PAPER 10

SHABDAM, ASTAPADI

MODULE 19 The Importance of Astapadi in Classical Dance

styles

SRI JAYADEVA GOSWAMI

1. Social &Cultural history of society prior to Jayadeva’s

time:

Codaganga Deva, the founder of Ganga dynasty essentially

followed Vaishnavism. He and his son were deeply influenced

by the Vaishnavite saint-philosopher Ramanuja. But before

Ganga rule, the place was influenced by the Shaiva/Shakta

worshippers. The Ganga dynasty’s policy of religious tolerance

towards the Southern kingdoms aided both Shaiva and

Vaishnava faiths, with many scholars thronging to Orissa. Since

the Gangas were great patrons of art and music, it was but

natural that Jayadeva who lived in their age blossomed into an

inspirational composer.

His highpoint though is that in Gitagovinda, he has merged

many of the sects by portraying an amalgam of different

Vaishnava cults such as the Vishnu cult, the Krishna cult, the

Govinda cult. He was also daring enough to show a confluence

or coming together of the Radha and Krishna cult, something

not accepted at the time.

2. Historical details of Jayadeva:

Shri Jayadeva Goswami made his appearance at Kendubilva

gram within the district of Birhum, during the 12th -

13th

centuries. Some scholars believe that Jayadeva was a court

pandita during the reign of Raja Laksmana Sena of Gauda. His

father's name was Bhojadeva and his mother’s name was

Radhadevi.

At an early age Jayadeva embraced vairagya and

migrated to Purusottamakshetra (Jagannatha Puri) after visiting

many holy places. He lived there by offering seva to

Purusottama. A certain childless brahmana, worshiped Lord

Jagannatha and was blessed with a daughter, who was named

Padmavati, When she grew up, the brahmana received a

command from the Lord asking him to give Padmavathy in

marriage to Jayadeva. Despite Jayadeva’s reluctance,he had no

other alternative but to marry Padmavati and become a

householder again. He then installed a Deity of Narayana in the

house, to which both Padmavati and Jayadeva were completely

devoted. While floating on the waves of Krishna-prema he

composed the book of verses entitled Gita-govinda. While

Jayadeva was writing this book he had described various rasas

and bhavas within his writings.

While writing about the pastimes of Radharani as she repented

after Krishna had gone away, Jayadeva became lost in

thought. He did not have the courage to depict Lord Krishna,

the Jagatpati, Paramapurusa, touching the feet of Radhika, the

prakrti. Not being able to decide whether or not he should

write that particular verse regarding Krishna becoming the

servant of his devotee, he decided to first take his bath and

return to his writing later. While Jayadeva was taking his bath,

Jagannatha Himself personally appeared in the form of

Jayadeva, with His very own hand wrote down the verse

"Dehipadapallavamudaram" in Jayadeva's manuscript book, the

same verse which Jayadeva had been considering whether to

write or not!

3. Popularity and spread of The Gita Govinda:

Gita-govinda quickly became the joy of the Vaishnava

community. Shri Gita-Govinda is full of intimate pastimes of

Shri Radha-Govinda and is therefore meant for those who have

acquired sufficient spiritual piety, and the Gita-govinda itself

states,

"For those who relish the remembrance of the pastimes

of Shri Hari and are always anxious to hear those

transcendental divine narrations, these verses, sweet as honey,

have been composed by Jayadeva with the blessings of Mother

Saraswati."

At the time, Gajapati Purusottamadeva was the provincial

king. He was openly envious of Jayadeva and soon posed an

ill-fated challenge. The king considered himself a master poet,

on par with Jayadeva, and composed a work called Abhinava

Gita-Govinda. One day, he summoned his advisors and asked

them to widely circulate his work, in an attempt to make it more

popular than Jayadeva's.

A controversy soon arose, and the brahmanas decided

that the matter would be settled by placing both manuscripts

before the Deity of Lord Jagannatha for the night. When the

devotees went to greet the Deity the next day, they found

Jayadeva's Gita-Govinda clasped against the Deity's chest, and

the king's manuscript scattered about the floor. The decision

was clear.

It is recorded in Bhaktamala that Krishna took pity on Jayadeva

who was trying to build his cottage under the searing sun. He

began to drill holes in covering the sheets, with the work

getting done in no time. Only later Jayadeva realized that he

was helped by Lord Hari and offered humble prayers to him

with renewed devotion. It is believed that when Padmavathi

died on hearing a rumour that Jayadeva was no more, Jayadeva

himself revived her by chanting the holy name in her ear.

