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 6

Aṣhṭapadhi - 12

Paśyathi Diśhi Diśhi

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_6_frame.htm

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

Athha Thām Ganthum Aśhakthām Chiram Anurakthām Latha-Gruhe Druṣhṭvā |

Tach-Charitham Govindhe Manasija-Mandhe Sākhi Praha ||1||

Paśhyathi Diśhi Diśhi Rahasi Bhavantham |

Tvadh-Adhhara-Madhhura-Madhhūni Pibantham ||

Nāthha Hare Jagannāthha Hare 

Sīdathi Rādhhā Avasa-Gruhe ||Dhhruva-Padham ||1||

Tvadh-Abhisaraṇa-Rabhhasena Valanthī |

Pathathi Padhāni Kiyanthi Chalanthī ||2||

Vihitha-Viśhadha-Bisa-Kisalaya-Valayā |

Jīvathi Param Iha Thava Rathi-Kalayā||3||

Muhur Avalokitha-Manḍana-Līlā |

Madhhu-Ripur Aham Ithi Bhāvana-Śhīlā||4||

Thvaritham Upaithi Na Katham Abhisāram |

Harir Ithi Vadhathi Sakhīm Anuvāram ||5||

Śhliṣhyathi Chumbathi Jala-Dhhara-Kalpam |

Harir Upagatha Ithi Thimiram Analpam ||6||

Bhavathi Vilambini Vigalitha-Lajjā |

Vilapathi Rodhithi Vāsaka-Sajjā ||7||

Śhrī-Jayadheva-Kaver Idham Udhitham |

Rasika-Janam Thanuthām Athimudhitham ||8||

Meanings:

Rādhhā 's friend returns to Kriṣhṇa' to inform about the ecstatic state of Rādhhā.

Athha Thām Ganthum Aśhakthām Chiram Anurakthām Latha-Gruhe Druṣhṭvā |

Tach-Charitham Govindhe Manasija-Mandhe Sākhi Praha ||1||

Athha - then;

Thām - her [Rādhhā];

Ganthum Aśhakthām - to go [immediately,]unable [uncompliant to];

Chiram - for a long;

Anurakthām - interested [dawdling];

Latha-Gruhe -, in creeper, house [bower,]

Druṣhṭvā - on seeing; [meaning that Rādhhā is clinging to this bower expecting Kriṣhṇa to come here, unyielding];

Tach - that;

Charitham - episode;

Govindhe - to Kriṣhṇa;

manasija - by love-god;

 mandhe - dreary-minded;

Sākhi - friend;

praha - clearly said [started to tell in this episode of poem.]

Then the girl friend of Rādhhā, on coming to Rādhhā from Kriṣhṇa, and on seeing Rādhhā who is still dawdling in the same bower, and un compliant to go to Kriṣhṇa immediately, that girlfriend again returned to Kriṣhṇa, and started to tell clearly about that episode of Rādhhā's unyieldingness.

Paśhyathi Diśhi Diśhi Rahasi Bhavantham |

Tvadh-Adhhara-Madhhura-Madhhūni Pibantham ||

Nāthha Hare Jagannāthha Hare 

Sīdathi Rādhhā Avasa-Gruhe ||Dhhruva-Padham ||1||

Paśhyathi - looking [for you,]

Diśhi Diśhi - in direction, direction;

Rahasi - in secrecy;

Bhavantham - for you;

Tvadh-Adhhara - those lips;

Madhhura - luscious,

Madhūni - nectar;

Pibantam - swilling;

Nāthha - oh, lord; Hare - oh, Kriṣhṇa;

Jagannātha - master of worlds;

Hare - oh, Kriṣhṇa;

Sīdathi - saddened;

Rādhhāa - Rādhhā;

Avasa-Gruhe - in a bower;

Dhhruva-Padham - weary

"Hè, lord Kriṣhṇa, master of worlds, saddened Rādhhā is in a bower, and she looks for you, who secretly swills the nectar from the lips of other milkmaids, in all directions. Thus, Rādhhā is weary in an arbour.

