Among the many temples spread all over India, the temple at Puri, the abode of Lord Jagannath, is unique for many reasons. Lord Jagannath, his elder brother, Balabadra and younger sister, Subhadra are the three deities worshipped here. The temple constructed by Indradyumna, King of Puri, is famous for its annual Rath Yatra which is a spectacular event witnessed by a vast number of devotees. It was near this temple, in a quiet hamlet, Sri Jayadeva, the author of Ashtapadi also known as Gita Govindam was born. Ashtapadi i s considered an inexhaustible treasure that enriches the devotees, enlightens them and endears them to Lord Jagannath.
Around 12th century, a pious couple, Sri Narayana Sastri and Kamala Bai were living in a quiet place called Dhunthu Bilvam. They found happiness in performing Puja, worshipping Lord Jagannath and adhering to the principles of Sanatana Dharma. As a result of their intense devotion towards Lord Jagannatha and as a result of good deeds done in the past, they were blessed with a divine child, whose face appeared like an effulgent moon. The parents believed that he symbolized victory (Jayam) and therefore named him Jayadeva. Even in his childhood, he started composing songs. He visited temple regularly and joined others in singing bhajan. He exemplified devotion. Puri is situated on the shore of ocean. The vast ocean is the confluence of water from three sources (Munneer); from rain, from river and from what is stored underground. Similarly, devotion also springs from three sources. It comes out of God’s grace, just as rainwater comes from above. It comes from Guru like the water that is accessible from a river. Devotion is implanted even while in the womb of a mother, as in the case of Prahlada, like the underground water. Devotion was deeply engraved in Jayadeva and it found expression in his early stage itself. He got initiated to Brahmacharya through Upanayanam ceremony, which opened up his inner eyes. He became an embodiment of Jnana.
Years rolled by and Jayadeva grew up as a handsome youth. As he reached the marriageable age, his parents prayed for a suitable alliance for him. Almost at the same time, in another part of the town, a devout couple, namely Sri Deva Sharma and his wife were making similar prayer to Lord Jagannatha. Their daughter Padmavathi was endowed with all qualities like character, beauty, humbleness and devotion. Her parents recalled that she was born after intense prayers made to Lord Jagannatha. They had said if born, the child would even be offered to Jagannath. As Padmavathi reached the marriageable age now, they decided it was the time to honour their word to Bhagavan. They took her to temple, worshipped the Lord and decided to spend the day at the hall of the temple. That night, while the temple priest was asleep, he got a dream in which he saw the image of Sri Jayadeva garlanding Padmavathi. The priest got the message. The next day, he met Sri Devasharma and later Sri Narayana Sastri and told them about his dream. He said it is the will of God that the marriage of Jayadeva should take place with Padmavathi. He told Deva Sharma that Jayadeva had found his unity of Atman with Lord Jagannath and therefore giving his daughter in marriage to Jayadeva was equal to giving to Lord Jagannath. There was no second thought and the parents readily agreed. Soon, on an auspicious day, while Veda Mantras were being recited by Pundits, the marriage of Jayadeva and Padmavathi was solemnized in a grand manner. Jayadeva and Padmavathi found spiritual fulfillment in Gruhasthasrama (married life).
Jayadeva was a serious poet by nature and having married Padmavathi who symbolized love, Jayadeva became a romantic poet. The marriage with Padmavathi happened to be the greatest blessing he got in his life. Padmavathi exemplified the qualities of service, humbleness and surrender (Saranagati). As Jayadeva started composing, the blessings of the Lord became overwhelmingly evident. It was like Lord Guruvayurappa who guided his devotee Bhattathiri in composing his Narayaneeyam. The inspiration came to Jayadeva without any effort from his side.
He named his works ‘Geeta Govindam’, songs that hail the glory of Govinda. Singing the songs he used to dance in ecstasy and Padmavathi would also join him. The divine couple used to go to temple and sing before the idol of Lord Jagannatha, which was appreciated by all the assembled devotees.
