his heart, as though she is like his shackle-like bondage in this worldly life, with nostalgic reminiscences of his earlier birth.

 

Wounded with love-god's arrows disheartened is his heart, thus he is regretful as he was unnecessarily neglectful of Rādhhā, and hither and thither he searched for her, but when that attempt came to naught, he slumped in a bower edging on the bank of Yamunā river.

 

1.       Māmiyam Chalithā Vilokya Vrutham Vadhhūnichayena

sāparādhathayā Māyāpi Na Varitha Athibhayena ||

Hari Hari Hathādarathayā Gathā Sā Kupithaiva||Dhhruvam||3||

 

Iyam - this [Rādhhā]; mām - me;

Vilokya - on seeing;

Vadhū nichayena - girls, heaps of [flocks of];

Vrutham - surrounded [thronged];

Chalithā - went away [forsook];

Sāparādhathayā Māyāpi - with, fault [at fault,] by me, also;

Athibhayena - highly, with fret - fretfully;

Na Varitha - not, averted;

Hari Hari - oh, god, oh, god;

Sā Kupithaiva - she is, vexed one, as if;

Hathādarathayā Gathā - hurt, attentiveness [i was flippant of her, so she fled flippantly] she fled;

Hathādarathayā - marred, courtesy;

Hari - oh, god;

Gathā - fled;

Sā - she is;

Kupithaiva - resenting, as if.

 

On seeing me, with thronging folks of girls this Rādhhā forsook me... Unable to avert her parting, as I was also at fault, I fretfully didn't implore her to stay... Oh, god, she fled, as if she is an ireful person, which she isn't, in person. Oh, god, I was flippant of her, so she fled, that flippantly.

 

2.       Kim Kariṣhyathi Kim Vadiṣhyathi Sā Chiram Virahena

kim Dhanena Janena Kim Mama Jīvithena Gruheṇa||4||

 

Sā - she;

Chiram - for a long time;

Virahena - [in my] separation;

Kim - what [possible deed to relieve herself of that anguish];

Kariṣhyathi - she can do;

Kim Vadiṣhyathi - what, she say [if i go and beg her forgiveness];

Mama- to me;

Dhanena - with money [prosperity];

Kim - what [Kim prayojanam Vinā Rādhhāa - what is the use of prosperities without Rādhhā];

Janena - with people [Kim prayojanam - what is the use with other without Rādhhā]

Jivithena kim-with [my] life, what [is its usefulness.]

 

What would she do to relieve herself of from the long-time anguish owing to my separation? What would she say if I were to go and beg her forgiveness? What is the use of them, the prosperity, people, a palace, or with my very personality, when she won't be with me?

 

3.       Chinthayāmi Thadhānanam Kutilabhru Kopabhareṇa

Śhoṇa Padhmamivopari Bhramathākulam Bhramareṇa||5||

 

Kopabhareṇa - choler, filled with [cholerically];

Kutilabhru - curvy [knitted,] eyebrows;

Vopari Bhramathākulam - over whirling;

Bhramareṇa - by honeybee;

Śhoṇa Padhmam - red lotus;

Chinthayāmi Thadhānanam - that, face, I muse.

 

I muse on that face which might be cholerically reddened with knitted eyebrows, and it must resemble a red-lotus frenzied at a whirling honeybee over it.

 

4.      Thāmaham Hrudhi Sangathām Aniśham Bruśham Ramayāmi

kim VaneSnusarāmi Thāmiha Kim vruthhā Vilapāmi||6||

Aham - I am;

Vane - in woodland;

Thām - her;

Kim - why;

Aniśham - following [searching];

Vruthhā - futilely;

Kim Vilapāmi - why, I wail [here, I worry];

Hrudhi - in heart;

Aniśham - always;

Sangathām - unified about her;

Bruśham Ramayāmi - Highly, I am delighting her; [or, the word 'Kim' can be taken as interrog. And said 'what for, why should i search?']

 

Now why should I futilely search her in woodlands, why should I worry for her now, when she is always unified with my heart, and whom I always delight, heartily?

 

5.       Thanvi khinnam Asūyayā Hrudhayam Thavākalayāmi

thanna Vedhmi Kutho Gathāsi Na Thena TheSnunayāmi||7||

Thanvi - oh, comely Rādhhā;

Thavā hrudhayam - your, heart;

Asūyayā  khinnam - by jealousy, downhearted;

Aakalayaami - [thus] i reckon;

Kutho Gathāsi - where, gone, you are;

Na vedhmi - not, i know;

thanna - thereby;

TheSnunayāmi - you not, i appease;

 

I needn't appease you, as I am aware of your departure on account of your own jealousy.