Tvadh-Abhisaraṇa-Rabhhasena Valanthī |

Pathathi Padhāni Kiyanthi Chalanthī ||2||

Vihitha-Viśhadha-Bisa-Kisalaya-Valayā |

Jīvathi Param Iha Thava Rathi-Kalayā||3||

Tvadh - to you,

Abhisaraṇa - in coming;

Rabhhasena - speed [enthusiasm];

Valanthī  - having [groggy, muzzy];

Kiyanthi – some; 

Padhāni – steps;

Pathathi - on walking; 

Pathathi - Rādhhā falls.

Vihitha - on making;

Viśhadha - fresh/cool;

Bisa-Kisalaya - lotus, tender leaves, or stems;

Valayā-bracelets - but here a veil, cover, soother for the present burning;

jīvathi - living;

Param Iha – now in dreams

Thava - your;

Rathi - Kalayā, blissful association,

Muzzy with enthusiasm in coming to you, she walks some steps but falls. On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her.

Muhur Avalokitha-Manḍana-Līlā |

Madhhu-Ripur Aham Ithi Bhāvana-Śhīlā||4||

Thvaritham Upaithi Na Katham Abhisāram |

Harir Ithi Vadhathi Sakhīm Anuvāram ||5||

Muhur - repeatedly;

Avalokitha - having observed;

Manḍana Līlā - ornament's, flaunts;

Madhhu - the demon madhu's,

Ripur  - enemy,

Aham  - I am;

Ithi - thus;

Bhāvana - thinking;

Śhīlā - with feeling; [varthathe- conducting herself.]

Thvaritham - swiftly;

Upaithi - coming; Na - not,

Kathham - how [why];

Abhisāram - to preset place;

Harir - Kriṣhṇa

Ithi - thus;

Vadhathi - saying [asking.];

Sakhīm - to friend, 

Anuvāram - repeatedly, all the while;

On observing the flaunt of her ornaments, that are readjusted to look like those of yours, and on assuming your persona she says thus as 'I am Kriṣhṇa...why Kriṣhṇa is not coming swiftly to the preset place?' thus is she, that Rādhhā asking her friend, all the while.

Śhliṣhyathi Chumbathi Jala-Dhhara-Kalpam |

Harir Upagatha Ithi Thimiram Analpam ||6||

Bhavathi Vilambini Vigalitha-Lajjā |

Vilapathi Rodhithi Vāsaka-Sajjā ||7||

Śhliṣhyathi Chumbathi - hugs, kisses;

Jala-Dhhara-Kalpam - cloud, like;

Harir - Kriṣhṇa;

Upagatha - drew nigh,

Ithi - thus [on thinking];

Thimiram - darkness;

Analpam - not small [pitch-black];

Bhavathi - by you;

Vilambini - delayed [in coming there];

Vigalita lajjā - slithered, shame;

Vilapathi - she whines;

Rodhiti - whimpers.

Vāsaka - in her dwelling place;

Sajjā - readying herself decorating with befitting ornaments;

When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Kriṣhṇa drew her nigh, she hugs and kisses that darkness. She readying herself decorated in befitting ornaments is waiting in her dwelling place. But when you delay your coming, slithered is her shame, she whines and whimpers.

Śhrī-Jayadheva-Kaver Idham Udhitham |

Rasika-Janam Thanuthām Athimudhitham ||8||

Śhrī - auspicious saying;

Jayadheva-Kaver - Jayadheva, by poet;

Idham Udhitham - this, [that is] said;

Rasika Janam - for aesthetic, people;

Thanutām - may cause;

Athimuditham - highly, gladdening;

May this auspicious song said by poet Jayadheva cause utmost gladness to aesthetic people...