Soon after, Jayadeva went to Vrndavana with his deity Radha-

Madhava and stayed at Kesighata, where a devotee,

constructed a temple for the Lord. During the last stage of his

life, Jayadeva returned to his home at Kenduli village and lived

there till the end. It is said that Jayadeva used to go for a bath

in the Ganges daily about 36 miles away from Kenduli. One day

he was unable to go and to alleviate the distress of her devotee,

Gangadevi, came roaring in a stream up to the village. Jayadeva

breathed his last at Kenduli village on Pausa Sankranti. In his

memory a mela is held every year which more than fifty

thousand devotees attend yearly.

4. Jayadeva’s numerous contributions:

The fame of Gita-govinda spread far and wide. The book has

been translated into Hindi, Bengali, Odiya, Assamese and also in

many other foreign languages. The following persons have

written commentaries on Gita-govinda: Udayanacarya,

Kamalakara, KumbhakarnaMahendra, Krishnadatta, Krishnadasa,

Gopala, Chaitanyadasa, Narayana Bhatta, Narayanadasa,

Pitamvara, Bhagavad dasa, Bhavacarya, Mananka, Ramatarana,

Ramadatta, Rupadeva Pandita, Laksmana Bhatta, Laksmana Suri,

Vanamali Bhatta, Viththala Diksita, Visvesvara Bhatta, Sankara

Misra, Shriharsa, Hridayavarana and others. Besides this, two

books of tika entitled Valavodini and Vacanamalika by some

unknown authors are also available on Gita-govinda. Jayadeva

Goswami also composed a book named Candraloka.

Apart from the Gita Govinda, Jayadeva popularized the

Dasavatara, the ten incarnations of Vishnu in another

composition, Dasakritikrite. Two hymns, possibly composed by

Jayadeva, have been incorporated in the Guru Granth Sahib, the

holy book of the Sikh religion. The hymns are written in a

mixture of Sanskrit and eastern Apabhramsa. There are records

narrating how Jayadeva's work had a profound influence on

Guru Nanak during his visit to Puri.

Furthermore many credit the popularity of the classic Tribhangi

(threefold) posture of Krishna playing the flute to him. He also

institutionalized the Devadasi system in Oriya temples.

Devadasis were women dancers specially dedicated to the

temple deity, and as a result of the great poet's works, Oriya

temples began to incorporate a separate Natamandira, or

dance hall, within their precincts for Odissi performances.

5. Symbolism in Gita Govindam

a). Union of the individual self with the Universal Self:

"Jiva Brahma Aikya Vedanta Rahasya" or the "Union of the

individual soul with the Universal soul" is in brief the theme and

the essence of Gita Govindam.

Radha (Nayaki or Jivatma), Krishna (Nayaka or Paramatma) and

Sakhi (the friend or preceptor who leads the devotee on to the

path of Mukti or liberation) are the main characters of this

poem. The mutual love of Radha and Krishna, represents the

concept of Madhura Bhakti (adoration of the God), which is the

essence of Vaishnava cult.

In a departure from standard religious texts, Gita Govinda is not

centered on the God, but on relation between Radha, the

human and Krishna, the superhuman character. This is the story

of two opposites merging together. The initial situation

(conflict) is shown though the eyes of Radha, then Krishna, then

Sakhi (the go-between Radha and Krishna), and finally all Gopis.

Life and environment, represented by Sakhi, gopis, forests and

seasons, are all necessary to understand what is right and what

is wrong. Human love sublimated to utmost level, so it becomes

comparable with love to God, the story told by the poet, his

wife and the God himself.

Jon Higgins, in his book "The Music of Bharata Natyam" defines

love"…Hindu conception of love as both passion and freedom

from passion. When the tide of unfulfilled passion threatens to

overwhelm her, the heroine seeks refuge in a state of spiritual

tranquility altogether free of distress. The implication seems to

be that one may acquire real knowledge of god by first

undertaking the tortuous search for human love."

Mutual ecstasy of impassioned lovers is the only experience

comparable to final union with the God. "In the embrace of his

beloved, a man forgets the whole world — everything both

within and without". Thus, Krishna’s sporting with Gopis has two

sides. He appears as the one who experiences romantic love,

"the most exalted experience in life", and who gives experience

of romantic love in its highest and the most intense form.

"In Jayadeva’s environment of springtime (Sarasavasanta),

Radha and Krishna are vehicles (Vibhava) for the

universalization of erotic emotion. These youthful figures with

gleaming flesh and lotus-petal eyes manifest signs of emotion

(vyabhicaribhava, sattvikabhava) to communicate the passion of

their separation. For Jayadeva, their longing and reunion is the

concrete example of religious experience in which the

disquieting distinction between "I" and "mine" versus "you" and

"yours" is calmed. The esthetic experience of their love is the

means for breaking the imaginary barrier dividing human from

divine."

Dr. Pappu Venugopal explains meaning of Bhakti in the context

of Gita Govindam as follows:

"Narada in his bhakti sutras defines bhakti as "the fear of being

separated again" (punarvislesha bheerutvam parama bhakti

rucyate). This means, that once you feel closer to God you don’t

want any distance from him, that is bhakti."

