The Gita Govinda (Bengali:গীতগোবিন্দ , Oriya: ଗୀତ ଗୋବିନ୍ଦ, Devanagari: गीत गोविन्द) (Song of Govinda) is a work composed by the 12th-century poet, Jayadeva, said to have been born in Kenduli Sasan near Puri in Odisha. Jaydev Kenduli village in Birbhum district of West bengal is also believed by many to be the birthplace of Jayadeva. It describes the relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in particular one gopi named Radha.
The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis. It is mentioned that Radha is greater than Krishna. The text also elaborates the eight moods of Heroine, the Ashta Nayika, which has has been an inspiration for many compositions and choreographic works in Indian classical dances.
The work delineates the love of Krishna for Radha, the milkmaid, his faithlessness and subsequent return to her, and is taken as symbolical of the human soul's straying from its true allegiance but returning at length to the God which created it.
The poem has been translated into most modern Indian languages and many European languages There is a German rendering which Goethe read by F. H . van Dalberg Dalbergs version was based on the English translation done by William Jones published in the Transactions of the Asiatic Society, Calcutta in 1792 A verse translation by the German poet Friedrick Rukert was began in 1829 and revised according to the edited Sanskrit and Latin translations of C. Lassen in Bonn 1837 Notable English translations are:Edwin Arnolds The Indian Song of Songs 1875;George Keyt Sri Jayadevas Gita Govinda: The loves of Krsna and Radha Bombay, 1940; S. Lakshminarasimha Sastri The Gita Govinda of Jayadeva Madras, 1956; Duncan Greenlees Theosophical rendering The Song of the Divine Madras, 1962; Monica Varmas transcreation The Gita Govinda of Jayadeva published by Writers Workshop Calcutta, 1968; Barbara Soler Miller Jayadevas Gitagovinda :Love song of the Dark Lord; Oxford University press Delhi,1978; Lee Siegel Gita•govínda: Love Songs of Radha and Krishna; clay Sanskrit series; There is a Sanskrit text and literal translation”Gita govindam 2008 There is also a rendering into poesy The Songs of Radha from the Gitagovinda 2013
The first English translation of the Gita Govinda was published by Sir William Jones in 1792, where Kalinga (ancient Odisha) is referred to as the origin of the text. Since then, the Gita Govinda has been translated to many languages throughout the world, and is considered to be among the finest examples of Sanskrit poetry. Barbara Stoler Miller's translated the book in 1977 as Love Song of the Dark Lord: Jayadeva's Gita Govinda (ISBN 0-231-11097-9). The book contains a foreword by John Stratton Hawley and includes extensive commentary on the verse and topic of the poem
Here you will find a collection of different renditions of Jayadeva’s Gita Govinda Ashtapadis. Each of the 24 Ashtapadis have a static post of their own, which you can access on the right (the dates on the posts are just to set the order; we keep updating them as we find new renditions).
These Ashtapadis’ very alluring mixture of context, melody, simplicity, and really, a certain je ne sais quoi have made them Sanskrit literature’s greatest cross-platform blockbuster hit. From the easternmost corner of Manipur and Assam, where it spawned a tradition of dance and singing; to Bengal, where this was an essential element of Sri Chaitanya’s movement; down to Orissa, where even today virtually every art form from Odissi dance to music to temple sculpture involves them; to Andhra, where it is the soul of several Kuchipudi dance compositions; down to Tamil Nadu, where Carnatic music rejoices in newer and newer tunings of its lyrics, tens of Sanskrit treatises elaborate on how it can be performed in dance, Tanjore paintings celebrate its scenes, and temple traditions make Bhajans out of it; to Kerala, where the dance form Mohiniattam derived great inspiration, and an entire genre of music, Sopana Sangeetham, was born as these Ashtapadis were sung on the temple stairs; up to the coast of Karnataka, where it inspires Yakshagana dances to this day; up to Maharashtra and Gujarat, where it was a key nucleator of the Krishna-Bhakti traditions; to Rajasthan, the central territories and the Gangetic plain, all the way up to Kashmir where several hundred derivative works have appeared in Sanskrit, Prakrit, and local languages. To even comprehend the Gita Govinda’s reach would require some level of mastery of every facet of Indian art! What’s more, a large portion of this conquest happened within just a century after its composition. Political and geographical fragmentation seems to have been a trivial barrier for this cultural unity to envelop the whole of the subcontinent!
