On Gita Govindarm...

On Gita Govindarm...

It is the monumental creation of Poet Jayadeva..
The ultimate in lyrical poetry in Sanskrit..

The compilation has two parts.. one the Ashtapadis or verses in eight padas with prescribed musical notes.. there at 24 of them.. And there are other slokas and descriptive semi prose verses too.. it is believed that the literary work is the combined creation of Jayadeva and his patron king (Lakshmana Sena).. who penned the other verrses other than the 24 Ashtapadis..

But such differentiation is only a traditional belief..


When compared to works like Kadambari etc.. Geethagovindam is not very complicated..

The words and style are uncomplicated

I have studied the whole work and it was my intention to translate all the Ashtapadis..

But some of them are rather too intimate and abounding in Sringara Rasa..

I thought I should stop it..

Geetha Govindam can be found with lesser frequency in other parts of India too like the west.. It can be heard in Andhra and Karnataka.. too. apart from Kerala , Bengal, and the Seven Sister states and Orissa too..


When compared to works like Kadambari etc.. geethagovindam is not very complicated.. The words and style are uncomplicated..but sweetly elegant .

I have studied the whole work and it was my intention to translate all the Ashtapadis..

But some of them are rather too intimate and abounding in Sringara Rasa..

I thought I should stop it.. Geetha Govindam can be found with lesser frequency in other parts of India too like the west..


It can be heard in Andhra and Karnataka.. too. apart from Kerala , Bengal, and the Seven Sister states and Orissa too..

His ten forms ...

वेदान् उद्धरते जगन्निवहते भूगोलमुद्बिभ्रते

दैत्यम् दारयते बलिम् छलयते क्षत्रक्षयम् कुर्वते

पौलस्त्यम् जयते हलम् कलयते कारुन्यमातन्वते

म्लेच्छान् मूर्च्छयते दशाकृतिकृते कृष्णाय तुभ्यम् नमः॥

जयदेवकृते गीतगोविन्दे

vedān uddharate jagannivahate bhūgolamudbibhrate

daityam dārayate balim chalayate kṣatrakṣayam kurvate

paulastyam jayate halam kalayate kārunyamātanvate

mlecchān mūrcchayate daśākṛtikṛte kṛṣṇāya tubhyam namaḥ||

jayadevakṛte gītagovinde

Redeems the Vedas as a fish annihilating the demon Hayagriva,

Carries the entire brunt of the universe as a tortoise as Aadikoorma and also as the tortoise during the churning of the milky ocean

, Annihilates the son of Diti the Hirnayaksha as the primordial boar and lifts globe of earth submerged in waters by that demon

and decimated another son of Diti Hiranyakashipu as the Narasimha..to bless that noble devotee Prahlada ..

begs for three tiny feet of land as a child Vamana from Mahabali and then cheats him by growing as Trivikrama, and measured the whole universe in two steps and has to demand Balis head for the third measure

Annihilates twentyfour generations of Kshatriyas in his birth as the axe wielding Parashurama, vanquishes and executes Ravana, the scion of Pulastya clan,, as Rama,

ploughs and even changes the course of water bearing rivers as Balarama,

Radiates mercy and knowledge as the one and only Krishna,

and finally would be born as the sword bearing Kalki to finish off all mean being..

Pranams to you, that Krishna who takes ten births ...

Pranams to you that Krishna

വേദാന്‍ ഉദ്ധരതേ ജഗന്നിവഹതേ ഭൂഗോളമുദ്ബിഭ്രതേ

ദൈത്യം ദാരയതേ ബലിം ഛലയതേ ക്ഷത്രക്ഷയം കുര്‍വതേ।

പൌലസ്ത്യം ജയതേ ഹലം കലയതേ കാരുണ്യമാതന്വതേ

മ്ലേച്ഛാന്‍ മൂര്‍ച്ഛയതേ ദശാകൃതികൃതേ കൃഷ്ണായ തുഭ്യം നമഃ॥

ജയദേവകൃതേ ഗീതഗോവിന്ദേ

ഹയഗ്രീവന്‍ എന്ന അസുരന്‍ വേദങ്ങള്‍ അപഹരിച്ച് അവയുമായി കടലിന്നടിയില്‍ ഒളിഞ്ഞു കിടന്നപ്പോള്‍ പെരും മീനായി, തിമിംഗലമായി, പിറന്നു അവനെ തേടിപ്പിടിച്ചു വകവരുത്തി ആ വേദങ്ങളെ വീണ്ടെടുത്തവനേ

അമൃതിനായി ദേവന്മാരും അസുരന്മാരും പാലാഴി കടയുന്ന അവസരത്തില്‍ കടകൊലായ മന്ഥരപര്‍വ്വതത്തിന് ഉറച്ചുനിന്ന് തിരിയുവാനുള്ള അടിസ്ഥാനമായി ആദികൂര്‍മ്മമായി ആഴിയുടെ അടിത്തട്ടില്‍ ഉറച്ചു നിന്നവനേ

ഭൂഗോളത്തെ അപഹരിച്ചു കടലിന്നുള്ളില്‍ താഴ്ത്തി അതിനോടൊപ്പം കടളിന്നടിയില്‍ നിന്ന ദിതിയുടെ മകനായ ഹിരണ്യാക്ഷന്‍ എന്ന അസുരനെ വകവരുത്തി ഭൂമി വീണ്ടെടുക്കാന്‍ ആദിവരാഹമായി പിറന്നവനേ

ദിതിയുടെ മറ്റൊരു മകനായ ഹിരണ്യകശിപുവിനെ നിഗ്രഹിക്കാനും ഭക്തനായ പ്രഹ്ളാദകുമാരനെ രക്ഷിക്കുവാനുമായി നരസിംഹമായി രൂപമെടുത്തവനേ

വാമനായി രൂപമെടുത്തത് മഹാബലിയുടെ യാഗശാലയില്‍ പോയി മൂന്നടി മണ്ണ് യാചിച്ച്, ആ ദാനം കിട്ടിയപ്പോള്‍ ത്രിവിക്രമനായി വളര്‍ന്നു രണ്ട് അടി കൊണ്ട് പ്രപഞ്ചം മുഴുവനും അളന്നു തീര്‍ത്ത് മൂന്നാമത്തെ അടി ബലിയുടെ ശിരസ്സില്‍ വച്ച് അളവെടുപ്പ് പൂര്‍ത്തിയാക്കിയവനേ