Chapter 10

Chathura Chathurbhujam - Tactful Kriṣhṇa

Aṣhṭapadhī – 19: Priye Chāruśhīle

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

Athrānthare Masruṇa-Roṣha-Vaśhām Apāra-

Nihśhvāsa-Nihsaha-Mukhīm Sumukhīmupethya |

Savrīḍam Īkṣhitha-SakhĪ-Vadhanām Dhinānthe

Sānandha-Gadhgadha-Padham Haririthi Uvācha ||

Vadhasi Yadhi Kinchidhapi Dantha-Ruchi-Kaumudhi

Harathi Dharathimiramathighoram |

Sphurad-Adhhara-Śhīdhave Thava Vadhana-Chandramā

Rochayatu Lochana-Chakoram ||1||

Priye Chāruśhīle Muncha Mayi Mānamanidhānam |

Sapadhi Madhanānalo Dhahathi Mama Mānasam

Dhéhi Mukha-Kamala-Madhhu-Pānam ||Dhhruva-Pādham ||

Sathyamevāsi Yadhi Sudhathi Mayi Kopini

Dhehi Khara-Nakhara-Shara-Ghātham |

Ghaṭaya Bhuja-Bandhhanam Janaya Radhakhanḍanam

Yena Vā Bhavathi Sukhajātham ||2||

Thvam Asi Mama Bhūṣhaṇam Thvam Asi Mama Jivanam

Thvam Asi Mama Bhavajaladhhirathnam |

Bhavathu Bhavathīha Mayi Sathatham Anurodhhini

Thathra Mama Hrudhayam Athiyathnam ||3||

Nilanalinābhamapi Thanvi Thava Lochanam

Dharayathi Kokanadha Rūpam |

Kusuma-Śhara-Bāṇa-Bhāvena Yadhi Ranjayasi

Kriṣhṇam Idham Ethad Anurūpam ||4||

Sphuratu Kucha-Kumbhayor Upari Mani-Manjarī

Ranjayathu Thava Hridhaya dheśham |

Rasatu Rashanapi Thava Ghana-Jaghana-Manḍale

Ghośhayathu Manmathha-Nideśham ||5||

Sthhala-Kamala-Ganjanam Mama Hridhaya-Ranjanam

Janitha-Rathi-Ranga-Parabhāgam |

Bhaṇa Masruṇa-Vāṇi Karavāṇi Charaṇa-Dhvayam

Sarasa-Lasadh-Alakthaka-Rāgam ||6||

Smara-Garala-Khanḍanam Mama Śhirasi Manḍanam

Dhehi Padha-Pallavam Udhāram |

Jvalathi Mayi Dhāruṇo Madhana-Kadhanāruṇo

Harathu Thadh-Upahitha-Vikāram ||7||

Ithi Chaṭula-Chāṭu-Paṭu-Chāru Mura-Vairiṇo

Rādhikām Adhi Vachana-Jātham |

Jayathu Jayadheva-Kavi-Bhārathi-Bhūṣhitham

Māninī-Jana-Janitha-Śhātham ||8||

Meaning:

Athrānthare Masruṇa-Roṣha-Vaśhām Apāra-

Nihśhvāsa-Nihsaha-Mukhīm Sumukhīmupethya |

Savrīḍam Īkṣhitha-SakhĪ-Vadhanām Dhinānthe

Sānandha-Gadhgadha-Padham Haririthi Uvācha ||

Athra - at there;

Antare - in the mean while;

Harih - krishna;

Dhina ānthe - day, at end of -that evening;

Masruṇa - with precipitated [hot-headed, excited];

Roṣha-Vaśhām - indignation, owing to;

Nihśhvāsa - with suspires;

Nihsaha-Mukhīm - helplessly, face having;

Savrīḍam - with, shy;

Īkṣhitha SakhĪ-Vadhanām - seeing, her friend's, face;

Sumukhīm - one with lovely, face - to her;

upethya - came near;

Sānandha - with, rejoice;

Gadhgadha-Padham - [but] with, quavering, words;

 ithi uvācha - this way, said.

In this meanwhile on that evening,  when she is with a helpless face with boundless suspires, and when she is seeing her friend's face with a 'what am I to do' look, for she is hotheaded owing to indignation, Kriṣhṇa came near of such lovely faced Rādhhā,  though rejoicing,  but spoke these words, quivering in tone.

