Ashtapathy 1- 12 - Discourse by Sri Janakirama Bhagavathar

Explanation of Ashtapathy 1 – 12 By Sri Janakiraman Bhagavathar at Sampradhaya Bhajana Vidyalayam

Sri Janakiraman bhagavathar graced Sampradaya Bhajana Vidyalayam with his presence on 18^th 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.

Though the term `Ashtapathy’ means 8 verses, the first and the second songs contain 10 verses. [SR1] 

The Prelude

The Poorva shlokas set the prelude for the Geeta Govindam, where Nanda Gopa takes the baby Krishna [SR2] 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[SR3] ). 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 [SR4] 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.

4^th 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.

7^th 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.

 Janakiraman bhagavathar also remembered this ashtapathy being sung in Pudukotai when Sathguru Gopalakrishna Bhagavathar used to go for unchavrithi. He would ask the then young Janakiraman bhagavathar to sing this ashtapathy. Being young, he was more fascinated by the musical element, so knowing this desire, Gopalakrishna bhagavathar would ask him to do some thodi sanchaarams in `Vrutha Mandaleem’. This will show the movement of the loud bees, and also, rhyme with the raga sung (Thodi). [SR5] 

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

The shloka starts with `Kamsaarirapi..’ which means that Krishna did kill Kamsa, however, against the common notion, this was not the main objective of Krishnavatar. The primary objective is Bhakta samrakshanam, or protection of His devotees, and upliftment from `samsara vaasana baddha (ones who are entangled in the worldly matters, or simply, the Jeevatmas). [SR6] 

When the Lord is so concerned about his devotees, will he be ever happy when separated from the queen of His devotees? So he held the stubborn Radha (Radhaam aadhaaya hrudaye) close to his heart. Looking here and there for Radha (Idhasthatha…) as he was hit by the painful bow of Manmadha, he searched her high and low in the banks of the river Yamuna. The kind of sadness he experienced is roughly translated in English by the stalwarts as `poignant grief’[SR7] .

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 Bhagavathar also explained that the phrase `Hathaadharathaya’ is commonly sung wrongly as hatha dharathaya. The correct split is Hatha aadharathaya, which means disrespect[SR8] .

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 [SR9] 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.

She sometimes consoled herself that Hari is everywhere, so there is nothing like a separation. But again breaks into tears the next moment,, (Hasathi Visheedhathi Rodhithi..’, such is her state. [SR10] 

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 –

Radha is wondering whether the Kandharppa (Manmadha) has himself turned out to be her Yama (God of death) [SR11] 

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.

The poet compares Radha to `Bala shashinam’ which means that even though the moon is a piece of beauty, it is not in its full glory until it reaches Paurnami. With so much of grief, Radha is compared to a Bala Shashinam or a baby moon. To further elaborate this metaphor, the poet describes that this moon is now engulfed by the rahu (Manmadha). [SR12] 

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.

 

 

 

 

 

 

 

 

 

 

 

 

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 [SR1]The First has 10 verses and the 10^th has 5 verses. 2nd ashtapadi has 8 verses just like the rest of them.

 [SR2]Child is a better word that baby which often refers to infancy

 [SR3]Jaya Jagadeesha Hare

 [SR4]Phala Sruthi

 [SR5]This is not the correct place where this was mentioned .. plz refer recording to correct the instance

 [SR6]Badha Shrinkala—Jayadeva says samsara vaasana has bounded us like a chain

 [SR7]               

 [SR8]Plz check .. looks like respect

 [SR9]Kim Dhanena cha

 [SR10]Vilapathi Hasathi Visheedathi Rodhithi…. Magnificent use of  successive verbs by the poet to bring out the current state that Radha is in. Very rare style of poetry which is not observed in any other language.

 [SR11]Shardhoola Vikreeditha is a Sanskrit Phrase (Vritham) that has been cleverly used in this sloka

 [SR12]Comparable to Lunar eclipse which is perceived ad the Moon being Bit and engulfed by Rahu.