പരശു എന്ന മഴുവും ഏന്തി ക്ഷത്രിയന്മാരുടെ ഇരുപത്തിയൊന്നു തലമുറകള്‍ വെട്ടിനിരത്തുവാന്‍ ഭാര്‍ഗവവംശത്തില്‍ പരശുരാമാനായി പിറവി എടുത്തവനേ

പുലസ്ത്യവംശത്തില്‍ പിറന്ന രാവണനെ യുദ്ധത്തില്‍ പരാജയപ്പെടുത്തി നിഗ്രഹിക്കാന്‍ സൂര്യവംശത്തില്‍ രാജാധിരാജനായി ശ്രീരാമനായി പിറന്നവനേ

കലപ്പ തോളിലേന്തി അത് ഭൂമിയില്‍ കുത്തിയിറക്കി ഭൂമിയിലെ വന്‍ നദികളുടെ പ്രവാഹത്തിന്‍റെ ദിശപോലും മാറ്റിമറിച്ച അതിശക്തനായ ബലരാമനായി അവതരിച്ചവനേ

എല്ലാ ജീവന്മാര്‍ക്കും കാരുണ്യവും ജ്ഞാനവും പകര്‍ന്ന, കുഴലൂതി പശുക്കളെ മേച്ചുകൊണ്ട് ബാല്യം കഴിച്ചു പിന്നീട് ഭഗവത്ഗീത ലോകത്തിനു നല്‍കി ജഗദ്ഗുരു ആയി തീര്‍ന്ന ഭഗവാനേ

ജനങ്ങള്‍ സത്യവും ധര്‍മ്മവും കൈവിട്ട് സര്‍വ്വനാശത്തിലേയ്ക്ക് കൂപ്പുകുത്തുമ്പോള്‍ കൈയില്‍ വാളും ഏന്തി അശ്വാരൂഢനായി, കല്‍ക്കിയായി, സ്വയം പ്രത്യക്ഷപ്പെടുകയും സംഹാര താണ്ഡവം നടത്തുകയും ചെയ്യാന്‍ പോകുന്നവനേ

പത്ത് വിധം, പത്തു രൂപത്തില്‍, പത്തു ലക്ഷ്യങ്ങള്‍ക്കായി, പത്തു അവതാരം എടുക്കുന്ന കൃഷ്ണാ നിനക്ക് പ്രണാമം.

Beauty of the Black

Beauty of  the Black

Dark clouds are murmuring in the twilight sky..

The forest landscape is rendered black with thick growth of rosewood trees.

The cowherds, and that dark boy too, are assembled in those thickets

Nanda tells Radhika.. “This timid boy is afraid of darkness and the night.

.Therefore you carry him home”

That nubile damsel carries that ever naughty urchin on her laps and moves towards home.

On the way, in the banks of Yamuna with water flowing dark and deep

In the bowers adorned with dark shooting branches, the boy grows as a youth

And Radha and Madhava play there the secret games of love

May that love protect us

(From Gita Govindam)

मेघैर्मेदुरमंबरं वनभुवः श्यामाः तमालद्रुमैः

नक्तं भीरुरयं तदेव तमिमं राधे गृहं प्रापय

इत्थं नन्दनिदेषतः स्थलितयोः प्रत्यग्रकुञ्जद्रुमं

राधामाधवयोः जयन्ति यमुनाकूले रहः केळयः

meghair medhuram ambaram vanabhuvaH shyaamaaH tamaaldrumaiH

naktam bheerurayam tadeva tamimam raadhe griham praapaya

ittham nand nidesathasthalithayoh pratyagrakunjadrumam

raadhamaadhavayoh jayanti yamunaakooley rahah kelayaH..

Raadhe, you enter the presence of Maadhava

                                                      

मञ्जुतरकुञ्जतलकेळिसदने इहविलसररतिरभसहसितवदने- प्रविश राधे माधवसमीपं।१

नवभवदशोकदळशयनसारे इहविलसकुचकलशतरलहारे - प्रविश राधे माधवसमीपं।२
मधुमुदितमधुपकुलकलितरावे इहविलसमदनरससरसभावे- प्रविश राधे माधवसमीपं। ३
कुसुमचयरचितशुचिववासगेहे इहविलसकुसुमसुकुमारगेहे -प्रविश राधे माधवसमीपं। ४
चलमलयमृदुपवनसुरभिशीते इहविलसरतिवलित लळितगीते -प्रविश राधे माधवसमीपं। ५
मधुरतरपिकनिकरनिनदमुखरे इहविलस दशनरुचिविजितशिखरे॥प्रविश राधे माधवसमीपं। ६
विततबहुवल्लिनव पल्लवघने इहविलस चिरमलसपीनजघने प्रविश राधे माधवसमीपं।७
विहितपद्मावती सुखसमाजे भणति जयदेवकविराजराजे कुरुमुरारे मङ्गलशतानि।८
इति श्रीजयदेवकविराजविरचिते गीतगोविन्दमहाकव्ये अष्ठपदी २१
mañjutarakuñjatalakeḻisadane ihavilasararatirabhasahasitavadane- praviśa rādhe mādhavasamīpaṁ |1
navabavadaśokadaḻaśayanasāre ihavilasakucakalaśataralahāre - praviśa rādhe mādhavasamīpaṁ |2
madhumuditamadhupakulakalitarāve ihavilasamadanarasasarasabhāve- praviśa rādhe mādhavasamīpaṁ| 3
kusumacayaracitaśucivavāsagehe ihavilasakusumasukumāragehe -praviśa rādhe mādhavasamīpaṁ| 4
calamalayamṛdupavanasurabhiśīte ihavilasarativalita laḻitagītee -praviśa rādhe mādhavasamīpaṁ| 5
madhuratarapikanikaraninadamukhare ihavilasa daśanarucivijitaśikhare|praviśa rādhe mādhavasamīpaṁ| 6
vitatabahuvallinava pallavaghane ihavilasa ciramalasapīnajaghane praviśa rādhe mādhavasamīpaṁ |7
vihitapadmāvatī sukhasamāje bhaṇati jayadevakavirājarāje kurumurāre maṅgalaśatāni|8
iti śrījayadevakavirājaviracite gītagovindamahākavye aṣṭhapadī 21