Vadhasi Yadhi Kinchidhapi Dhantha-Ruchi-Kaumudhi

Harathi Dharathimiramathighoram |

Sphurad-Adhhara-Śhīdhave Thava Vadhana-Chandramā

Rochayathu Lochana-Chakoram ||1||

Priye Chāruśhīle Muncha Mayi Mānamanidhānam |

Sapadhi Madhanānalo Dhahathi Mama Mānasam

Dhéhi Mukha-Kamala-Madhhu-Pānam ||Dhhruva-Pādham ||

Chāruśhīle - o, sweet one, by your heart - rather, o, my sweetheart;

Priye - o, dear;

Mayi - on me;

A nidhānam - without, cause;

Mānam - petulance [choler];

Muncha- release - cast off;

Sapadhi - presently;

Madhanānalo - love's, fire;

Dahati - burns;

Mama Mānasam - my, bosom;

Mukha Kamala - face, lotus's;

Madhhu-Pānam Dhéhi - nectar, lend me;

Kinchidhapi Dantha Vadhasi - a bit, at least, you say;

Yadhi - even if;

Thava Dantha-Ruchi-Kaumudhi - of your teeth are beautiful, moonshine;

Atighoram - highly, horrendous;

dhara thimiram - dark;

Harathi - steals;

Thava Vadhana-Chandramā - your, face, [called] moon;

Lochana-Chakoram - [to my] eyes, [called] cakora birds;

Sphurad - scintillating;

Adhara siidhave - lips, with nectar;

Rochayatu - let them [eyes called birds] cheer up.

"Oh dear!Now lend me nectar from your lotus like face or say, at least a bit of it. Or, even if you say good or bad of me, do say it. Then that moonshine from the sparkle of your teeth steals the highly tenebrous gloom in me. Oh sweetheart! Let my eyes resembling the chakora birds cheer up with nectar from those scintillating lips on your moon-like face. Oh dear! Cast off causeless choler on me, for the fire of love burns by bosom.”

Note:

·         Here “yadhi” means that talk of yours contain good or bad of mine, then your lips open and your teeth sparkles, with that sparkling.

·         Thimiram indicates melancholy, not thamas - darkness, Kriṣhṇa cannot have thamas.

Sathyamevāsi Yadhi Sudhathi Mayi Kopini

Dhehi Khara-Nakhara-Shara-Ghātham |

Ghaṭaya Bhuja-Bandhhanam Janaya Radhakhanḍanam

Yena Vā Bhavathi Sukhajātham ||2||

Sudhathi - O dear with beautiful teeth;

Sathyameva - truly, that way;

Mayi kopinii yadhi asi - on me, furious, if, you are;

Dhehi - give; khara nakha shara ghātham - sharp, fingernails, arrow, gashes; [if you are dissatisfied with it];

Ghaṭaya Bhuja-Bandhhanam - splice, your arms, to shackle me;

Janaya Radhakhanḍanam - cause, teeth, tearing;

Vā - or else; Yena - by which;

Sukhajātham Bhavathi - happiness, causes, in you, those [punishments that will be causing such happiness.]

"Ohdear! If you, who has beautiful teeth, are that way truly furious of me, gash me with you arrow like fingernails .If not, splice your arms to shackle me down. Else, tear me with your teeth. Or, make do in whichever way you feel happy. Howsoever oh sweetheart! Cast off causeless choler on me.”

Thvam Asi Mama Bhūṣhaṇam Thvam Asi Mama Jivanam

Thvam Asi Mama Bhavajaladhhirathnam |

Bhavathu Bhavathīha Mayi Sathatham Anurodhhini

Thathra Mama Hrudhayam Athiyathnam ||3||

Thvam Asi Mama Bhūṣhaṇam - you, are, to me, ornament;

Thvam Asi Mama Jivanam - you, are, to me, existence, or quintessence [metaphysical];

Thvam asi - you, are;

Bhavajaladhhirathnam - [for the temporal] world, ocean-like, jewel;

Iha mayi - here, in my respect [in this somatic world];

Bhavathīha anurodhhini bhavatu - you may, be gracious to me [as against - virodhinii - one at loggerheads];

Thathra - in that matter;

Mama Hrudhayam Sathatham - my, heart is, ever;

Athiyathnam - more, effortful.

"You are my ornament, my life and a gem of mine in this temporal world. Hence, here, in this un-navigable somatic world I sue you to grace me, for my heart is ever effortful in that matter.”

Note: Rathnam here means ”not only my jewel, but being with me you will be the lone jewel of love, in this ocean-like, un-navigable world”.

