Explanation of
Ashtapathy 1 – 12 By Sri Janakiraman Bhagavathar at Sampradhaya Bhajana
Vidyalayam
Sri Janakiraman bhagavathar graced Sampradaya Bhajana
Vidyalayam with his presence on 18th August 2013. Geeta Govindam or
Ashtapathy being his forte, he vaxed eloquently on the subject, simply
mesmerizing us with both the lofty beauty of the Geeta Govindam as well as his
simple way of explaining it.
The Prelude
The Poorva shlokas set the prelude for the Geeta Govindam,
where Nanda Gopa takes the baby Krishna along
with him to the forest while he goes for grazing the cows. However, finding
that the sky is laden thick with black clouds, he fears it will soon rain
heavily (Mekhair Medhuram Ambaram), and wants to send the child back home. It
is then that he finds Radha and gives the child to her, asking her to take
Krishna safely to his home.
While Radha carries Krishna and goes back, she is reminded
by Krishna that she had wished to have Raasa Leelas with him while in her
Poorva Janma (as Lakshmi Devi itself), and is asked to wait in a Kunjam, while
Krishna will come back soon.
Ashtapathy 1
The first ashtapathy is a praise to the 10 incarnations of
the lord. Krishnavatar is deliberately omitted, as Jayadeva sees all the 10
incarnations as that of Lord Krishna itself.
A beautiful fact that Janakiraman bhagavathar brought to our
attention was that the first Ashtapathy starts with `Jaya’ (Jay Jaya Deva
Hare).
We start a bhajan with Jay Janaki Jeevana Smaranam, the Thodaya Mangalam begind
with `Jaya Jaanaki Ramana’, and Narayana Theerthar’s Tharangam is full of Jaya
ghosham (Jaya Jaya Bala Gopala, Jaya Jaya Swamin etc).
Though the shloka states `Shringara Maha Kavyam’, he
explained that many stalwarts prefer to call it `Maha Shringara Kavyam’,
because this Shringara Bhavam is towards the eternal force Paramatma.
The phalashriti of
the first ashtapathy states that it gives us the `Bhava Saaram’, which is the
Lord Himself.
Ashtapathy 2
While it is customary in south Indian Sampradayam to sing
`Hari Govinda Gopala Jaya Jaya Deva Hare’ as the anupallavi, this is not part
of the original work. But there is nothing wrong in singing it as well, he
said.
He also said that the name `Govinda’ has not been used
anywhere in the Ashtapathis, and only in the shlokas. The reason could be
derived from the tharangam `Rama Krishna Govinda…’ where Rama nama is compared
to Ganga (Rama Naama Gangayaa) and
Krishna nama is compared to Yamuna. As in the Triveni Sangam, the river
Saraswati is antarvahi, so is the name Govinda. Jayadeva had also probably gone
by the same explanation, and chose not to name the very supreme.
Janakiraman bhagavathar also gave a beautiful explanation of
`Sri Mukha Chandra Chakora’, referring to the Chakora bird, which finds
contentment in `drinking’ the moon light, and therefore, the Lord is described
as the one who finds contentment in Sri Mukha or Lakshmi. Sri Paramahamsa has
also used a similar anology in Manasa Sancharare. The sahityam goes like this –
`Paraha Hamsa Mukha Chandra Chakora
Paripoorita Murali ravathaare’
Ashtapathy 3
Srimad Bhagavatha holds no firm reference to the
relationship between Radha and Krishna. In the Dashama Skantha, it has just
been stated that Krishna had done a lot of Rasa leelas with many Gopis, and he
took one gopi to seclusion, with whom he spent more time.
Jayadeva had chosen to celebrate this episode further by
composing the great Geeta Govinda. The third ashtapathy states that this
happened in Vasantha rithu or spring
season. There is a spiritual significance here as well, explained the Bhagavathar. In the Viveka Chudamani, sadhus
are described as `Vasanthavath Loka
Hitham…’ where saadhus, being the
closest to the God are compared to the spring season, because all good things
are available in abundance in their presence.
The shloka states
that while the bees were happily buzzing around and the cuckoos were singling
mellifluously, Radha, along with her sakhi
(sahachari) roamed about (Bhramantheem
Kaanthaare) here and there, in search of Hari.
Ashtapathy 4
While Radha is frantically in search of her Lord, her sakhi comes back to her and reports that
Hari is with many other ladies (Aneka Nari …)
The ashtapathy starts with `Chandana Charchita Neelakalebara Peetha Vasana Vanamali’, and it
is rich in colors. Just a visualization of this scene fills our heart with
beauty. The blue Lord has the sandal paste adorning His body, and He is wearing
a yellow dress. He is playing around with many Gopis.
