Srita kamala.

 The Story of Jayadeva and the Gītagovinda

Jayadeva was a 12th-century poet-saint and composer, best known for his devotional Sanskrit masterpiece, Gītagovinda. This poetic work is a lyrical celebration of divine love between Lord Krishna and Radha, and it occupies a revered place in Indian devotional and literary traditions, particularly in Vaishnavism, Odissi dance, and temple rituals.

Jayadeva was born in Kenduli, a village in Odisha or Bengal (both claim him), to a learned Brahmin family. He was a deeply spiritual soul who spent much of his life immersed in devotion to Lord Jagannatha (Krishna in his form at Puri, Odisha). He was married to Padmavati, a devout woman and a temple dancer (Mahari), who would later dance to his compositions.

Jayadeva’s life was marked by devotion, music, and poetry. He would often compose verses spontaneously, inspired by divine visions.

The Gītagovinda is a cycle of 12 cantos (Sargas) comprising 24 songs (Ashtapadis), all in exquisite Sanskrit poetry. It describes the emotional and spiritual relationship between Radha and Krishna, portrayed with both devotional fervor and romantic intimacy.

It is unique because it blends Bhakti (devotion) with Śṛngāra Rasa (erotic-love aesthetic).

The central theme is the pangs of separation (Viraha) and the ecstatic union (Milan) of Radha and Krishna.

Each song is meant to be sung and danced; it became central to Odissi dance and temple rituals in Puri.

A famous legend highlights Jayadeva’s humility and divine connection:

One day, while composing a verse, Jayadeva hesitated to write a line that described Krishna falling at Radha’s feet, feeling it was too bold to suggest the Lord would humble Himself so.

He left the verse unfinished and went to bathe in the river. When he returned, to his astonishment, he found the verse written perfectly, in his own handwriting, and Padmavati told him he had come back and written it himself. Jayadeva realized that Lord Krishna Himself had taken his form to complete the line, thus blessing the work.

The verse was:

smaragarala khaṇḍanaṁ mama śirasi maṇḍanaṁ dehi padapaṅkajam

(“Place your lotus feet on my head, O destroyer of love’s poison.”

This miracle established the divine origin and sanctity of Gītagovinda.

The Jagannatha Temple in Puri began using the Gītagovinda in its nightly rituals. Even today, some of its hymns are sung as lullabies for the deity.

The Ashtapadis are sung in classical dance and music traditions like Odissi, Bharatanatyam, and Carnatic music.

Gītagovinda has influenced devotional literature across India, especially the Bhakti movements of Bengal, Odisha, and South India.

Jayadeva’s Gītagovinda is more than poetry—it is a divine dance of love, devotion, and surrender. It elevated Radha to a central figure in Krishna devotion, and its blend of sensual beauty and spiritual depth has kept it alive for over 800 years.

Here is a summary and meaning of a few of the most famous Ashtapadis (songs of eight verses) from Jayadeva’s Gītagovinda. Each ashtapadi captures a mood or stage of the divine love-play between Krishna and Radha, full of emotional beauty and spiritual symbolism.

 1st Ashtapadi: "Priye Charuśīle" – The Call of Love

Theme: Krishna praises Radha’s beauty and invites her to come to the forest of love.

Priye charuśīle, milita-pulaka-phalaka-keli-susīle

(O lovely one of sweet nature, your beautiful form excites my love.)

Krishna, overwhelmed by Radha’s beauty, begs her to join Him in the forest. The song expresses his deep desire and admiration, and sets the tone for their intimate relationship.

 2nd Ashtapadi: "Srita-kamalā-kucha-maṇḍala" – Krishna the Protector

Theme: Krishna as the divine protector of devotees.

Śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e kalita-lalita-vanamāla!

(O Lord whose chest is the resting place of Lakshmi, wearing lovely earrings and a garland!)

Jayadeva praises Krishna as the eternal savior and slayer of demons. Though much of Gītagovinda is romantic, this hymn emphasizes His divine powers and grandeur.

 8th Ashtapadi: "Nindati chandana" – Radha in Separation

Theme: Viraha (separation) and emotional pain.

Nindati chandanaṁ, snigdham api malahāriṁ na garuṁ

(Even sandalwood is painful, soft breezes are burning...)

