JAYADEVAS

ASHTAPADIS
PROVIDE
SCOPE TO
EXPLORE
EVERY
NUANCE OF
SRNGARA
RASA

LALITHA SINDHURI YARASURI
INTRODUCTION

Jayadevas Geeta Govindam is considered as one of the best writings in
Sanskrit. Jayadeva made this Geya Kavya
1
a romantic one with his theme and
with his poetic aesthetics. There came hundreds of imitations of this text in
almost all the Indian languages and every sankrit poet after Jayadeva was said
to have influenced by Jayadeva. This text was said to have explored every
nuance of rgra Rasa. rgra for many is a derogatory term but Srngara is
said to be the highest of all the Rasas and was given a very high status in Indian
context. The study of man and woman was studied to micro level in India which
was never understood by others. et us define what rgra asa is and then
talk about the aspects of Geetha Govindam which made it a Srngara text.

How a rasa can be manifested?

Nishpattihi ||

For any Rasa to get manifested, there should be vibhava, anubhava ,sanchari
bhavas which lead to a durable psychological state thereby manifesting Rasa.
Vibhavas
1
are the determinants and anubhavas
2
are the consequents. Sanchari
bhavas
3
are complementary psychological states which dont stay longer. o,
observance of Vibhava, anubhava, sancharis would make us clear the mood of
any text.




ew poets say that rungra is the only rasa and rest all are its susidiaries.
rungra sentiment proceeds from the durale psychological state of ove
4
.

1
That which becomes the reason or cause behind the meaning hidden in the words, the physical movements
and the cognitive actions is called Vibhava or that which becomes the reason to know the presence of Rasa is
Vibhava

2
The consequences are anubhavas.
3
Sanchari or vyabhichari bhavas are complementary states which doesnt stay longer. There are thirty three
vyabhichari bhavas according to Natya Sastra.
4
Durable psychological states are Sthayi bhavas. Bharatha quotes 8 sthayi bhavas for 8 rasas.
Ratirhasascha sokascha krodhotsaho bhayam tatha|
Jugupsa vismayaschethi sthayi bhavah prakirtitaha||
-Natya Sastra
And it has its basis of bright attire. Whatever in this world is white, pure, bright
and beautiful is appreciated in terms of the durale psychological state of ove
ati. t owes its origin to men and women and relates to fullness of youth.
rungra is divided into two types.
1. ipralama rungra when the hero and heroine are away from each
other under which again there are 6 varieties.
rvnurga you see him in a photo/painting and fall in love with
him
Viraha though both are in same place, cannot meet due to pre-
occupation or lack of permission
5

na Though they are together, they have inhiitions and dont
get close to each other.
ravsa When they are out of station
pa Because of the curse ,they cannot meet
Karuna when one of them dies, it is karuna vipralamba
2. Sambhoga rgra when the hero and heroine are together and
Sambhoga rgra is of four varieties.
Sankshipta They hold themselves back either due to fear or
shyness.
ankrana There is a dilemma of good, ad, ethics and desire for
rgra. They feel guilty after doing.
Sampanna They dont have fear, guilt. They are looming with
desire.
Samvriddhi Till, Samvriddhi, its worldly pleasure. If it is divine
love, it is Samvriddhi. (Also taking Re-births)

ipralama rungra again has states or stages called asvasthas or asa
mvasths which are equal for oth man and woman.
1. hila onging
2. cint nxiety
3. nusmiti ecollection
4. uakeertana numeration of merits of the eloved one
5. Udvega (Distress)





6. ilpa amentation
7. nmda nsanity
8. ydhi ickness
9. Jaat tupor
10. araa eath

Erotic in separation is the real life force of the erotic sentiment without which
depiction of eroticism never attains its full growth.

-


And the erotic sentiment in union arises from determinants like the pleasures of
the season, the enjoyment of garlands, unguents, ornaments, [the company of]
beloved persons, objects, splendid mansions, going to garden, and
enjoying[oneself] there, seeing the beloved one and hearing his or her words,
playing and dallying with him. Complimentary psychological states

do not
include fear, indolence, cruelty and disgust.

ow that the rungra rasa has een explained let us look at the plot of ita
Govindam.
Theme:

There are mainly three characters in this text. Radha, Krishna and Sakhi. Whole
story goes around these three characters. Radha who is in separation with
rishna couldnt tolerate this separation and laments rishnas mercilessness at
her sakhi. Later the story goes on elevating the moods of Radha in separation
lso rishnas iraha at the end; sakhis endeavours to unite rishna and
Radha and finally ends with the union of Krishna and Radha.
o, the whole kvya is replete with ertic descriptions since the suject matter
of the kvya constitutes the slender plot of separation and union of adha and
Krsna. Along with the theme, the style of writing of Jayadeva is also very
beautiful and soft. Let us see the rgra in Literary aspects.
Literar
Jayadevas ita ovinda is considered as one of the finest specimens of love
poetry written in any language. It describes the divine love and pangs of
separation of Radha and Krishna. He masterfully had interwoven a religious
theme with the science of erotica. Some scholars suggest that Jayadeva has used
a diction filled with poetic syntax as well as luxuriant growth of rhymes and
inter-rhymes (Prasa and Anuprasa) by which the erotic descriptions have been
very clearly sublimated, making it more acceptable and popular and hauntingly
beautiful at the same time.
Jayadeva himself says,
Yadiharismarane sarasam mano
Yadi vilasa kalasu kutuhalam
Madhura komalakanta padavaleem
Srunu tatha jayadeva sarasawateem

O dear gentle men! If your heart has that love to meditate upon srimannarayan,
if you are enthusiastic to know the sports of love, here listen to the Jayadevas
sukti which is like a feast to the ears of the listeners and like Amrutam for those
who experience.
Then there comes a sloka which starts to explain the Viraha of Radha and where
her sakhi explains her to go to Krishna.