The real beauty of the Gita Govinda is in its music. The lyrics are written in such a way that a talented composer can fit a large number of tunes and unleash his creativity, letting the music speak even more than the words. We wanted to give a glimpse of this and began collecting different renditions of a few Ashtapadis; this snowballed into an all-out effort, and this blog was born.
For starters, check out Dr. M. Balamuralikrishna’s version of the famous Ashtapadi #7 "Mamiyam Chalita” and compare against Varagoor Narayanan’s Carnatic Bhajan version here: Ashtapadi #7, "Mamiyam Chalita”
Next up, #11 "Dheera Sameere”, is a great next step. Compare Pandit Raghunath Panigrahi’s immortal rendition with Ghantasala’s strongly Carnatic version, and P. Unnikrishnan’s very well melded Pop version here: Ashtapadi #11, "Dheera Sameere”
#19 "Priye Charusheele” is also an all-time favorite. Compare Dr. M. Balamuralikrishna’s version with Njerlath Harigovindan’s percussion-heavy Sopana Sangeetham version here: Ashtapadi #19, "Priye Charusheele”
Just to see how incredibly vibrant these songs remain, check out the fusion version of #8, "Nindati Chandanam”, by Haraprasad and compare with the more traditional versions here: Ashtapadi #8, "Nindati Chandanam”
The blog is still a work in progress, and we very much appreciate your feedback and suggestions. Please feel free to comment. If you know of a rendition you think we should put up, we’d be very grateful if you could let us know.
Free Download Sri.Udayallur Sri.Kalyanaraman Bhagavathar Mp3 Ashtapthi Collections :
Pralaya Payodi Jale, Pralaya Payodhijale, Pralaya Payodijale
Jaya Jagadisha Hare, Jaya Jagadeesha Hare, Jaya Jagadisa Hare, Haya Jagadeesa Hare
Shrita Kamala Kucha, Srita Kamala kuca, Srita Kamalaa Kucha, Sritakamala, Shritakamala
Lalitha Lavanga, Lalita lavamga,
Viharati Harir iha, Viharathi Haririha
Candana Carcita, Chandhana Charchitha
Haririha Mugda, Harir iha Mugdha
Sancarat Adhara, Sancharat Adhara, Sancharad Adhara, Sancharadadhara
Rase Harimiha, Raase Harim iha, Rase harimiha
Sakhi hey, Saki he, Sakhi he keshi, Sakhi he kesi
NibhRta nikumja, Nibhrita nikunja
Mam Iyam Calita, Maam Iyam Chalita, Maamiyam Chalita, Maam Iyam Chalitaa, Mamiyam Calita, Maamiyam Calita, Maamiyam Calitaa
Hari Hari, Harihari, Hari Hari Hata
Nindati Candanam, Nindathi Chandanam
Yamuna Teere, Yamunaa Teere, Yamunatire, Yamunaatiire
Saa virahe, Sa Virahe, Saavirahe, Savirahe
Radhika Krishna, Radhikaa Krishna, Radhika Krushna, Radhika KRSNa
Stana vinihitam, Sthana vinihitam, Stanavinihitam, Stana vinihita
Tava virahe, Thava virahe, Tavavirahe
Vahathi Malaya, Vahatimalaya
Dheera Sameere, Dira Samire, Deera Sameere, Dhirasamire, Dheerasameere
Rati Sukha Saare, Rati sukhasare, Rati sukhasaare, Ratisukhasare, Ratisukhasaare
Naatha hare, Nata hare, Naata hare
Pasyati disi disi, Pashyathi dishi dishi
Yami he kamiha sharanam, Yaami he kamiha saranam, Yaami he kam iha, Yamihe kamiha, Yaamihe kamiha
Kathita Samaye, Katita samaye, Kathita samayepi, Kathitha Samayepi
Smara Samarochita, Smara samaro cita, smara samaro chita, Smarasamarocita, Smarasamarochita, Smarasamarochitha
Kapi Madhu Ripuna, Kapi Madhuripuna, Kaapi Madhuripunaa, Kaapi Madhu Ripunaa
Samuditha Madane, Samuditamadane, Samuditha Mathane,
Ramate Yamuna, Ramate Yamunaa, Ramathe Yamuna