 

Oh, comely Rādhhā, jealousy covered your heart, not I, thus I reckon, but I am unaware as to where you have gone, now I reverently beseech you. Tell me where you are.

 

 

 

 

6.       Dhruśhyase Puratho Gathāgatham Eva Me Vidhadhhāsi

Kim Pureva Sasambhramam Parirambhaṇam Na Dhadhhāsi||8||

Me Puratho Dhadhhāsi - in my, front, you are appearing;

Gathāgatham - comer, goer, as if;

Vidhadhhāsi - you do [behave];

Pureva Eva - earlier, as with;

Samsambhamam - tantalizingly;

Parirambhaṇam - tight hugging;

Kim na Na Dhadhhāsi - why, don't, endow, you.

 

You are appearing before me as if you are coming and going towards me, why don't you endow a tight and tantalizing embrace to me as you used to earlier?

 

7.       Kṣhamyathām Aparam Kadhāpi Thavedhruśham Na Karomi

dhehi Sundhari Darśhanam Mama Manmathena Dhunomi||9||

O, Sundhari - o, beauty [for, you take pride in your beauty];

Kṣhamyathām - let [my offence be] pardoned;

Aparam Kadhāpi - never, again, next [ever];

Thava - to you [in your respect];

Dhruśham - this sort of [wrongdoing];

Na karomi - not, i do;

Mama dhehi Darśhanam [or, ramanam] - to me, give, your audience, [or, enjoyment];

Manmathena Dhunomi - by love-god, i am seethed.

 

O, beauty, let my offence be pardoned; I will never or ever do this again in your respect... Come; give me your audience, as love-god is seething me.

 

8.       Varṇitham Jayadhevakena Hareridham Pravaṇena

kindhu Bilva Samudhra Sambhava Rohiṇī Ramaṇena ||10||

 

Hareridham Pravaṇena - of Kriṣhṇa, in devotedness;

Kindhu Bilva [or, kendubilva] - in Kindhu Bilva village;

Samudhra - ocean/ocean-like;

Sambhava - begotten;

Rohiṇī Ramaṇena - star rohini, [one who] delights namely the moon;

Jayadhevakena - by jayadeva;

Idham Varṇitham - this is, romanticized.

 

"O, Rādhhā, this I appeal to you as romanticized by poet Jayadheva, a devotee of Kriṣhṇa, whom the poetic ocean called Kindhu Bilva village has begotten, and who delights starry poetry, as ocean-born moon delight his star of stars, namely Rohiṇi, hence listen to him and tell me where you are.

 

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Chapter 9

Mugdhha Mukundham - Unpretentious Kriṣhṇa'

Aṣhṭapadhī – 18: Mādhhave Mā kuru Mānini

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

 

Tham Athha Manmathha-Khinnam Rathi-Rabhasa-Bhinnam Viṣhādha-Sampannam Anuchinthitha-Hari-Charitham Kalahantharitham Uvācha Rahasi Sakhi ||1||

Harir Abhisarathi Vahathi Madhhu-Pavane |

Kim Aparam Adhhika-Sukham Sakhi Bhavane ||2||

Mādhhave Mā Kuru Mānini Mānamaye ||Dhhruva-Padam ||

Thala-Phalādhapi Gurum Athisarasam |

Kim Viphali-Kuruṣhe Kucha-Kalaśham ||3||

Kathi Na Kathhitham Idham Anupadham Achiram |

Mā Parihara Harim Athiśhaya-Ruchiram ||4||

Kim Ithi Viṣhīdasi Rodhiṣhi Vikala |

Vihasathi Yuvathi-Sabha Thava Sakala ||5||

Sajala-Nalinī-Dhala-Śhīthala-Śhayane |

Harim Avalokaya Saphalaya Nayane ||6||

Janayasi Manasi Kim Ithi Guru-Khedam |

Śhruṇu Mama Vachanam Anihitha-Bhedham ||7||

Harir Upayathu Vadhathu Bahu-Madhhuram |

Kim Ithi Karoṣhi Hridhayam Athividhuram ||8||

Śhrī-Jayadheva-Bhaṇitham Athilalitham |

Sukhayathu Rasika-Janam Hari-Charitham ||9||

Meanings:

Tham Athha Manmathha-Khinnam Rathi-Rabhasa-Bhinnam Viṣhādha-Sampannam Anuchinthitha-Hari-Charitham Kalahantharitham Uvācha Rahasi Sakhi ||1||

 

Athha - then;

Manmathha-Khinnam - by love-god, rendered helpless;

Rathi-Rabhasa-Bhinnam - love's, longing for savour, wrecked;

Viṣhādha  Sampannam - woe, wealthy;

Anuchinthitha - continually, thinking;

 Hari Charitham - Kriṣhṇa 's, demeanour;

Kalahantharitham - to her, that Rādhhā;

Sakhii - girl friend;

Uvācha - advised.

