JAYADEVA’S ASHTAPADIS PROVIDE SCOPE TO EXPLORE EVERY NUANCE OF SRNGARA RASA

LALITHA SINDHURI YARASURI

INTRODUCTION

Jayadeva’s Geeta Govindam is considered as one of the best writings in Sanskrit. Jayadeva made this Geya Kavya1 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 Srngara Rasa. Srngara 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. Let us define what Srngara Rasa is and then talk about the aspects of Geetha Govindam which made it a Srngara text.

How a rasa can be manifested?

Vibhava Anubhava vyabhichari samyogat Rasa Nishpattihi ||

For any Rasa to get manifested, there should be vibhava, anubhava ,sanchari bhavas which lead to a durable psychological state thereby manifesting Rasa. Vibhavas1 are the determinants and anubhavas2 are the consequents. Sanchari bhavas3 are complementary psychological states which don’t stay longer. So, observance of Vibhava, anubhava, sancharis would make us clear the mood of any text. SRUNGARA RASA

“Srungara yeva rasaha parah prahladano rasaha”

Few poets say that Srungara is the only rasa and rest all are its subsidiaries. Srungara sentiment proceeds from the durable psychological state of Love4.

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

2The consequences are anubhavas.3 Sanchari or vyabhichari bhavas are complementary states which doesn’t 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 durable psychological state of Love (Rati). It owes its origin to men and women and relates to fullness of youth. Srungara is divided into two types.

1. Vipralamba Srungara – when the hero and heroine are away from each other under which again there are 6 varieties.

Purvanuraga – 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 permission5

Mana – Though they are together, they have inhibitions and don’t get close to each other.

Pravasa – When they are out of station Sapa – Because of the curse ,they cannot meet Karuna – when one of them dies, it is karuna vipralamba

2. Sambhoga Srngara – when the hero and heroine are together and Sambhoga Srngara is of four varieties.

Sankshipta – They hold themselves back either due to fear or shyness.

Sankirana – There is a dilemma of good, bad, ethics and desire for Srngara. They feel guilty after doing.

Sampanna – They don’t have fear, guilt. They are blooming with desire.

Samvriddhi – Till, Samvriddhi, its worldly pleasure. If it is divine love, it is Samvriddhi. (Also taking Re-births)

Vipralamba Srungara again has 10 states or stages called Dasavasthas or Dasa Kamavasthas which are equal for both man and woman.

1. Abhilasa (Longing)2. cinta (Anxiety)3. Anusmriti (Recollection)4. Gunakeertana (Enumeration of merits of the beloved one)5. Udvega (Distress)6. Vilapa (Lamentation) 7. Unmada (Insanity)8. Vyadhi (Sickness)

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9. Jadata (Stupor)10. Marana (Death)

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

“Na Vinaa Vipralambena Srungara Pustima-stute”

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.

Now that the Srungara rasa has been explained let us look at the plot of Gita 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 Krishna couldn’t tolerate this separation and laments Krishna’s mercilessness at her sakhi. Later the story goes on elevating the moods of Radha in separation (Also Krishna’s Viraha at the end); sakhi’s endeavours to unite Krishna and Radha and finally ends with the union of Krishna and Radha.So, the whole kavya is replete with erotic descriptions since the subject matter of the kavya constitutes the slender plot of separation and union of Radha and Krsna. Along with the theme, the style of writing of Jayadeva is also very beautiful and soft. Let us see the Srngara in Literary aspects.Literary beauty of Gita Govindam which manifests Srungara RasaJayadeva’s Gita Govinda 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 manoYadi vilasa kalasu kutuhalam

Madhura komalakanta padavaleemSrunu 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 Jayadeva’s

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 Srungara, one can’t 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 madhuryam6 or sweetness.

Jayadeva’s Gita Govindam is both aesthetically pleasing to hear and to read and understand which manifests the Srngara Rasa.

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 Tilaka, it is the ornament of the spring. Hence imagine its beauty and scope for Srngara rasa. It is a fourteen syllable meter, very popular in Sanskrit Kavyas. It’s mostly found in Srimadbhagavatam especially to describe the characters of

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.

Madhura Rasa. In Vasanta, natural caesura7 after eight syllables is held consistently by all poets.

