Lyrics and Meanings (Ashtapadi)

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.

Chapter 7

Nāgara Nārāyaṇam

Aṣhṭapadhī -

Yāmihe Kamiha Śharaṇam

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word &Overall: www.sanskritdocuments.org/sites/giirvaani/giirvaani/gg/sarga7/gg_7_frame.htm

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

Athrānthare Cha Kulaṭā-Kula-Varthma-Ghātha

Sanjātha-Pāthaka Iva Sphuṭa-Lānchana-Śhrīh |

Vrindhāvanāntharam Adhīpayadh Amśhu-Jālair

Dhik-Sundharī-Vadhana-Chandana-Bindhur Indhuh ||1||

Prasarathi Śhaśha-Dhhara-Bimbe Vihitha-Vilambe Cha Mādhhave Vidhuurā |

Virachitha-Vividhha-Vilāpam Sāparithāpam Chakārochchaih ||2||

Kathhitha-SamayesApi Harir Ahaha Na Yayau Vanam |

Mama Viphalam Idham Amala-Rūpam Api Yauvanam |

Yāmi He Kam Iha Śharaṇam Sakhi-Jana-Vachana-Vanchithā ||Dhruvam||1||

Yadh-Anugamanāya Niśhi Gahanam Api Śhīlitham |

Thena Mama Hrudhayam Idham Asama-Śhara-Kīlitham ||2||

Mama Maraṇam Eva Vāram Ithi Vitatha-Kethana |

Kim Iha Vishahami Virahanalam Achethana ||3||

Mam Ahaha Vidhurayathi Madhhura-Madhhu-Yāmini |

Kapi Harim Anubhavathi Krītha-Sukrītha-Kāmini ||4||

Ahaha Kalayami Valayadhi-Mani-Bhūśhaṇam |

Hari-Viraha-Dhahana-Vahanena Bahu-Dhūṣhanam ||5||

Kusuma-Sukumāra-Thanum Athanu-Śhara-Lilaya |

Srag Api Hridhi Hanthi Mam Athiviṣhama-Shilaya ||6||

Aham Iha Nivasami Na-Gaṇitha-Vana-Vethasa |

Smarathi Madhhusūdhano Mām Api Na Chethasa ||7||

Hari-Charaṇa-Śharaṇa-Jayadheva-Kavi-Bharathi |

Vasathu Hridhi Yuvathir Iva Komala-Kalāvathi ||8||

Meaning:

Athrānthare Cha Kulaṭā-Kula-Varthma-Ghātha

Sanjātha-Pāthaka Iva Sphuṭa-Lānchana-Śhrīh |

Vrindhāvanāntharam Adhīpayadh Amśhu-Jālair

Dhik-Sundharī-Vadhana-Chandana-Bindhur Indhuh

Athrānthare Cha - Atra antare ca- in the, meanwhile, even;

Kulaṭā-Kula - by fancy women, flocks;

Varthma - their pathway;

Sanjātha-Pāthak -  by spoiling, obstructing caused thereby;

Sphuța Lānchana - clear badge [of infamy];

Śhrīh - having brilliance;

Dhik sundharī - [eastern] direction, called beauty;

Vadana chandana bindhur - on [her] face, sandal, a blob of;

Induh - moon;

Amśhu-Jālair - moonbeams, with laces of;

Vrindhāvanāntharam Adhīpayadh - brindavan, interior of, brightened up.

In the meanwhile, he who bears a brilliant but clear badge of infamy on his face, for he incurred sin by obstructing the pathways of flocks of sneaky fancy women, that moon brightened up the interiors of brindavan with the laces of his moonbeams, himself staying like the sandal-blob on the forehead of the beauty, called the eastern sky.

Prasarathi Śhaśha-Dhhara-Bimbe Vihitha-Vilambe Cha Mādhhave Vidhurā |

Virachitha-Vividhha-Vilāpam Sāparithāpam Chakārochchaih ||2||

Śhaśha-Dhhara-Bimbe - rabbit, bearing, discoid [moon];

Prasarathi - while emanating;

Mādhhave - by flute bearing Kriṣhṇa, cha -also;

Vihitha vilambe - imposed, tardiness [belatedly];

Vidhurā - by the anguished Rādhhā;

Virachitha-Vividhha-Vilāpam - made [underwent,] many a, heartache;

Sāparithāpam Chakārochchaih - utter, anguish, made [underwent.]

While that discoid moon bearing a rabbit is sprightly coming, and while this Kriṣhṇa bearing a flute is not coming belatedly, she that anguished Rādhhā, underwent many a heartache, and an utter anguish.