 This the the 21st Astapadi in Jayadeva's Gitagovindam,  the romantic fake quarrel between Radha and Krishna coming to an end and Radha is prodded to enter into a beautiful bower in the precincts of the bands of Yamuna.. Her Madhava is waiting for her all lovelorn.
Laughing excitedly in expectation of the consummation  of  your love with HIm, Radhe, you enter the beautiful bower made of wild tendrils and leaves and enjoy the company of Your Mahdhava 1
With your your young breast throbbing under the garland of fresh pearls, Radhe, you enter the beautiful bower adorned with ashoka flowers and enjoy the company of Your Mahdhava 2
With your mind full of erotic thought of His company, Radhe you enter the beautiful bower  where the bramaras (beetles) drunk with the honey of the flowers decorating your rendezvous are flying around in intoxication. and enjoy  the company of Your Mahdhava 3
With your body as beautiful and tender as a bunch of flowers,  Radhe, you enter the beautiful bower whose inside  is built  wit myriad  fragrant flowers and  enjoy  the company of Your Mahdhava 4
With your sweet lips humming melodies of love, Radhe, you enter the beautiful bower which is fragrant and  with the gentle cool breeze of the mount Malaya
and enjoy the company of Your Mahdhava 5
With the lustre of your teeth defeaing the gem Manikyam (white or transparent ruby which shines in light ), Radhe you enter the beautiful bower of soft tendrils, which is reverberating with the song of groups of cuckoo birds, to enjoy  the company of Your Mahdhava 6
With your very heavy hips, you enter the beautiful bower which is shining with freshly grown tendrils and young leaves, to enjoy the company of your Mahdava.7

You Krishna the slayer of the demon Mura, may you pleased to to shower you Grace on all the devotes and singers of this lyric composed by Jayadeva the emporer of poets and dearest husband of  Padmavati.8

The arrangement of words in this lyric.. both a love poem as well as a composition expectantly awaiting the union of Radha and Madhava, which union is the source of the whole universe....  is beautiful beyond description.. The beauty of the verse, sure,  can never be captured in full after translation from Sanskrit to  any other language.

--

beauty of darkness and the black cloud

पश्यति दिशि दिशि रहसि भवन्तं त्वदधरमधुरमधूनि पिबन्तं।
नाथ हरे!  सीदति राधा वासगृहे॥१
त्वदभिसरणरभसेन वलन्ती पतति पदानि कियन्ति चलन्ती।
नाथ हरे!  सीदति राधा वासगृहे॥२॥
विहितविशदविसकिसलयवलया जीवति परमिह तवरतिकलया।
नाथ हरे!  सीदति राधा वासगृहे॥३॥
मुहुरवलोकनमण्डनलीला मधुरिपुरहमिति भावनशीला।
नाथ हरे!  सीदति राधा वासगृहे॥४॥
त्वरितमुपैति न कथमभिसारं हरिरितिवदति सखीमनुवारं।
नाथ हरे!  सीदति राधा वासगृहे॥५॥
श्लिष्यति चुंबति जलधरकल्पं हरिरुपगत इति तिमिरमनल्पं।
नाथ हरे!  सीदति राधा वासगृहे॥६॥
भवति विळम्बिनि विगळितलज्जा विलपति रोदिति वासकलज्जा।
नाथ हरे!  सीदति राधा वासगृहे॥७॥
श्रीजयदेवकवेरिदमुदितं रसिकजनं तनुतामतिमुदितम्।
नाथ हरे!  सीदति राधा वासगृहे॥८॥
इति श्रीजयदेवकविराजविरचिते गीतगोविन्दे अष्टपदी  १२

paśyati diśi diśi rahasi bhavantaṁ tvadadharamadhuramadhūnipibantaṁ|
nātha hare  sīdati rādhā vāsagṛhe||1
tvadabhisaraṇarabhasena valantī patati padāni kiyanti calantī|
nātha hare  sīdati rādhā vāsagṛhe||2||
vihitaviśadavisakisalayavalayā jīvati paramiha tavaratikalayā|
nātha hare  sīdati rādhā vāsagṛhe||3||
muhuravalokanamaṇḍanalīlā madhuripurahamiti bhāvanaśīlā|
nātha hare  sīdati rādhā vāsagṛhe||4||
tvaritamupaiti na kathamabhisāraṁ hariritivadati sakhīmanuvāraṁ|
nātha hare  sīdati rādhā vāsagṛhe||5||
śliṣyati cuṁbati jaladharakalpaṁ harirupagata iti timiramanalpaṁ|
nātha hare  sīdati rādhā vāsagṛhe||6||
bhavati viḻambini vigaḻitalajjā vialpati roditi vāsakalajjā|
nātha hare  sīdati rādhā vāsagṛhe||7||
śrījayadevakaveridamuditaṁ rasikajanaṁ tanutāmatimuditam|
nātha hare  sīdati rādhā vāsagṛhe||8||
iti śrījayadevakavirājaviracite gītagovinde aṣṭapadī  12

This is a very beautiful song of separation from Jayadevas Giitagovinda.. Here Radha is undergoing the pangs of separation from Krishna and at the same time is in desperation and anger mixed with love for Krishna because she had been informed by her friends that the debonair lover is having a nice time with other girls. Radha is never pleased with such activities of Krishna but then her love for Him is eternal..So she is left  in a state where she is smouldered by the fire of separation from Krishna.
The condition of Radha is explained to Madhava  in detail by a friend and emissary who has approached the lover who has gone away in mock estrangement.

1. You Hari the master, Radha is visualizing that you are engaged in kissing and loving other girls in secret places and they are drinking the nectar of your lips. So she is sitting in her bower in utter sorrow with a broken heart.

2. You Hari the master, Radha made a brave attempt to come in search of you, but out of sorrow and tiredness she has fallen down in her place even while she was taking a few steps towards your rendezvous. Therefore she is sitting in her bower in utter sorrow with a broken heart

3.You Hari the master, Radha is being  burnt by the fire of love but she is just remaining alive in her place covering herself with cooling aids like covering her body with the stalks of the lotus, just  keeping alive in the desperated hope that you will come back to her and love her to hear hearts content. Therefore she is sitting in her bower in utter sorrow with a broken heart

4. You Hari the master, she has adorned herself in exquisite clothes and jewellery in the expectation that she will be receiving you in her place, and she is hallucinating that the jewellery and other adornments represent you and so she is herself Madhava..Therefore she is sitting in her bower in utter sorrow with a broken heart

5.You Hari the master, as if in a stupour she is repeatedly asking the friends why You are not coming to her and giving  her love. Thus she is sitting in her bower in utter sorrow with a broken heart

6. You Hari, the master,  Radha, in her hallucination is seeing you in the darkness of her abode which is resembling the blackest cloud, you the personification of the beauty of blackness and is making mock embraces  and giving kisses to that darkness. Therefore she is sitting in her bower in utter sorrow with a broken heart

7. You Hari, the master, she has kept her abode clean, and has adorned herself to the greatest beauty in the expectation that she will be receiving you immediately,  but now desperate that you have not yet visited her, she is shedding tears. Therefore she is sitting in her bower in utter sorrow with a broken heart

8. May this beautiful song of Jayadeva describing the vipralamba state of Radha, please the hearts of all the readers and shower on them the blessings of Hari.