Nīlanalinābhamapi Thanvi Thava Lochanam

Dharayathi Kokanadha Rūpam |

Kusuma-Śhara-Bāṇa-Bhāvena Yadhi Ranjayasi

Kriṣhṇam Idham Ethad Anurūpam ||4||

Hè thanvi - O svelte Rādhhā;

Nīlanalinābham - blue, lotus, in hue;

Api - though;

Thava lochanam - your, eyes;

Kokanada ruupam dharayathi - pink-lotus, effect, they bear;

Idham- tava kopa lochanam - these, ireful eyes of yours;

Kusuma-Śhara-Bāṇa-Bhāvena - flower, love-god's pink lotus arrow, with rendition;

Kriṣhṇam - one who is in indigo-blue [maam api- me, too];

Ranjayasi Yadhi - you delight, if; 

Yadhi - will be used by some; 

Ethad Anurūpam - all this [ire, fury and pinkness of yours,] will be most becoming.

"Oh svelte Rādhhā, though your eyes will be in the hue of blue-lotuses, they now bear a pinky effect of pinkish lotuses in all their ire. Albeit, if they render themselves as the one and only pink lotus arrow of love, and shoot to delight me, to render me with my indigo-blue hue as the very pink of love. Then all this ire, your eyes and their pink will be most becoming.”

Sphuratu Kucha-Kumbhayor Upari Mani-Manjarī

Ranjayathu Thava Hridhaya dheśham |

Rasathu Raśhanapi Thava Ghana-Jaghana-Manḍale

Ghośhayathu Manmathha-Nideśham ||5||

Thava - your;

Kucha-Kumbhayor Upari  - bosoms, pot-like, on over side;

Mani-Manjarī - set of gems, gem chest pendant, a cluster of sapphires;

Sphuratu - let glitter [with the pinkness of your eyes reflected on them];

Thava Hridhaya dheśham - your, chest, place [bust];

Ranjayathu - [if] it delights;

Manma Hridhaya dheśham Ranjayathu - if your bust with blue-gem pendants delights me on its contact with my indigo-blue chest];

Thava Raśhanapi - your, girdle strings with tinkle bells, even;

Ghana-Jaghana-Manḍale - on curvy, hip, areas - waistline;

rasathu - make tintinnabulations;

Manmathha-Nideśham Ghośhayathu - love-god's, bidding, let it repeatedly announce.

"Oh dear! Let that cluster of sapphire gems on your pot-like bosoms be glittering with the pinkness of your eyes, and with such gems if your bust delights me on its contact with my indigo-blue chest, and in that bustle even that girdle strings with tinkle bells on your curvy waistline will repeatedly announce the bidding of love in their tintinnabulations.”

Sthhala-Kamala-Ganjanam Mama Hridhaya-Ranjanam

Janitha-Rathi-Ranga-Parabhāgam |

Bhaṇa Masruṇa-Vāṇi Karavāṇi Charaṇa-Dhvayam

Sarasa-Lasadh-Alakthaka-Rāgam ||6||

Hè Masruṇa-Vāṇi - o, one with melodious, voice [mellisonant]

 Sthhala-Kamala - land, lotuses [terrene lotus, that grows on ground];

Ganjanam - gainsays;

mama Hridhaya-Ranjanam - my, heart, delight;

Janitha - while causing;’

Parabhāgam - excellence [both feet will have mutually excellent splendour, excellently adept in footwork while on the stage of love];

Charaṇa-Dhvayam - foot, couple of;

Sarasa - passionately;

Lasadh - shining;

alakthaka - lac, rosy cosmetic of foot;

rāgam - crimsoned;

Yadhi - if]; Karavāṇi - [i can] do; [if i can maquillage [- applying makeup] to your feet with crimson lac, the red cosmetic of feet, you will be delighted, hence];

Bhaṇa- what-do-you-say

"Oh Rādhhā, you are mellisonant, those feet of yours resembling land-lotuses are the delighters of my heart and I can maquillage them with crimson red foot-cosmetic. Then they will be mutually excellent, splendorous, adept in footwork on the stage in the play of passion and that which will be delightful to you, what do you say?”