Gita Govindam is the portrayal of the divine relation between Radha and Krishna; Radha representing pure love and devotion and Krishna representing the Lord of infinite beauty, compassion and knowledge. Ashtapadi which means eight-steps that lead to Krishna is based on the theme of divine romance (Sringara Rasa). It signifies the aspiration of the devotee to be united with Bhagavan or the yearning of Jivatma to be merged with Paramatma, the eternal reality. Ashtapadi, written in Sanskrit, is an exquisite form of devotional poetry and has no parallel anywhere.
A good part of Jayadeva’s day and even night was spent in composing songs. In his vision, Krishna appeared as a lover going after his beloved, Radha, adoring her and admiring her. The songs depicted the divine love between Krishna and Radha. When the emotion that springs from heart is bestowed on human, it is love and when bestowed on Bhagavan i t becomes devotion. The divine love is Bhakti. In other words, Bhakti is the soul’s aspiration to seek unity with eternal reality. It symbolizes what Advaita Siddanta highlights as unity of Jivatma with Paramatma.
In the first Sargam (Pralayapayodhi), Jayadeva hails Krishna for manifesting in different forms like fish, tortoise, dwarf etc. to protect the devotees. It addresses Krishna as one who brings victory to the world (Jaya Jagadisa Hare). Gita Govindam was a smooth journey for Jayadeva. Some divine power was inspiring him, prompting him and enlightening him. But when he reached the 19th Sargam, he was stuck up. He imagines Radha as very possessive. She cannot remain separate from Krishna even for a while, but Krishna is known to disappear suddenly and appear elsewhere. Radha yearns for Krishna in his blue cloudy complexion, in his captivating eyes, colourful attire and enchanting smile. Jayadeva visualizes Radha’s eyes as eagerly looking for Krishna. Krishna too cannot be away from Radha for too long. He would reach his devotee at an appropriate time. Now, as the sun is setting and the sounds of birds heard in the air, Radha hears the sweet melodious sound of flute music. Seeing Krishna in his charm and splendor, his face radiant like an effulgent moon, Radha is delighted. But she conceals her joy and acts as if she is furious. Krishna is willing to go to any length to please her. He says: “Oh Radha, just as you have been suffering the pangs of separation, I too am missing you. I am now perspiring. Come, place your foot over my head and let my head cool down by the touch of your foot.
When Jayadeva reached this scenario, he paused for a while. “Why this wrong imagination?” he asks himself. “The Lotus feet of Lord Krishna are sacred , sanctimonious and venerable. That is where many devotees aspire to place their head and surrender. When the right place for devotee’s head is the feet of Bhagavan, how can the devotee’s feet be on the head of Bhagavan?” When Jayadeva was wondering how such a senseless idea had come to his mind, Padmavathi came and reminded him that it was time for his bath. Leaving the manuscript as it is, he applied oil on his head and went for bath.
When, after seeing off her husband, Padmavathi went back to her room, she saw her husband again coming back and asking her to bring the manuscript and the writing instrument. As she did so, her husband made some corrections and went away. On his return later, after the Puja and the lunch, Jayadeva got back the manuscript to resume his writing. He had decided not to write what had erroneously come to his mind, but on opening the manuscript, he was surprised to find specific mention of what he had decided to omit. “Who wrote these lines?” he asked Padmavathi. She said: “You returned midway and did the correction.” When he denied having come, Padmavathi was very certain that she saw him coming and writing those lines. It then dawned on him that in his absence Krishna Himself had come and added the lines to reiterate what Jayadeva had thought at first:
Smara-karala-Khandanam, mama sirasi mandanam dehi pada-pallavam udaaram, jvalathi mayi daaruno madana kadanaanalo harathu thadupaahitha vikaaram” Priye chaaruseele (7)
“My beloved! Offer the fresh buds of your enchanting feet as an ornament upon my head, so the devastating effect of heat may be alleviated, and the harsh fire of amorous desires may also be relieved.”