Radha is tormented by separation from Krishna. Things that usually bring comfort—cool breezes, flowers, perfumes—now feel like torment. A powerful song of love in longing, expressing her intense emotional suffering.

 10th Ashtapadi: "Vahati malaya samīre" – Radha's Mood Swings

Theme: Inner turmoil of Radha’s heart.

Vahati malaya-samīre madana-sugandhi-samīre

(The southern breeze carries the sweet scent of spring, stirring love’s madness.)

Radha’s heart is swayed by love and longing. She is angry at Krishna’s unfaithfulness, yet deeply desires union. This ashtapadi beautifully captures the conflict of pride and passion in divine love.

11th Ashtapadi: "Māmiyaṁ chalitaṁ" – The Apology

Theme: Krishna’s pleading and remorse.

Māmiyaṁ chalitaṁ, vyathayati māṁ

(She has left me, and it gives me such pain.)

Krishna realizes Radha is upset and has gone away. He regrets his actions and sends a message begging her to return. The divine lover’s remorse and yearning shine in this song.

 19th Ashtapadi: "Madhuripu hari" – The Union

Theme: The ecstatic reunion of Radha and Krishna.

Madhuripu-hari-smaraṇe sukhadaṁ

(The remembrance of sweet Hari brings great joy.)

After all the yearning and tears, Krishna and Radha are reunited. Their spiritual and sensual union is described with tenderness, symbolizing the soul merging with the divine.

Radha = The Jiva (individual soul)

Krishna = Paramatma (Supreme soul)

Separation and union = The soul’s journey through longing, purification, and ultimate union with God.

Here's the 2nd Ashtapadi from Jayadeva’s Gītagovinda, titled:

Śrita-kamalā-kucha-maṇḍala – The Glories of Krishna

(Also known as “Jaya Deva! Jaya Deva!” hymn)

This is a praise-song that glorifies Lord Krishna’s divine acts and beautiful form. Each verse ends with the chorus "Jaya Deva! Jaya Deva!" meaning "Victory to you, O Krishna!"

śrita-kamalā-kucha-maṇḍala! dhṛta-kuṇḍala! e

kalita-lalita-vanamāla! jaya deva! hare!

O Lord whose chest is the abode of Lakshmi, whose ears are adorned with earrings,

Clad in a garland of forest flowers — Victory to you, O Hari!

dinamaṇi-maṇḍala-maṇḍana! bhava-khaṇḍana! e

muni-jana-mānasa-haṁsa! jaya deva! hare!

You adorn the circle of the Sun; You destroy the world’s bondage,

You are the swan in the minds of sages — Victory to you, O Hari!

kāliya-viṣa-dhara-gañjana! jana-rañjana! e

yadu-kula-nalina-dineśa! jaya deva! hare!

O Slayer of Kaliya the venomous serpent, Delighter of the people,

O Sun to the lotus of the Yadu clan — Victory to you, O Hari!

madhu-mura-naraka-vināśana! garuḍāsana! e

surakulakelana-nāgara! jaya deva! hare!

Destroyer of demons Madhu, Mura, and Naraka, who rides on Garuda,

Gallant lover amidst the gods — Victory to you, O Hari.

amara-taru-nikara-bhāsura! bhuvanāntaka! e

nikhila-nigama-sudhāmaya! jaya deva! hare!

Brilliant among the gods like a celestial tree, destroyer of the universe,

Essence of all Vedic nectar — Victory to you, O Hari!

śrita-sakala-suramunī! jana-sukhakarī! e

tribhuvana-dhāraṇa-kāraṇa! jaya deva! hare!

You are the refuge of all gods and sages, bringer of bliss to devotees,

The very foundation of all three worlds — Victory to you, O Hari!

This hymn portrays Krishna as the protector, savior, and supreme Lord. Though Gītagovinda often explores his human-like emotions with Radha, this ashtapadi reminds us that He is still the Supreme Divine, worshipped by sages and gods alike.

His beauty (vanamala, kundala, lotus chest) reflects divine charm.

His actions (slaying demons, riding Garuda) reflect divine heroism.

His presence in the hearts of sages shows spiritual closeness.

 Ritual and Musical Use

This Ashtapadi is often sung in temples, classical dance (especially Odissi), and bhajans.

In Jagannatha temple rituals, it is sung at night as a lullaby (pahuda bhoga)