 

Then to Rādhhā, who is by now worsted by Cupid, whose savour for love is just wrecked, hence she is wealthy in her woes, yet who is continually thinking about Kriṣhṇa's demeanour, to such a 'sorry-after-squabble' heroine of Kriṣhṇa, her girl friend advised.

 

Harihi Abhisarathi Vahathi Madhhu-Pavane |

Kim Aparam Adhhika-Sukham Sakhi Bhavane ||2||

Mādhhave Mā Kuru Mānini Mānamaye ||Dhhruva-Padam ||

 

Hè Mānini-vain, proud - cocky;

Ayè - you, girlie [raadha];

 Mādhhave - about Mādhhava ;

Mānam mā Kuru - cockiness, don't, do;

Madhhu-Pavane Vahathi - autumnal, breeze while breezing;

Harih - Kriṣhṇa;

Abhisarathi - towards [your preset place] comes;

[reprise] hè sakhi - o, dear;

Bhavane - in home, in your realm;

Aparam Adhhika-Sukham Kim - to boot, better, elatedness, what [is it, or you have.]

 

"You cocky girlie! Don't show off your cockiness, for Kriṣhṇa comes to you when the autumnal breeze breezes. Oh dear, what better rapt you've at home, to boot?”

 

Thala-Phalādhapi Gurum Athisarasam |

Kim Viphali-Kuruṣhe Kucha-Kalaśham ||3||

 

Thala-Phalādhapi Gurum - palm, fruit, than, heavier;

Athisarasam - much [plethoric,] with, juice;

Kucha-Kalaśham - bosoms, pot-like;

Kim Viphali-Kuruṣhe - why, fall into disuse, you make.

 

"Heavier than palm-fruits, plethoric in juice are these pot-like bosoms of yours, why do you make them fall into disuse. Oh dear! What better rapt you've at home, to boot?” 

 

Note:

·         This comparison has some illustration about nature, apart from just romance. Palm tree, as all know, is the tallest fruiting tree, and its fruits, not dates, are therefore supposed to be the loftiest among all fruits, both height wise and their content wise. They fruit palm juice in a three-eye sap sockets, and that juice is poor man's much liked cool drink in summer. It instantaneously reduces body heat, minus any side effects, and hence, the palm fruits are praiseworthy for a cooling effect. If these are left unused, for want of some toddy tapper, or a climber to go to such a height, as they are 'not-so-easy- to-get' variety, they become stony and fall. Even then, they will be put to use by burning them in grass, for eating its kernel, which has no such medicinal effects. This is in mundane variety of understanding poet's words in commonplace parlance.

 

·         The other sense attached to such anga prathyaṅga varṇana 'limb by limb poetizing' - it is to be said, whenever a female deity or goddess is pictured, it doesn't go without such descriptions, because a mother is identifiable by bust by the offspring, which was once useful for its birth. Minus them he is nowhere. In lalithā sahasra nāma, such mother is said to have 'stony breasts...' kaṭhina sthala manḍalā... Meaning - let millions and millions take birth; this nature somehow nourishes them, for her mamma knows no wizening effect. So, let us give nature its own due.

 

Kathi Na Kathhitham Idham Anupadham Achiram |

Mā Parihara Harim Athiśhaya-Ruchiram ||4||

 

Athiśhaya-Ruchiram - surpassingly, delectable;

Harim – that Hari;

 Mā Parihara - don't, shun away;

Idham - this [word, little talk];

achiram - not, long before [just now];

Kathi - how many times;

anu padham - at each, step;

Na kathhitham - not, said [by me, of course.]

 

"O cocky girl! Don't shun that Kriṣhṇa, for he is surpassingly delectable, and how many times haven't I said this little talk, just now and on each and every step of yours? 