“Oh Jagannatha!”, Jayadeva said, “how compassionate you are. You, who consider Radha’s foot over your head as a privilege, has given us an indirect message that you hold your devotees also in full esteem. I have no words to describe your love, your generosity and many acts of your kindness. You have captured our heart.” Turning towards his wife, Jayadeva said: “Oh Padmavathi, how fortunate you are! Though Lord Krishna gave me the inspiration to write, it was you he has chosen to give his Darshan. Padmavathi, in all my future songs, I would make specific mention about your devotion and the service you are doing.” As Jayadeva and Padmavathi couple started rendering Ashtapadi in the precincts of Jagannatha temple, it reverberated throughout the temple and Ashtapadi became the prayer song at each and every house. Since each song is made of eight couplets, it came to be known as Ashtapadi which means eight steps that lead us to Krishna. Apart from rendering at Bhajan, the songs are ideal for dance performance also.
At that time, the sacred temple city of Puri was being ruled by King Sathveekan. He too was deeply devoted to Lord Jagannath. He had composed many works of high poetic and literary value in praise of Lord Jagannath. However, when he found that Jayadeva’s songs received more acclaim, applause and appreciation, he felt disturbed. One day, when he came to the temple, he found devotees were singing only the songs of Jayadeva. At the end, when the devotees paid respects to the king, he said: “ I too have composed songs with great devotion and dedication but I found that you were singing only the songs of Jayadeva and not even a single song of mine.” One of the devotees replied: “We respect you as King but when we sing Jayadeva’s songs, we feel nearer to Lord Jagannath.” “Does it mean”, the king replied, “the songs I composed have no devotional value?” When it was turning into a debate, they all came to an agreement. They will place both the songs of Jayadeva and of King before the idol of Lord Jagannath and leave the decision to Bhagavan. After placing both sets of songs at the sanctum sanctorum, they closed the door. When they opened it the next morning, they found Jayadeva’s songs at the Lotus Feet of Jagannatha and the songs of King left on the side. Though the king accepted the verdict, Jayadeva came to him later and said that he saw a dream where Lord Jagannath appeared and said that songs of Jayadeva and of the king are equal to him. Jayadeva said that he appreciated the songs composed by the king which are highly devotional. A formula was then set that whenever Jayadeva’s Ashtapadi is rendered, first the song composed by the king would be rendered as the beginning hymn, the system which is still followed strictly.
As in other parts of the nation, Bhakthi movement became very powerful in South. The triads (Trimurthis) Sri Bhodendra Swamigal, Sri Sridhara Ayyaval and Marudanallur Sri Venkatesa Sadguru Swamigal laid the foundation for Namasankeerthanam. With the blessings of these luminaries, a systematic and elaborate Bhajan procedure (Sampradaya) was established. It is interesting to note how the practice of rendering Gita Govindam during Namasankeerthanam was started in South. While Marudanallur Sri Sadguru Swamigal was going to Ayodhya he halted at a town called Taalapakkam where Pundits from all regions had assembled. It became a confluence of devotional singers from all regions. Songs of Meera Bai, Namdev, Chaitanya and songs of Ashtapadi were heard. Marudanallur Sadguru Swamigal was impressed by the devotional fervor contained in Ashtapadi. He collected all the songs of Ashtapadi and after visiting Ayodhya returned to South and introduced the system of rendering Ashtapadi in the Bhajan Sampradaya in Tamil Nadu. In the temples of Kerala too, Ashtapadi is sung by the singer standing by the side of the Sopanam (steps leading to the sanctum) accompanied by the beats of Idakka, a small percussion instrument. Guruvayur temple reverberates with the melodious song of Ashtapadi. There is a song which says that Ashtapadi, the most favourite song of Lord Guruvayurappan is a call made by Radha, the Jivatma for union with Paramatma.
Gita Govindam is unique not just for its Sringara Rasa, but also for the Advaita Siddhanta it underlines, for the devotion it highlights, for the poetic beauty it contains, for its musical metres, for the human emotion it depicts for being the essence of Shastras and above all for giving us the vision of Krishna, the Supreme Lord, the Lord of infinite beauty, love, compassion and knowledge who always resides in the heart of devotee.
Source:
- Jayadevarum Ashtapadiyum” by Sri Nagerkoil Krishnan
- From Hari Katha by Poornima Srikanth.