Gitagovindam can be taken as simply a series of songs describing the separation of two lovers who loved each other too warmly.  But there is the undercurrent of the mundane bhakta seeking the Divine Madhava.. which idea has  made the Kavya immortal.

--

Radha saw her Krishna

राधावदनविलोकनविकसित विविधविलास विभङ्गं
जलनिधिमिवविधुमण्डलदर्शन तरळिततुङ्गतरङ्गं
हरिमेकरसं चिरमभिलषित विलासं
सा ददर्श गुरुहर्षवशंवदहृदयमनङ्गविलासं॥१॥
हारममलतरमुरसि दधतं परिलम्ब्य विदूरं।
स्फुटतरफेनकदम्बकरम्बितमिव यमुनाजलपूरं॥२॥
श्यामळमृदुलकळेभरमण्डल परिहितगौरदुकूलम्
नीलनळिनमिव पीतपरागपटलभरपरिगतमूलं॥३॥
तरलद्ऱ्इगञ्चलचलनमनोहरवदनजनितरतिरागं
स्फुटकमलोदरखेलितखञ्जनयुगमिव शरदि तटाकं॥४
वदनकमलपरिशीलनमिळितमिहिरसमकुण्डल शोभं
स्मितरुचिरुचिरसमुज्ज्वलिताधरपल्लवकृतरतिलोभं॥५॥
शशिकिरणच्छुरितोदरसुन्दरसकुसुमकेशं
तिमिरोदितविधुमण्डलनिर्म्मलमलयजतिलकनिवेशं॥६॥
विपुलपुळकभरदन्तुरितं रतिकेलिकल्ल्भिधीरं
मणिगणकिरणसमूहसमुज्ज्वलभूषण्सुभगशरीरं॥७॥
श्रीजयदेवभणितविभवद्विगुणीकृतभूषणभारं
प्रणमत हृदि विनिधाय हरिं सुचिरं सुकृतोदयसारं॥८॥
श्रीजयदेवकृते गीतगोविन्दे अष्टपदी २२
rādhāvadanavilokanavikasita vividhavilāsa vibhaṅgaṁ
jalanidhimivavidhumaṇḍaladarśana taraḻitatuṅgataraṅgaṁ
harimekarasaṁ ciramabhilaṣita vilāsaṁ
sā dadarśa guruharṣavaśaṁvadahṛdayamanaṅgavilāsaṁ||1||
hāramamalataramurasi dadhataṁ parilambya vidūraṁ|
sphuṭataraphenakadambakarambitamiva yamunājalapūraṁ||2||
śyāmaḻamṛdulakaḻebharamaṇḍala parihitagauradukūlam
nīlanaḻinamiva pītaparāgapaṭalabharaparigatamūlaṁ||3||
taraladigañcalacalanamanoharavadanajanitaratirāgaṁ
sphuṭakamalodarakhelitakhañjanayugamiva śaradi taṭākaṁ||4
vadanakamalapariśīlanamiḻitamihirasamakuṇḍala śobhaṁ
smitarucirucirasamujjvalitādharapallavakṛtaratilobhaṁ||5||
śaśikiraṇacchuritodarasundarasakusumakeśaṁ
timiroditavidhumaṇḍalanirmmalamalayajatilakaniveśaṁ||6||
vipulapuḻakabharadanturitaṁ ratikelikallbhidhīraṁ
maṇigaṇakiraṇasamūhasamujjvalabhūṣaṇsubhagaśarīraṁ||7||
śrījayadevabhaṇitavibhavadviguṇīkṛtabhūṣaṇabhāraṁ
praṇamata hṛdi vinidhāya hariṁ suciraṁ sukṛtodayasāraṁ||8||
śrījayadevakṛte gītagovinde aṣṭapadī 22

Geetagovindam of Jayadeva is the description of  the strange and sweet relationship of Radha and Krishna, full of  yearning for each other and at the same time a saga of self-mortification through separation from one one another for frivolous causes with all eagerness to  get united.. they seem very far from each other when they are near and they are so close to each other when they are separated.  It is also the yearning of the seeker for the ultimate being sought after, the search of prakriti and purusha to unite with each other  and make the universe perfect.... 

The twenty-second Ashtapadi is where after a lot of lovelorn reprimands and anxious  separations Hari the lover and Radha his dearest, meet one another.  How that Radha saw Hari in that state of near fulfilment is the content of this Kalyana Ashtapadi. 

That Radha saw Hari  whose only desire at that moment was to get united with her.. the moment He was awaiting with eagerness for a long time now..His only object of love at that moment was Radha.. on seeing her face, He is alternately subjected to myriad  emotions like disability to move, sweating,  raising goose pimples and so on..it like the ocean raising all its waves towards the full moon at the moment of tide.

He wore a long garland full of pearls that made   His pitch-black body resemble the river Kalindi which  is very murky and black but shines with pure white foam on its surface. 

He shone like a black lily flower with dark and soft petals which was partially covered by a yellow silken cloth resembling  yellow hued spores of that dark flower. 

His dark pair of eyes were just wandering fast left to right having glimpse at the attractive face of Radha.. and he looked like a lake with a pair of Khanjanika birds swimming blissfully over its waters.

His face was like a red lotus ( for a dark face like His to become red like a lotus should definitely mean the intensity of his yearning for Radha), flanked by two earrings which shone like two suns and His lovesome lips were tremulous with the insatiable desire for union with  His love...Radha

He was adoring his hair with pure white flowers  and it gave an impression of the rays of moon peeping out of the covers of dark cloud.  His face shone like the moon which had just come out fresh from out of a cover of dark clouds. 

And to top it all, the  lord of the whole universe in His excited state of mind in full expectation of an ideal communion with Radha, was totally  bereft of any boldness... completely given to sweet anxiety of expectation.. Radha saw him adorned in all the valuable gems and other embellishments, eager to take possession of the real gem he yearned for .. Radha

This tribute of Jayadeva to the eager expectation of Krishna in His union with Radha is an additional ornament  offered to Hari. 