Long-long-short-long short-short-short longShort short long short long long

Let us take an example in Gita Govindam.

Vagdevatacharitachitritachittasama padamavaticharanacharanachakravarti ....

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

“ChandanacharchitaneelakalebarapeetavasanavanamaaliKelichalanmanikundalamanditagandayugasmitasaali”

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,

“Patati patatre vicalati patre sankitabhavadupayanam.Rachayati sayanamSacakitanayanam pasyati tava panthanam”

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

Here, Radha is near to Krishna but couldn’t reach him which made her Viraha vipralama (Both are in same place but since Krishna was preoccupied with gopis, radha couldn’t reach him)

7 A break between words within a metrical foot.

Avastha : Virahotkantitha for Radha Let us look into the text first...

ChandanacharchitaneelakalebarapeetavasanavanamaliKelichalanmanikundalamanditagandayugasmitasali

Haririhamugdhavadhuunikare vilasinivilasatikelipareWhich means “O playful Rädhä, 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 Vrndävana 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.”

péna-payodhara-bhära-bhareëa harià parirabhya sa-rägamgopa-vadhür anugäyati käcid udaïcita-païcama-rägam

harir iha mugdha-vadhü-nikare...“Look, sakhi ! One gopé is firmly embracing Krishna with intense attachment. Pressing the heavy burden of her voluptuous breasts against Krishna’s chest, she has begun to sing with him in the fifth musical mode”Usually, panchama swara is used to indicate Srngara rasa.

käpi viläsa-vilola-vilocana-khelana-janita-manojamdhyäyati mugdha-vadhür adhikaà madhusüdana-vadana-sarojam

harir iha mugdha-vadhü-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.

käpi kapola-tale militä lapituà kim api çruti-mülecäru cucumba nitambavaté dayitaà pulakair anuküle

harir iha mugdha-vadhü-nikare...Sakhi look at that! One curvaceous milkmaid has leant her face close to Krishna’s cheek on the pretext of whispering a secret in his ear. When Krishna 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.

CommentaryThe 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 etc(almost all the negative sanchari bhavas). On the other side, Gopis are happy, enjoying Sambhoga Srngara, being in svadheenapatikaavastha8 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 Mugdha9 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 can’t show it so obviously like Gopis. So she must be Proudha10 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

Srngara type Vyabhichari bhavas Nayika type

Radha Yamuna, breeze, forest etc

Cinta, anusmrithi, vyadhi, unmade,udvega,vilapa

Viraha Vipralamba Srngara

Discouragement, envy, intoxication,weakness,depression,anxiety,distraction, and all negative vyabhicharis.

Not Mugdha. Must be proudha

Gopis Yamuna,breeze,vasantam,krishna’s beauty, forest, flowers, creepers etc

Sambhoga Srngaram (sampanna and may be samvriddhi since

All positive vyabhicharis like contentment, joy, awakening etc.

Mugdha (since they are unable to control and kisses Krishna even before he kisses them, they

8 This is one among the eight nayikavasthas. Swadhinapatika is the one having her husband in subjection9 Mugdha is the one among Trividha Nayikas(Mugdha,Madhya,Pragalbha) who is tender, young and unaware of love plays.10One among trividha nayikas who is subtle,matured and adept in love play.

Krishna,gopi love is also treated divine)

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)

Sambhoga Srngaram

All positive vyabhicharis

Not Applicable

The switch over of the context from Gopis and Krishna to Sakhi explaining his love play with gopis to Radha can bring lot of scope for performance variation. This is one Ashtapadi where we can show all the nuances of Vipralamba Srngara and also sambhoga Srngara. Radha(whoever portrays) can act giving deep sighs, shedding tears , show all these uddipana vibhavas becoming manmadha’s arrow and hitting her etc. Srngara is Beauty. The text provides such beautiful environment of Spring season, Yamuna, cool Malaya breeze etc.

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

CONCLUSIONThough Srngara is considered as so mundane, there is the other facet to it which actually Jayadeva want to elevate and propogate. He through the character Radha, wants to tell Krishna how badly he is waiting for him. How badly he desires to unite with the paramata. So, Srngara being the only thing that shows union where man and woman are equal, all the poets chose this marga to show that union of Jeevatma, Paramatma. So Srngara being eroticism, it being beauty, 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_Vaishnavism.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