4th stanza (Kaapi Kapola) - All the gopis want to
possess Krishna and use many tactics to bring Him to them. One gopi calls
Krishna telling that she has a secret to tell, and when he comes near, she
gives him a kiss.
7th Stanza (Pashyathi Sasmita) – One beautiful
gopi (Charutharaam / Vaamaam) was at
a distance, and she managed to dazzle Krishna with her beautiful smile.
This ashtapathy, on a philosophical ground, explains the
importance of a Guru (metaphoric as the Sakhi here). While Radha (Jeevatma) was roaming here and there in
search of Krishna (The Paramatma), it
is the sakhi (Sathguru) who shows Radha where the Lord
is. This is the prime duty of a sathguru.
The shloka for this ashtapathy started with `Aneka Naari’ being attracted to Him, and
the ending shloka begins with `Vishweshaam’..
Not only are those Gopis, but the whole world is attracted by the charm of Lord
Krishna.
So the Sakhi is asking Radha, while the whole world is running
behind Krishna, o Radhe, why are you sitting here? Go to him immediately.
Did Radha go? This takes us to the next Ashtapathy.
Ashtapathy 5
The shlokam starts `Viharati
vane Radhaam..’ which means that
Radha went alone to another kunjam, away from where the Raasa Leela happened.
She chose to go to a kunj where the bees’ noise was so high (Mukhara shikhare) that she will not hear
the music from Rasa leela.
Why did Radha go away? She probably realized that her
presence is not required in Rasa Leela, which was why Krishna started it
without waiting for her, and she did not want to join in the middle of it.
The ashtapathy also has a beautiful description of the
peacock feather on Krishna’s head. In the stanza `Prachura Purandara
Dhanuranu…’ he compares the colorful feather on Krishna’s black hair to that of
a colorful rainbow in a thick black sky. What a beautiful and appropriate
comparison!
In the last stanza, Jaya Deva implores the rasikas to not
just see this as a work of `Shringaram’, but a means to do Hari Smaranam, which
in turn will quench the pang of all worldly fears (Kali Kalusha Bhayam Shamayantham).
So the essence of this ashtapathy is that even though Radha
went to another Kunj, all she was doing was Hari Smarana. But can she bear this
separation for long? No, for sure. So the only way is to ask her Sakhi to help
her. This is what we can see in the next Ashtapathy.
Ashtapathy 6
`Ramayamaya…’ Here, Radha requests her Sakhi to please help
her go in union with Krishna. Radha’s request here is a role model of us
Bhaktas. Only if we have a deep and unconditional wish to attain Hari, will the
Lord give himself to us. As humans, it is only natural that we have wishes. But
as bhaktas, we should always strive to channelize these wishes as a means to
attain the Lord. Bhagavathar rightly quoted the abhang `Hechi Hechi Maaja Aasa,
Janmo janmi thuja Daasa’, which means, that my only desire is to be Your
servant for many coming Janmas.
While Radha was tormented by the pain of separation, was the
Paramatma missing her as well? Or was he happy doing the Rasa Kelis with other gopis? The forthcoming sargam explains this…
Ashtapathy 7
Krishna is filled with regret, as He feels that she had
rightfully left him (chalita) because
she saw Him among many other ladies. Saapara
Kupideva.. means she had left with so much of anger, which Krishna feels,
is quite justified.
The phrase `Hari Hari’ is used to indicate something very
painful, and hence is used beautifully in this context.
Sri Bhattathiri also uses a similar `Shiva Shiva’ in the
Dhasakam of Narayaneeyam describing Ramayana, where he explains how painful and
sad it was of Rama to dessert his fully pregnant wife (Shiva Shiva Kilathaam Garbhineem abhyahaaseem).
The stanza `Kim Karishyathi Kim Vadhishyathi..’ means
Krishna is really worried over what she would be thinking or talking about at
this point.` I have been separated from her for so long now. Alas! What use is of all
this (Cow) wealth to me, my life has
no meaning without her (Kim dhanena…)’.
In the stanza `Chinthayaami
thadaananam’.. He thinks of her beautiful face, and imagines those
beautiful eyebrows to be sharply curved, due to anger (Kutilam means curved).
Shona Padma Iva Upari
Bhramatha means the red lotus (face) has the eyes like the beautiful bees.
In the stanza `Dhrishyase..’
he imagines Radha as coming to him and going away (Gathaagatham).
Not bearing this pain, He asks for forgiveness (Kshamyathaam Aparam), saying he will
never do any act which will displease Radha. So O beautiful lady, please give
your darshan (Dehi Sundari Darshanam…)
At this point, the Sakhi communicates to Krishna that Radha
is also similarly undergoing viraha dukham. This state is explained in the next
sargam.