Let offer pranams to  that Hari whose beauty is enhanced by the nearness of Radha and is further enhanced by the tribute of this Jayadeva.

jaya jaya deva hare

श्रितकमलाकुचमण्डन धृतकुण्डल कलितलळितवनमाला जय जय देव हरे॥१॥

दिनमणि मण्डलमण्डन भवखण्डन मुनिजनमानस हंस जय जय देव हरे॥२॥

काळियविषधरभञ्जन जनरञ्जन यदुकुलनळिनदिनेश जय जय देव हरे॥३॥

मधु मुर नरक विनाशन गरुडासन सुरकुलकेळिनिधान जय जय देव हरे॥४॥

अमलकमलदळ लोचन भवमोचन त्रिभुवनभवन निधान जय जय देव हरे॥५॥

जनकसुताकुचभूषण जित दूषण समरशमितदशकण्ड जय जय देव हरे॥६॥

अभिनवजलधर सुन्दर धृतमन्दर श्रीमुख चन्द्रचकोर जय जय देव हरे॥७॥

श्रीजयदेवकवेरितं कुरुते मुदं मङ्गल्मुज्ज्वलगीतं जय जय देव हरे॥ ८॥

॥इति महाकवि श्रीजयदेव विरचिते गीतगोविन्दे सामोददामोदरे द्वितीय अष्टपदी॥


shritakamalaakuchamaNDana dhR^itakunDala kalitalaLitavanamaalaa jaya jaya deva hare ..1..

dinamaNi maNDalamaNDana bhavakhaNDana munijanamaanasa haMsa jaya jaya deva hare ..2..

kaaLiyaviSadharabha~njana janara~njana yadukulanaLinadinesha jaya jaya deva hare ..3..

madhu mura naraka vinaashana garuDaasana surakulakeLinidhaana jaya jaya deva hare ..4..

amalakamaladaLa lochana bhavamochana tribhuvanabhavana nidhaana jaya jaya deva hare ..5..

janakasutaakuchabhuuSaNa jita duuSaNa samarashamitadashakaNDa jaya jaya deva hare ..6..

abhinavajaladhara sundara dhR^itamandara shriimukha chandrachakora jaya jaya deva hare ..7..

shriijayadevakaveritaM kurute mudaM ma~NgalmujjwalagiitaM jaya jaya deva hare.. 8..

..iti mahaakavi shriijayadeva virachite giitagovinde saamodadaamodare dvitiiya aSTapadii ..
This is an Ashtapadi where Sri Jayadeva describes the whole glory of Maadhava.. in Sopana Sangeetham and  great art forms like Kathakali, this ashtapadi is rendered as the mangalaslokam... Today is Guruvayurapaan's day.. his own Ekadasi.. my humble pranams for His welfare because the whole world can be in good stead only if that black fellow is happy.

Victory to you, Victory to you, Oh Lord Hari..
You the amorous lover holding the breast of Lakshmi the Kamala, you having your resplendent ear ornaments, adorning the beautiful garland of thulasi and other flowers,
you, the most exalted adornment for the orb of the sun, you, the remover of the mundane pathos of your devotees, you the swan shining in the lotus of the learned sages,
you, the shatterer of the poison fangs of Kaaliya the snake,  you the rejoicer of the hearts of one and all with your glorious lore,  you the sun for the lotus that is called the yadu clan,
you the destroyer or demons madhu, mura and naraka,  you the occupant of the back of the lord of birds Garuda, you the sole cause for the rejoicing of the numerous gods and their clans,
you the possessor of eyes shaped like flawless petals of a fresh lotus, you the destroyer of the sins and sufferings of the devotees,  you who contains and protects the three worlds in your belly during the deluges at the end of eons,
you, the playful handler of the breast of the daughter of Janaka, you the vanquisher or Dhooshana, you the slayer of the ten-headed Ravana at the end of a fierce battle,
you the possessor of freshly black beauty like the newly formed black cloud,  you the supporter of Mandhara mountain during the churning of the milky ocean, you the chakora bird which drinks the face of the moon that is Lakshmi,
The above song which  is sung by the Poet Jayadeva may endow all of us with  happiness and mangalam
 ( there is no word to translate the meaning of this word to English)

The writing is by a poet who has realised Krishna and witnessed His  playful activities.  So whatever he writes, in devotion or in sringaararasam is equally sacred.  The amorous union of prakriti and purusha is the basis for the existence of this world.. We are mere constituents and the exalted souls like this poet are well within their rights to  describe their master in whatever way they want. 
Sree Krishnaarapanam.

that Hari is playing flute and dancing...

सञ्चरदधरसुधामधुरध्वनि मुखरितमोहनवंशं
चलितदृगञ्चल चञ्चलमौलिकपोलविलोलवतंसं।
रासे हरिरिह विहितविलासं स्मरति मनो मम कृतपरिहासं॥
जयदेव विरचितं अष्टपदी ५--१
sañcaradadharasudhāmadhuradhvani mukharitamohanavaṁśaṁ
calitadṛgañcala cañcalamaulikapolavilolavataṁsaṁ|
rāse haririha vihitavilāsaṁ smarati mano mama kṛtaparihāsaṁ||
jayadeva viracitaṁ aṣṭapadi 5--1

With sweet vibrating lips He is playing that divine flute which gives out music more tasty than the ambrosia... 

He brings out those enticing looks in His eyes which are binding all around Him in a mesmeric spell, 

 the attractive dark hair and the earrings touching His reddish blue cheeks also are moving to the rhythm.. 

and in His rasa lila, that naughty Hari is attracting my mind to Him against my own instincts.. 

and that smile which though sarcastic is prompting me to go beyond all limits to love Him...

my  dear friend, please advice me  if there is any way I will not fall like an intoxicated person to the enchanting love of that tricky debauch.. Hari.. 

so says Radha

Fine arts and music are divine

साहित्यसङ्गीतकलाविहीनः, साक्षात्पशुः पुच्छविषाणहीनः .