Though the context of the text projects rungra, one cant really enact and do it
the best unless the style of the writing is graceful and soft.
In the above sloka, he explains, Madhurakomala kanta padavali..(The lyrics
sweet, soft and soothing) Madhuram means madhuryam
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or sweetness.

Jayadevas ita ovindam is oth aesthetically pleasing to hear and to read and
understand which manifests the rgra asa.
Also he chose the ragas which can elevate the mood. The portions depicting
emotional and subtle feelings of human heart are mostly presented in
popular ragas or tunes like Malavagauda, Gujjari, Ramakeri, Vasanta and so on.

Now coming to the meters used by him, he used meters like Shardulavikridita,
Vasanta Tilaka, Shikharini and Malini. For instance, if we take Vasanta

6
There is madhuryam and Amadhuryam. Amaadhuryam is two types
Sabdagatam (amadhuryam because of the kind of sound it gives) Using deergha samasams,
descriptions which are difficult to pronounce etc;
Arthagatam (Amaadhuryam because of the meaning of the text) because the description is not
aesthetic to Sahrudaya or the audience.


Tilaka, it is the ornament of the spring. ence imagine its eauty and scope for
rgra rasa. t is a fourteen syllale meter, very popular in anskrit vas.
ts mostly found in rimadhagavatam especially to descrie the characters of
Madhura Rasa. In Vasanta, natural caesura
7
after eight syllables is held
consistently by all poets.

Long-long-short-long short-short-short long
Short short long short long long
Let us take an example in Gita Govindam.

....

Also Praasa and Anupraasa play a vital role in bringing that beauty and grace to
the lyrics. Here is such example:

Ceellebeeli
Kelichalanmanikundalamanditagandayugasmitasaali

In many poems it is the sound rather than the sense that overpowers the whole
peotic structure, thus creating an atmosphere of intoxication through its cadence
and rhythm. For instance,
P e lati patre sankitabhavadupayanam.Rachayati sayanam
Sy y
In this verse, the language as well as the message conveyed by it is simple, but
it is the sound of the verse that creates a lasting impression.
Now let us take one Ashtapadi as an example and explore the scope of Srngara
rasa.




Ashtapadi 4

Now let us make several perspectives for this Ashtapadi.
Radha as Nayika
Krishna as Nayaka and gopis as nayikas

7
A break between words within a metrical foot.
ere, adha is near to rishna ut couldnt reach him which made her Viraha
vipralama (Both are in same place but since Krishna was preoccupied with
gopis, radha couldnt reach him

Avastha : Virahotkantitha for Radha

Let us look into the text first...
Chandanacharchitaneelakalebarapeetavasanavanamali
Kelichalanmanikundalamanditagandayugasmitasali
Haririhamugdhavadhuunikare vilasinivilasatikelipare
Which means O playful Rdh, look! Dressed in yellow cloth and a garland of
forest flowers, with sandalwood paste smeared upon his dark limbs, Krishna
feels the utmost elation as he enjoys pastimes with captivated young brides in
this Vrndvana forest. His earrings swing to and fro, the beauty of his cheeks is
astonishing and his face displays a wondrous sweetness with the honey of his
playful laughter.

pna-payodhara-bhra-bharea hari parirabhya sa-rgam
gopa-vadhr anugyati kcid udacita-pacama-rgam
harir iha mugdha-vadh-nikare...
Look, sakhi ! One gop is firmly embracing Krishna with intense attachment.
Pressing the heavy burden of her voluptuous breasts against Krishnas chest, she
has begun to sing with him in the fifth musical mode
sually, panchama swara is used to indicate rgra rasa.

kpi vilsa-vilola-vilocana-khelana-janita-manojam
dhyyati mugdha-vadhr adhika madhusdana-vadana-sarojam
harir iha mugdha-vadh-nikare...
Look Sakhi! The gopi is meditating on Krisna. He arouses lust in the hearts of
sensuous young ladies with the romantic side long glance of his restless eyes,
and she is greedy to drink the honey of his lotus feet.

kpi kapola-tale milit lapitu kim api ruti-mle
cru cucumba nitambavat dayita pulakair anukle
harir iha mugdha-vadh-nikare...
Sakhi look at that! One curvaceous milkmaid has leant her face close to
rishnas cheek on the pretext of whispering a secret in his ear. When rishna
understood her love-laden intention, his bodily hair stood on end. Seeing his
reaction, that expert heroine has seized this favourable opportunity to fulfil her
cherished desire. With the utmost delight, she has begun to kiss his cheek.