 

Note:  Yet, Rādhhā goes on refusing Kriṣhṇa... For she is an emblem of happiness for Kriṣhṇa, hlaadinii Śhakhi, and a symbol of unquenchable desire, like nature. Krishna will always be trying to quench it, but rarely nature gets satisfied, and demands him to be always with her, instead of incarnating himself now and then, to see her or her wellbeing. Kriṣhṇa's appearance and disappearance in Rāsa līlā, the dance in Brindhāvan, symbolizes with god's periodic visitation to earth. When it is said, that god created whole universe, in any ism, why he or his messengers chance only upon earth? Why don't they go to mars, moon, or to some black hole? That too, in India he has to come personally without sending some of his deputies. Because, that so-called nature, Hlādhini śhakthi, is only here on this blue dot, however querulous she might be. So, instead of remarrying that nature with that god, let us give her, her own due.

 

Kim Ithi Viṣhīdasi Rodhiṣhi Vikala |

Vihasathi Yuvathi-Sabhā Thava Sakala ||5||

 

Kim ithi Viṣhīdasi - why, this way, you lament;

Vikala Rodhiṣhi - less, lustre [lacklustre, namby-pamby] you wail;

Vihasathi - verily, laughing at;

Thava Sakala - your, all;

Yuvathi-Sabhā - girls, guild [a medieval association of craftsmen or merchants, here milkmaids.]

 

"This way, why do you lament and wail, you namby-pamby, all of your girlfriends in our guild are laughing at you, really?”

 

 Note: Nature's, say this earth's worrying, weeping, and wailing for the arrival of that ultimate onto her is as old as the fish incarnation. Every time he comes here, does some tricks and gets out as soon as his feats are over. But she wants him to be with her, and he escapes from her on politely feigning something, and all this comes mean - you be in your place, I'll be in my place, but I come to you only, only to go from your proximity, as Jean-paul Sartre prefers to say: “l'existence précède et commande l'essence” , existence precedes and rules essence. This is the Indian type of vyāvhārika, pāramārthika sattha of his 'being and nothingness.'

 

Sajala-Nalinī-Dhala-Śhīthala-Śhayane |

Harim Avalokaya Saphalaya Nayane ||6||

 

Sajala - with, water [or, mr^idula- softish];

Nalinī-Dhala - lotus, petals;

Śhīthala-Śhayane - cool [refreshing,] on bed;

Harim Avalokaya  - at Kriṣhṇa, contemplate;

[then only you will become;]

sa phala nayane - with, fruit, your eyes will be [or, one with fructified eyes, for she had once seen him.]

 

"Contemplate on Kriṣhṇa, who is on a freshening bed of moist lotus petals, then your eyes comes to fruition.”

Note: You are that lotus bed, serving as his sustainment. See that way with your third eye, then only you realize your being is not different form that of his.

 

Janaya si Manasi Kim Ithi Guru-Khedam |

Śhruṇu Mama Vachanam Anihitha-Bhedham ||7||

Kim ithi - why, this way;

Guru khedam - heavy, sadness;

Manasi janayasi - in heart, you give raise;

Śhruṇu mama vachanam - listen, to my, words;

Anihitha - unwished for [unenviable,]

Bhedham - having inequality [among you too -finishing line, without broadening vyaakhya.]

 

"Why you give raise to a heavy sadness in your heart this way, listen to my words that contain an unenviable inequality among you two?”

 

Harir Upayathu Vadhathu Bahu-Madhhuram |

Kim Ithi Karoṣhi Hridhayam Athividhuram ||8||

Hari upayathu - krishna, comes [to you];

Vadhathu bahu madhhuram - speaks, much, melodiously;

Kim ithi Karoṣhi Hridhayam - why, this way, you render, your heart;

Atividhuram - muchly, wrench.

 

"Kriṣhṇa comes to you, talks to you much melodiously, then why you wrench your heart this much?”

Note: This and the above 'inequality' statements have some bearing to the sayings of Bhagavadh Gīthā, more so Āthma samyamna yoga of it. Don't sit thinking 'he' and 'me' - a-chinthya-bhedha-a-bhedha - for none knows what connection exists between the ultimate and the later.

 

Śhrī-Jayadheva-Bhaṇitham Athilalitham |

Sukhayathu Rasika-Janam Hari-Charitham ||9||

 

Jayadheva bhaṇitham - by Jayadheva, said;

Ati lalitham - very, subtle;

Śhrī  Hari-Charitham - providential, Lord’s allegory;

Sukhayathu Rasika-Janam - give bliss, to revelling, people [in his lore.]

 

Let the allegory of providential Kriṣhṇa, said by Jayadheva, be blissful to the revellers in his lore.