तृणं न खादन्नपि जीवमानः, तद्भागधेयं परमम्पशुनाम् .. १२..

saahityasangeethakalaavihiinah  saakshaat pasuh puchchhavishaanahiinah
trinam na khadannapi  jeevamaanah tad bhagadheyam paramam pasoonaam

a person with  no taste for literature, music and fine arts is  virtually a cow or some similar animal, with the only difference that the former has no tail or horns.  It is indeed very fortunate for the animals  that such persons do not start eating grass for food because if it happens the horned animals will have to die of starvation.
This sloka is found in some versions of Neetisatakam of Bharthruhari.
 Our traditions are so great that every god in Hindu pantheon is adorned with a musical instrument.  The lord of Lords, the Nataraja, is an adept in playing Dakkaa and Damaru... In fact the Indian alphabets are said to have emanated from the Lord Shiva's fingerings on the percussion instrument fourteen times. It is described as under.
नृत्तावसाने नटराजराजो ननाद ढक्कांनवपञ्चवारम्।
उद्धर्त्तुकामो सनकादिसिद्धादिनेतद्विमर्शेशिवसूत्रजालम्II
On conclusion of his tandavanritta, the emperor of dancers, Lord Nataraja with a view to enlighten the great sages like Sanaka, played nine and five times in his Dakka...(udukku the small drum held in his hand) and out came the shivasuutraas, which were later on adopted as the basis for the entire philology and phonetics of India.. The great grammarian Paanini starts his aphorisms with these suutras.

अक्षरसमाम्नाय:, शिवसूत्राणि

अ इ उण्

ऋ लृक्

ए ओंङ्

ऐ औच्

ह य व रट्

लण्

ञ म ङ ण नम्

झ भञ्

घ ढ धष्

ज ब ग ड दश्

ख फ छ ठ थ च ट तव्

कपय्

श ष सर्

हल्

इति माहेश्वराणि सूत्राणि अणादिसंज्ञार्थानि। एषामन्त्या इत:। हकारादिषु अकार: उच्चारणार्थ:। लण्मध्ये तु इत्संज्ञक:|

 
Lord Krishna's constant companion was his  flute..He mesmerized the damsels and the mortals and in-animates in Brindavan and the whole universe with his sweet breath emanating  through the divine flute.  Leelasuka or Bilvamangala swamigal  prays to this flute..

अयि मुरलि मुकुन्दस्मेरवक्त्रारविन्द
श्वसनमधुरसंज्ङे त्वाम् प्रणम्याद्य याचे।
अधरमणिसमीपम् प्राप्तवत्याम् भवत्याम्
कथय रहसि कर्णे मद्दशाम् नन्दसूनोः॥ २-११

ayi murali mukundasmeravaktrāravinda
śvasanamadhurasaṁṅe tvām praṇamyādya yāce |
adharamaṇisamīpam prāptavatyām bhavatyām
kathaya rahasi karṇe maddaśām nandasūnoḥ || 2-11

(Sree krishna karnamritham)

You sweet flute, you are in constant  company with the sweet musical breath from Mukunda's lips at one tip of yours and you have his ears at the other tip. I offer pranams to you and beg to you.. When you are held near the gems of those lips, please be kind enough to whisper on His ears about the miserable state I am in.. so that He will shower his mercy upon me.

In Srimannaaraayaneeyam the Dashakam 69 on raasakriida is completely devoted to music and dance.

केशपाशधृतपिञ्छिकाविततिसञ्चलन्मकरकुण्डलं
हारजालवनमालिकाललितमङ्गरागघनसौरभम् ।
पीतचेलधृतकाञ्चिकाञ्चितमुदञ्चदंशुमणिनूपुरं
रासकेलिपरिभूषितं तव हि रूपमीश कलयामहे ॥१॥

A bunch of peacock feathers adorning the beautiful locks of hair; a pair of fish shaped earrings dangling from the ears; many necklaces intermingled with flower garlands adorning the neck; a golden girdle fastened to the yellow silk garment adorning the waist; sandal paste and other unguents smeared on the body emitting strong fragrance; gem studded anklets flashing forth a glow; on such a radiant form of Thee, with decorations appropriate for the Raasa, we meditate on.

  Kaalidasa starts his Shyamalaa dandakam with a prayer to the Vaagdevata, Saraswathi.
माणिक्यवीणामुपलाळयन्तीं
मदालसां मञ्जुळ वाग्विलासां।
माहेन्द्रनीलद्युतिकोमळाङ्गीं
मातङ्गकन्यां मनसा स्मरामि॥
māṇikyavīṇāmupalāḻayantīṁ
madālasāṁ mañjuḻa vāgvilāsāṁ|
māhendranīladyutikomaḻāṅgīṁ
mātaṅgakanyāṁ manasā smarāmi||

I prostrate before Shyaamala, the daughter of maatanga....she nestles on her bosom a veena made of maanikya gem, she is supremely happy and relaxed , her words are very sweet and she is resplendent in the brighntess of  indraneela (peacock blue).

The great poet Jayadeva is very vocal in describing the dance of Krishna in Gita govindam.

ललितलवङ्गलतापरिशीलनकोमलमलयसमीरे ।
मधुकरनिकरकरम्बितकोकिलकूजितकुञ्जकुटीरे ।
विहरति हरिरिह सरसवसन्ते ।
नृत्यति युवतिजनेन समम् सखि विरहिजनस्य दुरन्ते ॥ अ प ३-१

In this springtime gentle vernal breezes from Mount . M alaya, the abode of sandalwood trees, that swivel round the slim tendrils of clove gillyflower plants and the  breeze hovers  gently, interwoven with both the fragrances... in this springtime that has bowers made lively with the intermingled buzzes of honeybees swarm and croons of Kokila throngs... that Krishna whom you are seeking is gloriously frolicking and dancing with young girls  in Brindavan right at this moment, for this is spring, isn't it...  therefore, come on... let's go... lovelorn people are unrequited, otherwise... [astapadi  3-1]

The great tamil poet Arunagirinathar describes vividly the dance of Murugan, in Thiruppugazh :-