Commentary
The sthayi of the song is Rati because of the determinants like forests,
sandalwood, creepers, flowers, Yamuna, Spring etc. While all these are
provoking Radha for love making, Krishna is with someone else. He is making
love with all the Gopis happily. So what would be the anubhavas or the
consequences? Jealousy, fear (of losing krishna) , shedding tears etc. In this
course, the heroine (Radha) would do the Sancharis like discouragement,
depression, weakness, envy, despair , impatience, sleep etcalmost all the
negative sanchari havas. n the other side, opis are happy, enjoying
amhoga rgra, eing in svadheenapatikaavastha
8
provoked by the same
uddipana vibhavas which were there for Radha. But consequences are happy
consequences and also positive sancharis like joy, dreaming etc.
Nayika Type:
Here, all the gopis are mugdha nayikas. They embrace Krishna even before he
embraces them, kisses before even before he kisses them which are the
characteristics of a Mugdha
9
Nayika. On the other side, Radha is nearer to
Krishna but cannot go to him because of what she saw and of her inhibitions.
Though she loves him so much, she cant show it so oviously like opis. o
she must be Proudha
10
Nayika.

Dasavasthas:

Radha will be in the states of Anusmriti(thinks of her love play in the past with
krishna) , Abhilasha (She may wish to be in the place of one of the gopis) ,
Cinta (because she sees Krishna with someone else) , udvega (distress) ,
Unmada (she becomes insane) , she can become sick , lament and also may also
get into the state of stupefaction (jadata) .

Vibhavas (dasa)
Avasthas
rgra type Vyabhichari bhavas Nayika type
Radha Yamuna, breeze,
forest etc
Cinta,
anusmrithi,
vyadhi,
unmade,
udvega,
vilapa
iraha
ipralama
rgra
Discouragement,
envy,
intoxication,weaknes
s,depression,anxiety,
distraction, and all
negative
vyabhicharis.

Not Mugdha.
Must be proudha
Gopis Yamuna,breeze,
vasantam,krishn
amhoga
rgram
All positive
vyabhicharis like
Mugdha (since
they are unable to

8
This is one among the eight nayikavasthas. Swadhinapatika is the one having her husband in subjection
9
Mugdha is the one among Trividha Nayikas(Mugdha,Madhya,Pragalbha) who is tender, young and unaware
of love plays.
10
One among trividha nayikas who is subtle,matured and adept in love play.
as eauty,
forest, flowers,
creepers etc
(sampanna and
may be
samvriddhi
since
Krishna,gopi
love is also
treated divine)
contentment, joy,
awakening etc.
control and kisses
Krishna even
before he kisses
them, they
embraces him
even before he
does it to them)
Krishna Yamuna, gopis,
vasantam,
beauty, forest ,
breasts of gopis,
creepers etc
(Though he is
the supreme,
only considering
him as nayaka)
amhoga
rgram
All positive
vyabhicharis

Not Applicable

The switch over of the context from opis and rishna to akhi explaining his
love play with gopis to adha can ring lot of scope for performance variation.
This is one shtapadi where we can show all the nuances of ipralama
rgra and also samhoga rgra. adhawhoever portrays can act giving
deep sighs, shedding tears , show all these uddipana vibhavas becoming
manmadhas arrow and hitting her etc. is Beauty. The text provides
such beautiful environment of Spring season, Yamuna, cool Malaya breeze etc.

Thus, Jayadeva tried to manifest rgra in every aspect of the ashtapadi ; e it
the lyrical beauty(sabdagatam) or the content in it (Arthagatam)


CONCLUSION
Though rgra is considered as so mundane, there is the other facet to it which
actually Jayadeva want to elevate and propogate. e through the character
adha, wants to tell rishna how adly he is waiting for him. ow adly he
desires to unite with the paramata. o, rgra eing the only thing that shows
union where man and woman are equal, all the poets chose this marga to show
that union of Jeevatma, aramatma. o rgra eing eroticism, it eing eauty,
it being the divine concept of union has been covered and manifested in all the
aspects by Jayadeva in his Ashtapadis.


REFERENCES
http://orissa.gov.in/e-magazine/Orissareview/2009/July-
Spcial/engpdf/spl.july-09.pdf
http://www.sanskritdocuments.org/sites/giirvaani/giirvaani/gg_utf/gg_utf
_intro.htm
http://orissa.gov.in/e-magazine/Orissareview/2010/May-June/engpdf/36-
41.pdf
http://www.gaudiya.com/pdf/Chanting_Sanskrit_verses_in_Gaudiya_Vai
shnavism.pdf
http://www.harekrsna.com/sun/features/06-07/features673.htm
Natya Sastra translation by Manmohan Ghosh
Geeta Govindam of Jayadeva Vaavilla ramaswamy publications
Sri Gita Govindam of Jayadeva goswami a commentary by Srimad
Bhakthi Vedanta Narayana Maharaj
Dr. Aruna Bhikshu, Faculty in Dept. Of Dance, Hyderabad Central
University