Ashtapathy 8
The Sakhi tells
Krishna that Radha, keeping Krishna in her heart, is protecting herself from
the non stop (avirala) painful bows
of Manmatha by shielding herself with lotus petals .
She made a doll of Krishna to appease herself, but it turned
out to be Manmadha himself. She is constantly meditated on him (dhyanalagena)
to pacify herself.
Ashtapathy 9
`Avaaso Vipinaayathe’ explains that she is residing in a
forest which is not at all pleasant. Alas, when Hari is not there, even the
best place seems worthless!
She has a group of 8 sakhis in her company (Priya
Sakhimaalaapi Jaalaayathe) who are there to console her. But they seem like a
net to catch the timid and naïve Harini (a baby deer, also means Godess
Lakshmi). The import is that there is no substitute for Krishna. Only Krishna’s
presence can pacify a Bhaktha.
Kandharppoyi Yamaayathe –
Filled by the pang of love, she could not even bear the
burden of a small necklace on her neck. Ever her finger ring now looked like a
bangle. Without Hari’s presence, everything seemed so heavy and meaningless to
her.
The cool breeze no longer felt cool, and her breath was heated
up because of her internal state of devastation. In the heights of desperation,
she even concluded that death is the only solution now.
`Thyajathi na paani’ – She kept her hands on her cheeks, as
she was so down with grief.
So she relentlessly kept on chanting `Hari Hari Hari Hari’
to lighten her pains.
If the Bhakta takes one step towards God, it is said that
the Paramatma will take 10 steps towards the Bhakta. So what did Krishna do?
Ashtapathy 10
`Aham Iha Nivasaami’ – Krishna sends
message through Sakhi to Radha that he am staying here. Yaahi (Please go to Radha) and ask her to come. Please tell her
that I have sent for her (Math Vachane).
In the traditional Sampradayam, this ashtapathy is sung very
slowly, because this conveys the grief of the Lord himself.
Vahati Malaya Sameere..
means that even though cool breeze is blowing, Krishna is not consoled by it.
Krishna is not able to bear the cool moonlight (Shishira dahati..) or the buzzing
of the bees (Dhwanathi Madhupa). He quits the comfortable kunj and stays in the
forest now (vasathi vipina vidhaane, thyajathi lalitha dhaamam).
A point to be noted here is that this ashtapathy has only 5
stanzas and not 8. The explanation given by stalwarts is that the fifth stanza
says that the Lord is rolling on the floor out of grief. If the Lord Himself is
so saddened, there is no greater expression to convey His grief, and hence, it
is only logical to stop there and not create any further stanzas on the Lord’s
grief.
Pained to see the Lord in this state, the sakhi now goes to Radha, carrying His
message,
Ashtapathy 11
Sakhi goes to Radha
and tells her that the Lord is also constantly thinking and singing about you.
He has come in an alankaram appropriate for Rasa Keli, and therefore (`Nakuru… Gamana Vilambanam’ ) don’t
create any further delay and go to where He is staying immediately.
In spiritual terms, this is the message to us Bhaktas, by
the Sathguru. The Sathguru asks us not to waste time, but to spend our lives in
remembering and chanting the Lord’s name, and attain him as soon as possible,
as that is the only goal of our life.
In the second stanza, (Nama
Sametham..) Sakhi explains that Krishna is waiting for Radha, singing about
her, and playing mildly on his flute. He suddenly stops when a breeze comes,
thinking that it has come from where Radha is staying, and could contain the
dust from her feet, and slowly lowers his head, to humbly take that holy dust. Such
is the reverence for Bhaktas by the Lord.
In the seventh stanza, the sakhi concludes by asking the one
who takes pride in being a Hari bhakta (Harirabhimani) to hurry, as only a few
more hours is left for night to set in. Therefore, please listen to my words
(kuru mama vachanam) and hurry up.
Inspired and motivated by the Sakhi’s words, Radha gets
ready and begins to take the first step. But alas, could someone as tender as a
little deer take in the painful blow of separation?
Ashtapathy 12
The shloka `Athadhaam…’ describes Radha as being very weak now. She has no strength to go to Hari, and is constantly
thinking about him alone (Chiram anurakthaam).
The Bhagavathar asked to sing this shloka (usually rendered
in Shankaraabharanam) in a mellow pace, to convey the helplessness of Radha. It
is not appropriate to sing this in higher notes, as it does not go in with the
meaning of the shloka.
The Sakhi, understanding Radha’s deplorable state, goes to Hari and conveys her
story (Thaccharitham).
She describes that Radha, blinded by love, thinks the
darkness as Krishna itself and embraces it (Shlishyathi kaamapi..) Therefore,
the Sakhi requests Krishna to please help out the tormented Jeevatma.