Jayadeva’s ashtapadis express the intimate power of the Divine

love in contrast to Ras Leela, where devotion to God is part of

social intercourse and God showers benevolence on all

devotees without distinction.

b) Ras Leela or Rasa Krida

The point of God playing with feelings of human being is to

evoke hidden power of love, to let it pour out free, in all

intensity and to direct this power to highest levels of existence.

Another side of Leela (play) is the emergence of the ‘creative’

due to the release from boundaries of necessity. According to

Hindu beliefs, such humans belong to divine sphere. Free spirit

creates not because of necessity, but because creation is its

nature. He seeks no purpose, no reward, and no goal.

In Hindu cult, particularly in Bhakti cults, the mark of a great

devotee is often the ‘uselessness’ of his life. Saints do not act

according to the laws of cause and effect, so their actions

appear motiveless and aimless. Indeed, they are in many ways

like the gods because they do not work but play. ... The saints

have transcended the human condition and have entered the

divine sphere, and an important indication of this fact is the

spontaneous and superfluous nature of their lives."

C) Krishna and Cowherd-girls

Gopis are embodiment of plurality, God is the Unity and gopis

are parts of this unity. God recreates himself and the formless

or one form is seen in the multiple forms and merges back in

the formless or the one form. This is symbolism of Ras Leela.

Krishna as cowherd is spontaneous, irresponsible and free. So is

his love for the cowgirls, free and voluntary. His whole life

among the cowherds is simple, natural and pleasing. Cowgirls

adore Krishna, as through him they feel all pleasures of life and

sheer joy of being alive:

"Krishna’s flute symbolizes the call of God which caused the

souls of men (the cowgirls) to forsake their worldly attachments

and rush to love him.… In circular dance (Ras Leela), by inducing

every cowgirl to think that she and she alone was his partner,

Krishna was proving how God is available to all. …In deserting

their husbands and homes and willfully committing adultery,

Radha and the cowgirls were therefore setting God above

home and duty, they were leaving everything for love of God

and surrendering their honor, were providing the most potent

symbol of what devotion meant."

d)Radha

The name of ‘Radha’ is derived from Sanskrit ‘radhas’, which is

Vedic literature means ‘perfection’, ‘success’, ‘wealth’. Thus,

Krishna became the Lord of Success (radhaspati) by winning

Radha, the female personification of radhas. There are no direct

references to Radha in Harivamsa, Vishnu Purana and

Bhagavata Purana. Radha is mentioned by name and referred to

in Brahmavaivarta and Padma puranas (written later on, after 12

century).

"In Gita Govindam, Radha is neither as wife nor a worshipping

rustic playmate. She is an intense, solitary, proud female who

complements and reflects the mood of Krishna’s passion. She is

Krishna’s partner in a secret and exclusive love, contrasted in

the poem with the circular Rasa dance Krishna performs with

the entire group of cowherdesses. Krishna disappears after this

dance, deserting the cowherdesses; but he stays with Radha to

admire and ornament her. Her relationship with Krishna

culminates in their union and mutual "victory" (jaya) over each

other. In Jayadeva’s view, the profound intimacy of Krishna’s

concentration on Radha, in contrast with the diffusion of erotic

energy in his play with the cowherdesses, is the perfection of

Krishna’s nature."

Radha’s personality itself makes her to fall in love, suffer torture

of ambivalent feelings and finally, empowered with love and

attachment to her beloved, to overcome possessive and

illusionary intentions and reunite with her beloved on the

higher level of understanding.

Here Sakhi comes into picture. Intensity of love relationship

supersedes all other connections – parents, relatives. Yet close

friendship with somebody, who understands you better then

yourself is a special relationship, that is –the sakhi. Who knows

everything about you, and still loves you. Now Sakhi supports

Radha’s steps back to her beloved, this time in real life.

Thus, the context of the plot of Gita Govindam is given. And

there the drama begins, the story of Radha and Krishna

estrangement caused by his love for other girls, Radha’s

anguish and Krishna’s neglect, Radha’s sorrow and Krishna’s

regret, Radha’s withdrawal and Krishna’s remorse, and finally

mutual rapture of the two which brings them back to each

other, making thus their love complete.

e)Significance of Dasavataram as Purvaranga

"God creates this world, enters into it and like an actor who

assumes different roles on the stage performs various acts"

(Bhagvad Purana). Jayadeva (which is also one of the names of

Vishnu, meaning ‘Lord of Triumph’) composed his poem to be

danced before Lord Jagannatha at Puri. The poem was

composed purposely for being staged as full fledged dance-

drama. The inscriptions certify the fact: Gajapati ruler

Prataprudradeva’s inscription at Jagannatha temple of 1499 AD

states that Gita Govindam Nat should be performed before the

deity by dancing girls.