அதல சேட னாராட அகில மேரு மீதாட      அபின காளி தானாட ...... அவளோடன் றதிர வீசி வாதாடும் விடையி லேறு வாராட      அருகு பூத வேதாள ...... மவையாட மதுர வாணி தானாட மலரில் வேத னாராட      மருவு வானு ளோராட ...... மதியாட வனச மாமி யாராட நெடிய மாம னாராட      மயிலு மாடி நீயாடி ...... வரவேணும் கதைவி டாத தோள்வீம னெதிர்கொள் வாளி யால்நீடு      கருத லார்கள் மாசேனை ...... பொடியாகக் கதறு காலி போய்மீள விஜய னேறு தேர்மீது      கனக வேத கோடூதி ...... அலைமோதும் உததி மீதி லேசாயு முலக மூடு சீர்பாத      உவண மூர்தி மாமாயன் ...... மருகோனே உதய தாம மார்பான ப்ரபுட தேவ மாராஜ      னுளமு மாட வாழ்தேவர் ...... பெருமாளே. ......... சொல் விளக்கம் ......... அதல சேடனார் ... (பூமிக்கு கீழேயுள்ள) அதலத்தில் இருக்கும் ஆதிஸேஷன் ஆட ... நடனம் ஆடவும், அகில மேரு மீதாட ... பூமி மீதுள்ள மேருமலை அசைந்தாடவும், அபின (அபின்ன) ... மாறுபாடு இன்றி (சிவதாண்டவத்துக்கு) ஒற்றுமையாக காளி தானாட ... காளி தான் ஆடவும், அவளோ (டு) அன்(று) அதிர ... அக்காளியோடு அன்று அவள் அதிர்ந்து நடுங்கும்படி வீசி வாதாடும் ... (காலை ஊர்த்துவகோலத்தில்) வீசி போட்டியிட்டவரும் விடையில் ஏறுவார் ஆட ... ரிஷபத்தில் ஏறுவாரும் ஆகிய சிவனும் ஆடவும், அருகு பூத வேதாளம் அவையாட ... அருகில் பூதங்களும் பேய்களும் ஆடவும், மதுர வாணி தானாட ... இனிமை மிக்க ஸரஸ்வதியும் ஆடவும், மலரில் வேதனார் ஆட ... தாமரை மலரில் அமரும் பிரமனும் ஆடவும், மருவு வானு ளோராட ... அருகில் பொருந்திய தேவர்கள் எல்லாம் ஆடவும், மதியாட ... சந்திரன் ஆடவும், வனஜ மாமி யாராட ... தாமரையாள் நின் மாமியார் லக்ஷ்மியும் ஆடவும், நெடிய மாம னாராட ... விஸ்வரூபம் எடுத்த நின் மாமனார் விஷ்ணுவும் ஆடவும், மயிலும் ஆடி ... நீ ஏறிவரும் மயிலும் ஆடி, நீ ஆடி வரவேணும் ... நீ நடனம் ஆடி என்முன்னே வரவேண்டும்* கதை விடாத தோள் வீமன் ... கதாயுதத்தை தன் தோளினின்று அகற்றாத வீமன் எதிர்கொள் வாளியால் ... எதிர்த்துச் செலுத்திய அம்பு மழையில் நீடு கருதுலார்கள் ... பெரும் பகைவர்களின் (கெளரவர்கள்) மாசேனை பொடியாக ... பெரிய சேனை பொடிபட (உதவியவரும்), கதறு காலி போய்மீள ... கதறிச் சென்ற பசுக்கள் மீண்டுவரக் (குழலை ஊதியவரும்), விஜயன் ஏறு தேர்மீது ... அர்ச்சுனன் ஏறிய தேரின் பாகனாயிருந்து, கனக வேத கோடூதி ... தங்க மயமானதும், வேத ஒலியைத் தரும்சங்கை ஊதியவரும், அலைமோதும் உததி மீதிலே ... அலை வீசும் பாற்கடல் மீதிலே சாயும் ... (பாம்பணையில்) பள்ளி கொண்டவரும், உலக மூடு சீர்பாத ... (வாமனாவதாரத்தில்) உலகத்தை அளந்து மூடிய பாதத்தாரும், உவணம் ஊர்தி ... கருடனை வாகனமாகக் கொண்டவரும், மாமாயன் மருகோனே ... ஆன மாமாயன் திருமாலின் மருமகனே உதய தாம மார்பான ... அன்றலர்ந்த மலர் மாலையை அணிமார்பனாகிய ப்ரபுடதேவ மாராஜ ... (திருவண்ணாமலையை ஆண்ட) ப்ரபுட தேவ மஹாராஜனின் உளமும் ஆட ... உள்ளமும் மகிழ்ச்சியில் ஆடும் வண்ணம் வாழ் தேவர் பெருமாளே. ... அவனது நெஞ்சிலே வாழும் தேவர் பெருமாளே. Song 1053 - adhala sEdanArAda (common) adhala sEda nArAda akila mEru meedhAda      abina kALi thAnAda ...... avaLOd andru adhira veesi vAdhAdum vidaiyil Eru vAr Ada      arugu bUtha vEthALam ...... avaiyAda madhura vANi thAnAda malaril vEdha nAr Ada      maruvu vAnu LOrAda ...... madhiyAda vanaja mAmi yArAda nediya mAma nArAda      mayilum Adi nee Adi ...... varavENum gadhai vidAdha thOL veeman edhirkoL vALi yAlneedu      karudha lArgaL mAsEnai ...... podiyAga kadhaRu kAli pOymeeLa vijayan Eru thErmeedhu      kanaka vEdha kOdUdhi ...... alaimOdhum udhadhi meedhilE sAyum ulaga mUdu seerpAdha      uvaNa mUrdhi mAmAyan ...... marugOnE udhaya dhAma mArbAna prabuda dhEva mArAjan      uLamum Ada vAzh dhEvar ...... perumALE. ......... Meaning ......... adhala sEda nArAda: As AdhisEshan (the 1000-headed Serpent) danced in the netherworld, akila mEru meedhAda: Mount Meru (Sri KailAsh) on the earth also danced, abina kALi thAnAda: in unison with SivA's Dance, Kali also danced, avaLOd andru adhira: along with Her, making Her shiver, veesi vAdhAdum: raising His leg up in competition, vidaiyil Eru vAr Ada: SivA, who mounts on the Bull (Nandi), also danced, arugu bUtha vEthALam avaiyAda: and nearby, the BUthaganas and ghosts also danced, madhura vANi thAnAda: Saraswathi of sweet voice also danced, malaril vEdha nAr Ada: BrahmA on the Lotus also joined in the dance, maruvu vAnu LOrAda madhiyAda: all the Celestials and Moon also danced, vanaja mAmi yArAda: Lakshmi on Lotus, Your mother-in-law, danced, nediya mAma nArAda: Vishnu, the tall one (who assumed ViswarUpam) Your father-in-law, mayilum Adi nee Adi: Your peacock should also dance and You too, dancing, varavENum: should appear before me dancing!* gadhai vidAdha thOL veeman: Bhima, who never parted with his mace (gadha), from his shoulder, edhirkoL vALi yAl: shot a series of arrows (in MahAbhArathA War) needu karudhalArgaL mAsEnai: at the large army of his mighty opponents and podiyAga: decimated them (with the help of Krishna); kadhaRu kAli pOymeeLa: herds of sobbing cows came rushing to (Brindhavanam) (hearing the magical flute of Krishna); vijayan Eru thErmeedhu: as the charioteer on Vijayan (Arjuna)'s chariot, kanaka vEdha kOdUdhi: the golden and vedic victory-conch shell was blown (by Krishna); alaimOdhum udhadhi meedhilE sAyum: on the milky ocean with waves tossing about, He (Krishna) reclined on a serpent-bed; ulaga mUdu seerpAdha: (in Vamana Avatharam) he measured the entire world with one foot (that foot-bearer, Krishna) uvaNa mUrdhi mAmAyan: He, the Great Mystic, with Garuda for vehicle. marugOnE: You are His favourite nephew! udhaya dhAma mArbAna: Fresh garland adorning His chest, prabuda dhEva mArAjan: is the great King Praputa DEvA (of ThiruvaNNAmalai); uLamum Ada vAzh: Your presence made the King's heart dance with joy   dhEvar perumALE.: Oh the Greatest One of all Gods!  இப்பாடல் அருணகிரியார் வாழ்வில் மகத்தானது. சம்பந்தாண்டான் என்பவனோடு வாது செய்தபோது முருகனை திருவண்ணாமலை அரசன் ப்ரபுட தேவராஜனின் சபையில் வரவழைக்கப் பாடிய பாட்டு இது. இந்த வரியைப் பாடும்போது, முருகன் வேலும் மயிலும் விளங்க நடனக் கோலத்திலேயே சபையில் தோன்றி தரிசனம் தந்தான்.   This song has great significance in the life of the great poet Arunagirinathar.  The saint poet had a debate with one Sambanthaandan in the court of king Praputa Devaraya in Thiruvannamalai  and when challenged to bring the Lord to the court failing which the saint's life was at stake, the poet sang his song and loving this Murugan appeared atop his peacock dancing merrily and gave darshan to all. Fine arts and music are divine