Kathhitha-Samayes Api Harir Ahaha Na Yayau Vanam |

Mama Viphalam Idham Amala-Rūpam Api Yauvanam |

Yāmi He Kam Iha Śharaṇam Sakhi-Jana-Vachana-Vanchithā ||Dhruvam||1||

Kathhitha-Samayes Api - on said, time, even;

Vanam na yayau - to brindavan, not, arrived;

Mama idham yauvanam - my, this, youth;

Amala - not, blemished,

Rūpam - beauty, api -even;

Viphalam - wasteful;

Yāmi He Kam Iha Śharaṇam - here [in forest] whom, as shelter [haven,] I can go; [respite];

Aham - i am;

Sakhi-Jana-Vachana-Vanchithā - by friends, flocks of, words [cajolery,] befooled.

Kriṣhṇa didn't turn up on the appointed time at brindavan, wasteful is my youth and unblemished beauty without him, whom I can approach as a haven in this forest... Aha ha, those girl flocks cajolery be fooled me.

Yadh-Anugamanāya Niśhi Gahanam Api Śhīlitham |

Thena Mama Hrudhayam Idham Asama-Śhara-Kīlitham ||2||

Yadh - for which [Kriṣhṇa];

Anugamanāya - to go in tow;

Niśhi - in night;

Gahanam Api Śhīlitham - forest, even though, is searched;

Thena - by him [Kriṣhṇa];

Mama Hrudhayam Idham - mine, this, heart;

Asama-Śhara-Kīlitham - by love-god's, [unseen] arrow impaled; [respite]

Aha ha - ah, aha; aham - i am;

For which unseen Kriṣhṇa Ī have searched the forest even though it is night, he alone became an unseen arrow of still unseen love-god, and impaling this heart of mine. Aha ha! Those girl flocks cajolery be fooled me.

Mama Maraṇam Eva Vāram Ithi Vitatha-Kethana |

Kim Iha Vishahami Virahanalam Achethana ||3||

Ithi Vitatha-Kethana - utterly, shattered, [this] preset place;

Achethana -  I am;

Virahanalam - disunion, fire of [put to the torch];

Kim Iha Vishahami - why, here, I am tolerating, put up with;

Mama Maraṇam Eva Vāram - to me, death, alone, best.

Utterly shattered is the worth of this preset place, thus I too am spiritless, and then why should I put up with this place that is putting me to the torch of disunion, thus death alone is best to me.

Mam Ahaha Vidhurayathi Madhhura-Madhhu-Yāmini |

Kapi Harim Anubhavathi Krītha-Sukrītha-Kāmini ||4||

Madhhura-Madhhu-Yāmini - pleasant, spring's, night;

Mam Ahaha Vidhurayathi - me, verily, excruciating;

Krītha-Sukrītha - lucky girl by her merit in last birth;

Kāmini - voluptuous girl;

Harim Anubhavathi - with Kriṣhṇa, making merry

Though this night of spring is pleasant it is excruciating me. Maybe some lucky and merited voluptuous girl might be making merry with Kriṣhṇa.

Ahaha Kalayami Valayadhi-Mani-Bhūśhaṇam |

Hari-Viraha-Dhahana-Vahanena Bahu-Dhūṣhanam ||5||

Ahaha kalayami Aha ha, I lost it!

Valayadhi- bicep-let, and others;

Mani-Bhūśhaṇam - gem-studded, jewellery;

Hari-Viraha-Dhahana-Vahanena - for Kriṣhṇa, anguish, blaze, carrying;

Kalayami - I reckon;

Bahu-Dhūṣhanam - highly, contemptible; aha ha- aha, ha.

These arm-lets and every other gem-studded jewellery I wear, bears a blaze of my anguish for Kriṣhṇa, hence I reckon them as highly contemptible wear. Ah ha!

Note: It is really worthless to decorate themselves, if unseen by their lovers.- Sthrīnām priya āloka phalo hi veśhah. After all, the result of these cosmetics are, when seen by her dear one.

Kusuma-Sukumāra-Thanum Athanu-Śhara-Lilaya |

Srag Api Hridhi Hanthi Mam Athiviṣhama-Shilaya ||6||

Kusuma – flower;

Sukumāra – delicate; 

Thanum - bodied such as I am;

Athanu- bodiless (love-god);

Śhara-Lilaya - arrows, by sport of;

Srag api - garland, even I am wearing along with ornaments for Kriṣhṇa;

Hridhi - heart,

Hanthi - rending.

Mam - my; 

Athiviṣhama-Shilaya - highly poisonous in their import has an effect;

Even the garland I wear is rending my heart, whose flower like delicate body is already rent by sporting arrows of love-god, that have a poisonous effect. The arrows of love-god rend the soul not body, but it is still better god for love that is rending the heart.