Dashavatar ashtapadi appears at the beginning of the poem

and forms Purvaranga of the dance-drama. In refrain of

Dashavatari Ashtapadi, the Lord is addressed as Jagadisha,

which means "Lord of the World", and indicates Krishna as

cosmic supreme soul.

Puranas prescribe to use dance, drama, music to appease the

Gods. Bharata Muni says that drama is the best service one can

offer to Vishnu.

"The Gods are never so pleased on being worshipped with

scents and garlands, as they are delighted with the

performance of dramas" (NS, XXXVI.81-2)

In Bhagavata Purana Vishnu says that the devotees should on

festive religious occasions enact his Leelas (playful activities,

often denotes dances) before his image in the temple.

Correspondingly, temple worship ritual comprised dramatic

performance, via dance and music. Thus, worship of Dashavatar

influenced and fostered development of numerous dramatic

forms.

f) Structure and Form of the Gita-Govinda:

Ashtapadis of Gita Govindam are examples of ancient

Prabandhas, compositions which were used in ancient Sanskrit

dramas. Unique character of this poetical composition is, that it

was composed especially to be staged as a dance drama.

Jayadeva mentions the names of the ragas and talas for each

Ashtapadi.

There are 72 verses included in the Gita Govindam followed by

24 ashtapadis. Each Ashtapadi is started with a Dhruvapada

(one of five essential angas or constituting parts of Prabandha,

which corresponds to Pallavi (refrain) in Carnatic music). This is

followed by 8 padas (stanzas), which correspond to Caranas

(couplets of the song). In the last stanza the name of the author

is given (this is also very old tradition, prescribed by the rules of

Prabandha and adhered up to our time, as "mudra" of

composer is usually mentioned in the last line of Anupallavi,

which serves as a connecting couplet in Carnatic compositions).

Nineteen of 24 ashtapadis are set to four beat metre (lines of 7

four measures, i.e. 7x4). Five ashtapadis are set to 3 five beat

measures, but the first line of each couplet is lengthened by the

addition of a final heavy syllable.

Synopsis of Gita Govindam

Radha sees Krishna singing and dancing in the company of

other Gopis. Heart-broken at his neglect, she sends her Sakhi

(companion) to ask him to come to her. Meanwhile Krishna also

realizes his mistake and longs to be reunited with Radha. But in

her loneliness, Radha imagines that Krishna forgetting her is

happy in the company of another Gopi. Angered by this

though, she rejects her beloved Krishna when he comes to her.

Radha’s Sakhi is shocked by this childish behavior and upbraids

her. Radha then realizes her mistake and is reunited with

Krishna.

References

1. Gita Govinda with Abhinaya. ed. K. Vasudeva Sastri.

Thanjavur: Thanjavur Maharaja Serfoji Sarasvati Mahal

Library Society, 1950

2. Religion And Theatre by Manohar Laxman Varadpande,

Abhinav Publications, New Delhi, 1983

3. Romance Of The Raga by Vijaya Moorthy, Shakti Malik

Abhinav Publications, New Delhi, 2001

4. Encyclopaedia of Indian Literature: Devraj to Jyoti, Volume

2, by Amaresh Datta, Sahitya Academy, New Delhi, 1988

5. The Loves of Krishna in Indian Painting and Poetry

(Illustrated Edition) by W. G. Archer, The Echo Library,

Middlesex, England, 2007

6. S Sarada: Reminiscences of Rukmini Devi dance dramas,

Madras, 1983

7. Rukmini Devi: A Quest for Beauty. ed by Gowri

Ramnarayan, Sruti Magazine, Issue 7, May 2012

8. Gitagovinda of Jayadeva: Love Song of the Dark Lord by

Jayadeva, Barbara Stoler Miller, Columbia University Press,

1977

9. Sri Kamakoti Pradipam, Volume 3,4., Srinivasa Somadeva

Sharma April, May 1980

10. Jayadeva, Suniti Kumar Chaterji, Sahitya Academi,

New Delhi, 1973

11. Sacred and Profane dimensions of love in Indian

traditions as exemplified in the Gitagovinda of Jayadeva,

Lee Seigel, Oxford University Press, New Delhi, 1978

12. Jayadeva's GeetaGovinda - A love song,

GeetaRadhakrishna, Published by Radha Krishna Menon,

Third Revised Edition 2010, Mumbai.

13. Philosophy of Indian Music - Contribution of the

Trinity, John Christopher Kommalapudi, Akansha

Publishing youse, New Delhi, 2010

14. The Gitagovinda of Jayadeva, Love song of the Dark

Lord, Barbara Stoler Miller, Motilal Banarsidass, Varanasi,

Reprint 2007.