that rogue krishna

That rogue Krishna.

                There is a very interesting story about the nineteenth ashtapadi  in Jayadeva's   Geetha Govindam

                       It is in the tenth Sargam, Chathura Chathrubhujam.  The Ashtapadi starts with "Vadasi yadhi kinchidapai .."

                      The devotee poet Jayadeva was spending the morning visualizing the amorous deeds of his Master for ever, Krishna.  He has reached a stage in the lyric where the crafty Krishna has managed to mollify Radha's   love laden anger towards him  after somehow persuading her to come to his presence along with her Sakhi.  The girl (Radha) is excited,  full of love for the black scoundrel but is indeed displeased with him for his amorous forays with other girls.  The fellow with the glib tongue capable of controlling the entire world with Geetha, finds it indeed very difficult to capture back the endearing mood of Radha.

                        Jayadeva is observing the conversation in the screen of his mind. The master lover Krishna  is pleading with his dearest love, ' Radha please abandon your anger which has originated out of some misunderstanding(?),  please give me a smile to make cool my heart which is being burned by Kamadeva.  If you want to give vent to your anger you attack me with your teeth or nails, you  cause any physical injury to me but do put an end to this anger." 
                   Ultimately  it flashes to Jayadeva that his master and the rogue, Krishna  is suggesting  to his lady  love that she should place  her  beautiful leg which are so beautiful and capable of curing him of the poison inflicted by cupid,  on his head  as if it  is an ornament.( What a rogue! he is ready even to be kicked on the head by Radha to gain her favours..terrible fellow..it will be difficult to see a person like this in  any literature of the world). 

                        Yes, such words flashed in the mind of Jayadeva   but his pen will not move.  How can he write such a thing about his darling Krishna. For Jayadeva everything else in the world, be it Radha, or himself or anything else  is  only subservient to Krishna.  How can he digest the idea of a puny  cowherd girl place her legs on the head of His master.  He stopped his writing.  He raked his brain  again again  to compose another padam(phrase)  to substitute this.  But even after many attempts he simply failed to go ahead.

                           An idea struck  him.  His head would become more clear if had had a bath  and calling  his wife Padmavathi to keep the  palmleaves  and the  pen aside, he went for a bath. 

                             How could Jayadeva guess that the crafty fellow with four hands ( the world cannot suffer him even with two hands)  was just waiting outside the house and was watching the scene.  The sweet sorcerer  just waited till Jayadeva was away safely  near a stream taking his bath.  He entered the house  in exact disguise of Jayadeva.  The  amazed wife Padmavathi  asked why he had  returned without taking bath ( the fellow is such a consummate actor that even the wife of Jayadeva  could not divine the disguise).  He explained to her that he had forgotten to put in words some flash ideas  which he could not wait till he finished his bath.  He called for the Ashtapadi Script and coolly wrote

'Smara garala ghantanam mama sirasi mandanam dehi padha pallavamudhaaram,

Jwalathi mama daaruno madhanakadhanaanalo harathu tadupaahitha vikaaram,

 Priye  charuseeley…

                           After finishing writing this,  the false Jayadeva said,  I have applied oil on my head now for a long time and a few drops have trickled down to my eye-lashes.  Show the tip of your dress, I want to wipe the  oil away.               
Padmavathi obliged lovingly and the impersonator leaves.

                                 In due course, the poet Jayadeva came back from the bath and saw the palm-leaves and pen all spread out  and to his utter dismay he saw the words which he had avoided recording for a thousand times were neatly  penned   in his manuscript.  He was enraged.  He demanded Padmavathi how this had happened.  She recalled his sudden  return from bath  and the  hurried scribbling and quick departure again for bath.  To indicate his  temporary return and departure, she showed him the spot on her dress where he had wiped his eyes  off to clear the dripping oil.  What they saw there was not  marks of oil drops but the beautiful mark of the Divine eye of Krishna. 

                      Jayadeva was overwhelmed with remorse.  He was  serving the  vagrant rogue Krishna all the time in his life but it was given to Padmavathi  to have a darshan and conversation with the eternal Parabrahmam.

                    And the  verse penned by the rogue Himself is retained in the Ashtapadi.  Krishna  has really offered to be kicked by Radha  for his adulterous behavior  and he really got it recorded. 

What an impossible rogue he is…  But can any of us help it?  We will go on loving him.

--
।श्रीकृष्णो रक्षतु।
|śrīkṛṣṇo rakṣatu|
Have a nice and happy day
with profound respect and warm regards
K V Ananthanarayanan

blog   http://kanfusion.blogspot.com/