Note: Apūrva iyam dhanur vidhyā manmathasya mahāthmanah | śharīram akṣhatham krīthvā bhinathi anthargatham manah || Though the arrows tortured her body, her own garland has become a poisonous cosmetic, for it has a bearing upon Kriṣhṇa.

Aham Iha Nivasami Na-Gaṇitha-Vana-Vethasa |

Smarathi Madhhusūdhano Mām Api Na Chethasa ||7||

Aham Iha Nivasami - i am, here;

Na-Gaṇitha-Vana-Vethasa - not, counting, vetasa tree, lingering;

Smarathi - reminisces;

Madhhusūdhano - Kriṣhṇa;

Mām - me;

Na - not,

Chethasa - by bosomeven;

I am lingering at this excitatory vethasa tree, uncaring for its exciting effect, but that Kriṣhṇa doesn't reminisce me, even in his bosom.

Hari-Charaṇa-Śharaṇa-Jayadheva-Kavi-Bharathi |

Vasathu Hridhi Yuvathir Iva Komala-Kalāvathi ||8||

Hari – Kriṣhṇa;

Charaṇa - at feet;

Śharaṇa - resorting to;

Jayadheva kavi - Jayadheva, poet's,

Bharathi - idiolect;

Vasathu Hridhi - let her abide in bosoms;

Yuvathir Iva - damsel, like;

Komala - fine-limbed;

Kalāvathi - well-versed in arts.

Let the idiolect of poet Jayadheva, whose only resort is at the feet of Kriṣhṇa, be abiding in the bosoms of all, like an exquisite, fine-limbed damsel, well-versed in (sixty-four) arts.

Note: idiolect - the form of language used by an individual person - the language. Used in here is peculiarly particular to Jayadheva. Neither earlier poets, nor the later could use such a complicatedly delicate construction.

Chapter 8

Vilakṣhmya Lakṣhmīpathim - Apologetic Krishna

Aṣhṭapadhī – 17: Yāhi Mādhhava

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_8_frame.htm

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

Athha Katham Api Yaminīm Viniya

Smara-Śhara-Jarjarithapi Sa Prabhāthe |

Anuṇaya-Vachanam Vadhantham Agre

Praṇatham Api Priyam Aha Sabhyasūyam ||||

Rajani-Janitha-Guru-Jagara-Rāga-Kaṣhayitham Alasa-Niveśham |

Vahathi Nayanam Anurāgam Iva Sphum Uditha-Rasa-Bhiniveśham ||1||

Han Hari Yahi Mādhhava Yāhi Keśhava Mā Vadha Kaithava-Vadham |

Tham Anusara Sarasi-Ruha-Lochana Ya Thava Harathi Viṣhādham ||Dhhruvam||

Kajjala-Malina-Vilochana-Chumbana-Virachitha-Nilima-Rūpam  |

Daśhana-Vasanam Aruṇam Thava Kriṣhṇa Thanothi Thanor Anurūpam ||2||

Vapur Anuharathi Thava Smara-Sa~Ngara-Khara-Nakhara-Kṣhatha-Rekham |

Marakatha-Shakala-Kalitha-Kala-Dhautha-Liper Iva Rathi-Jaya-Lekham ||3||

Charaṇa-Kamala-Galadh-Alakthaka-Siktham Idham Thava Hridhayam Udharam |

Darśhayathīva Bahir Madhana-Dhrurna-Nava-Kisalaya-Parivāram ||4||

Dhaśhana-Padham Bhavadh-Adhhara-Gatham Mama Janayathi Chethasi Khedham |

Kathhayathi Kathham Adhhunāpi Mayā Saha Thava Vapur Etadh Abhedham ||5||

Bahir Iva Malinatharam Thava Kriṣhṇa ManosApi Bhaviṣhyathi Nūnam |

Kathham Athha Vachayase Janam Anugatham Asama-Shara-Jhvara-Dhunam ||6||

Bhramathi Bhavān Abalā-Kavalāya Vaneṣhu Kim Athra Vichithram |

Prathayathi Puthanikaiva Vadhu-Vadha-Nirdhaya-Bāla-Charithram ||7||

Śhrī-Jayadheva-Bhaṇitha-Rathi-Vanchitha-Khanḍitha-Yuvathi-Vilāpam |

Śhruṇutha Sudhhā-Madhhuram Vibudhha VibudhalayathosApi Dhurāpam ||8||

Meaning:

Kriṣhṇa appears before Rādhhā from out of thin air, on the next day morning. But Rādhhā, on seeing his appearance and apologetic look, starts her raves and raves at him.

Athha Katham Api Yaminīm Viniya

Smara-Śhara-Jarjarithapi Sā Prabhāthe |

Anuṇaya-Vachanam Vadhantham Agre

Praṇatham Api Priyam Aha Sabhyasūyam ||||

Athha - then;

Katham+Api - somehow, even;

Yaminīm - night;

Viniya - (somehow) spent;

Smara+Śhara+Jarjaritha+api - love-god's, by arrows, battered, even though;

Sā - she; Prabhāthe - in morning;

Agre - before (her Kriṣhṇa appeared in her fore);

Anuṇaya+Vachanam+Vadhantham - with apologetic, words, speaking;

Praṇatham+Api - praying with adjoined palms, even though;

Priyam - to her lover (Kriṣhṇa);

Aha - (she) spoke;

Sabhyasuyām - with jealousy (petulantly.)

Then, somehow on spending an un-spendable night with her problem of aloneness, and even though she is battered by the arrows of love-god, but in the morning when somehow Kriṣhṇa revealed himself in her fore, and though he started speaking with apologetic words, and even with his palm-fold, she that Rādhhā spoke to him petulantly.

Rajani-Janitha-Guru-Jagara-Rāga-Kaṣhayitham Alasa-Niveśham |

Vahathi Nayanam Anurāgam Iva Sphum Uditha-Rasa-Bhiniveśham ||1||

Han Hari Yahi Mādhhava Yāhi Keśhava Mā Vadha Kaithava-Vadham |

Tham Anusara Sarasi-Ruha-Lochana Ya Thava Harathi Viṣhādham ||Dhhruvam||

Rajani+Janitha - night, caused;

Guru+Jagara - by much, waking;

Rāga - reddened; Kaṣayitam - a little reddened (your eyes);

Alasa+ Niveśham - weakly, wink;

Uditha+Rasa+Bhiniveśham - sprang up, in romance, expertise;

thava+Nayanam+sphuṭam+vahathi - your, eyes, clearly, bear (those marks);

Anurāgam+Iva - interestedness, as though;

Yahi+ Mādhhava - away with you, Kriṣhṇa;

Mā+dhhava+ Kaithava+ Vadham - don't, tell, feign, dialogue;

Sarasiruha+Lochana - oh, lotus-like, eyed one;

Tham+Anusara - her, tag along;

Yāhi+ Keśhava - be off, Keśhava;

Ya+Harathi+vişhādham - she who, takes away, your woe;

Hari - oh god, oh god.

Your buoyant eyes that ever express your expertise in your self-indulgence in romances, are now weakly winking, and reddened both by the night-caused nightlong waking, and by the reddish colour of facial-cosmetic of your lover, hence they now clearly bear the mark of your interestedness in her alone. Away with you,Oh Kriṣhṇa! You with your lotus-like luring eyes. Tag along her alone, who takes your woe away. Be off! Keśhava, and tell no feign dialogue to me, Oh God! Oh God!

Kajjala-Malina-Vilochana-Chumbana-Virachitha-Nilima-Rūpam  |

Daśhana-Vasanam Aruṇam Thava Kriṣhṇa Thanothi Thanor Anurūpam ||2||

Hè Kriṣhṇa - he, Kriṣhṇa;

Kajjala+Malina - by mascara, besmirched;

Vilochana+ Chumbana - eyes, by kissing;

Virachita+Nilima+Rūpam - besmeared, blackness, air of;

Daśhana+Vasanam - teeth, covering (lips);

Aruṇam - reddish (lips);

Thava+Thanothi - to your, (colour of) body, enriching;

Oh Kriṣhṇa! By kissing her eyes that are besmirched by mascara, some blackness is besmeared on your reddish lips, thus those lips with an air of blackness are enriching your body colour, that is already blackish. Go off!

Vapur Anuharathi Thava Smara-Sangara-Khara-Nakhara-Kṣhatha-Rekham |

Marakatha-Shakala-Kalitha-Kala-Dhautha-Liper Iva Rathi-Jaya-Lekham ||3||

Thava+Vapur - your, body;

Smara+ Sangara - love-god's, war (warring in love-war); 

Khara + Nakhara+Kṣhatha+Rekham - sharp, fingernail, chafes, streaks;

Marakatha+shakala - on emeralds, pieces of;

Kalitha - carved;

Kala-Dhautha-Liper - with golden streaks;

Rathi-Jaya-Lekham - in love affairs, of victory (merit) certificate;

Anuharathi +Iva - resemble, like.

Your body is chafed with streaks of sharp fingernails, and they resemble the golden streaks carved on the pieces of emeralds, in your certificate of merit in love affairs... Then you must be warring in love-war. Go off!

Charaṇa-Kamala-Galadh-Alakthaka-Siktham Idham Thava Hridhayam Udharam |

Darśhayathīva Bahir Madhana-Dhrurna-Nava-Kisalaya-Parivāram ||4||

Idham+Udharam - this, broad (or, bounteous);

Thava+Hridhayam - your, chest;

Charaṇa+ Kamala - from feet, lotuses;

Galadh+ Alakthaka+Siktham - slid, red feet-paint, wet with;

Madhana+Dhruna - love-god, (called) tree;

Nava+Kisalaya+Parivāram - new, tender leaves, whorled with;

Darśhayathi+iva+ Bahir - showing, as though, at outside.

Because this bounteous chest of yours is wet with the red feet-paint slid from some lotus-footed girl, it appears like an all-embracing tree like love-god in side that chest, but now showing itself from out of that chest, whorled with new tender leaves. So you must be at love-war. Go off!

Dhaśhana-Padham Bhavadh-Adhhara-Gatham Mama Janayathi Chethasi Khedham |

Kathhayathi Kathham Adhhunāpi Mayā Saha Thava Vapur Ethadh Abhedham ||5||

Bhavadh+Adhara+Gatham - your, lip, gone in;

Daśhana+Padham - tooth, foot (bite);

Mama +Chethasi+Janayathi+Khedham - in my, heart, causing, agony;

Api+adhhuna - even, now

Thava+ Vapur - your, body;

Mayā+Saha - me, along with;

ethath - all this (said, alleged singleness);

A+bhedham - un-separated;

Kathham+ Kathhayathi - how, says it.

The tooth-bite abiding on your lip is causing agony in my heart, even now how can my heart say to me that we are allegedly un-separated, bodily; Go off!

Bahir Iva Malinatharam Thava Kriṣhṇa ManosApi Bhaviṣhyathi Nūnam |

Kathham Athha Vachayase Janam Anugatham Asama-Śhara-Jhvara-Dhunam ||6||

Thava+Mano+Api - your, heart, even;

bahih+iva - outside, like (like your body);

Malina+ tharam - grimy, higher in degree (grimier);

nunam - definitely;

Bhaviṣyathi - will be (seems to be);

Athha - why because (otherwise);

Asama+ Śhara - love-god's, by arrows;

Jhvara - with fever;

dhunam - agonized;

Anugatham+janam - following, people (your adherents, admirers);

Kathham+Vanchayase - how, you let down.

Even your heart seems to be grimier than your begrimed body, definite is that, otherwise how can you let down your own admirers, agonized in the fever caused by love-god's arrows? Away with you Kriṣhṇa!

Bhramathi Bhavān Abalā-Kavalāya Vaneṣhu Kim Athra Vichithram |

Prathayathi Pūthanikaiva Vadhu-Vadhha-Nirdhaya-Bāla-Charithram ||7||

Bhavān - you are;

Bhramathi - you roam;

Vaneṣhu - in forests (in Brundhāvan);

Abalā+ Kavalāya - womenfolk, to wolf down;

Kim+Athra+Vichithram - what, therein, surprise (unsurprising it is);

Pūthanikā+iva - pūthanā (the demoness,) as with;

Vadhu+vadhha - women, in killing;

Nirdhaya - merciless; Bāla+Charithram+Prathayathi - childhood, legends, explains.

You roam in Vrindhāvana only to wolf down womenfolk, unsurprising is that, as with the killing of demoness pūthanā in your childhood. Merciless legends of your childhood explain that you are a women killer. Away with you!

Śhrī-Jayadheva-Bhaṇitha-Rathi-Vanchitha-Khanḍitha-Yuvathi-Vilāpam |

Śhruṇutha Sudhhā-Madhhuram Vibudhha VibudhalayathosApi Dhurāpam ||8||

Hè Vibudhha - oh, literati;

Sudhhā+Madhhuram - (than) nectar, nectareous;

Vibudhha + Alayathaha+api - abode of gods, even from;

Dur+āpam - impossible to get;

Jayadheva+Bhaṇitha+ Śhrī - by Jayadheva, said, promising (song);

Rathi+vanchitha - from intimacy, cheated;

Khanḍitha+ Yuvathi+ Vilāpam - disregarded, heroine's, lament;

Śhruṇutha - be listened.

Oh literati! That promising song said by Jayadheva, that which is nectarous than nectar, and an impossible one to get even from the heaven, and that says about 'a disregarded heroine' cheated from intimacy, may be listened.