Poet Sahir Ludhianvi and Geet Govind
Geet Govind is a collection of musical Shlokas dedicated to Sri Krishna (Govinda) and Radha. This romantic lyrical drama by Jayadeva in the 12th century represents the tradition of Vasanta Utsava.
If one reads the translation of Geet Govind, one gets to know a different philosophy of universal love and compassion, somewhat different from what is generally understood by looking at Geet Govind illustrations. The text is not mere Shringara; it is Jivatma meeting Paramatma. That is why Geet Govind is very popular in Odisha and Bengal, sung every night as Seva in Puri Jagannath Temple. Indian classical dances: Kathak, Bharatanatyam, Odissi, Mohiniyattam, Kathakali and Manipuri are incomplete without Geet Govind. Choreographers have composed hundreds of pieces on its 24 Prabandhas and 72 Ashtapadis.
Geet Govind lives visually because of Pahari miniatures, especially Manaku's 1775-1780 Kangra series of 120 paintings now in the National Museum, Delhi, in Basohli's bold red-yellow style and Kangra's soft lapis-blue and gold wash. Pahari miniature painters illustrated every Ashtapadi with the Sanskrit Shloka written in the margin, showing Jayadeva's 8 Nayikas: Radha as Vipralabdha throwing away her heavy garland (Stana-vinihitam api haram), as Abhisarika crossing a dark, rainy forest with lightning to meet Sri Krishna, as Khandita angry, and finally in Milan or meeting, saying 'Tvam asi mama jivanam' or 'You are my ornament, my life '.
Ashta-Nayika of Bharata Muni's Natyashastra: 8 states of Radha: 1 Vasakasajja (decorates herself for union: Akshnor nikshipad-anjanam), 2. Virahotkanthita (distressed in separation: Nindati chandanam), 3. Svadhinabhartruka (has her beloved under control: Tvam asi mama bhushanam tvam asi mama jivanam), 4. Kalahantarita (repents after quarrel), 5. Khandita (enraged seeing other woman's marks on Sri Krishna: Yahi Madhava ma vada kaitava-vadam), 6. Vipralabdha (waited all night but he didn't come: Viracita-vicitra-talpe), 7. Proshitabhartruka (lover gone far, emaciated: Stana-vinihitam api haram udaram sa manute bharam and Dishi dishi kirati sajala-kana-jalam), 8. Abhisarika (braves dark rainy night to meet him: Meghair meduram ambaram vana-bhuvah shyamas-tamala-drumair).
Poet Sahir Ludhianvi was an admirer of Geet Govind. After Sahir's death, when his Juhu bungalow was sold to a builder, his old books and papers went to a Kabadi's shop. From there, a film journalist retrieved an English translation of Geet Govind which Sahir had kept with annotations.
This was not surprising to those who knew Sahir closely. Sahir knew much of Gurbani by heart. Born Abdul Hayee in Ludhiana and raised in the composite culture of Punjab, he had heard the Shabads of Guru Granth Sahib, which include Jayadeva's two Ashtapadis: Nandini Chandanam Indu- Kirana and Chandana Charchita. Gurbani preserved Jayadeva long before modern translations.
It appears Sahir had deep familiarity with the Rasa concept of Sanskrit poetry, particularly Vipralambha, Karuna, Vatsalya and Bhakti. Jayadeva's entire work is built on Rasa theory, the nayika-bheda, the Ashta-nayika: Khandita, Vipralabdha, Abhisarika, Vasakasajja. Sahir's songs of longing use exactly that vocabulary: Sakhi, Sajan, Ang, Ritu, Birha, which is not Urdu; it is Sanskrit Kavya Shastra transposed into Hindi film.
Sahir grasped the essence of dance, music, and art beyond poetry. His knowledge of the Saguna poetry of Mira, Tulsidas, Ravi Das and many more is evident in his verses. His knowledge of Nirguna verses of Kabir is evident in his song,"Laaga chunri mein daag". He would discuss dance forms with Sitara Devi and also discuss Pahari miniature art with his friend Dr M S Randhawa. This is recorded.
The Sanskrit poetic Rasa in Sahir's songs is possibly the Geet Govind effect. Four songs lead one to this conclusion. In all these songs, it appears as if Radha is speaking to her Sakhi about the pangs of longing and separation and a desire for final Milan or meeting Sri Krishna.
1. Sakhi Ri Mora Man Uljhe Tan Dole - Chitralekha (1964)
Sakhi ri mora man uljhe tan dole, ab chain mile tab hi jab unse milan ho le
Influences
Jayadeva - Sarga 3:
"Stana-vinihitam api haram udaram / Sa manute krisha-tanur iva bharam / Radhika virahe tava Keshava"
(O Keshava, in separation from you, Radha is so emaciated that even her beautiful necklace feels like a burden.)
This is Vipralabdha - tan dole, man uljhe.
2. Aey Ri Jaane Na Doongi / Aaj Sakhi Pee Daloongi Chitralekha (1964)
Aaj sakhi pee daloongi main darshan jal ki boondh boondh, nainon mein rakh loongi palkein moondh moondh.
Influence
Jayadeva - Sarga 3:
"Dishi dishi kirati sajala-kana-jalam
Nayana-nalinam iva vigalita-nalam
Radhika virahe tava Keshava"
( O Keshava, in separation from you, Radha
scatters in every direction showers of tears
from her lotus-like eyes,
as if the lotus flower is shedding water
through its broken stem.)
3. Maang Mein Bhar Le Rang Sakhi Ri
Aanchal bhar le taare... Milan Ritu aa gayi
Influences
Jayadeva - Sarga 11, Abhisarika:
"Akshnor nikshipad-anjanam shravanayos-taapiccha-gucchavalim / Murdhnni shyama-saroja-dama"
(The sakhi decorates her eyes with anjana, her ears with dark flowers, her head with blue lotus garlands for abhisara.)
This is Vasakasajja - Radha's shringara for milan ri?Ritu. Sahir's ..maang mein rang is Jayadeva's Vasanta Utsava.
4. Aaj Sajan Mohe Ang Laga Lo - Pyaasa (1957)
"Sakhi ri birha ke dukhde sah sah kar jab Raadhe besudh ho li, to ik din apne manmohan se jaa kar yoon boli - Aaj sajan mohe ang laga lo janam safal ho jaaye, hriday ki peeda deh ki agni sab sheetal ho jaaye"
Influence
Jayadeva - Sarga 10:
"Tvam asi mama bhushanam / Tvam asi mama jivanam / Tvam asi mama bhava-jaladhi-ratnam"
(You are my ornament, you are my life, you are the jewel of the ocean of my existence.)
"Priye charusheele muncha mayi maanam anidanam / Sapadi madanam mano-hara dehi me anukampam"
( O graceful beloved, abandon your pride, O enchanter of my heart, show me compassion now.)
This is extreme desire for the final meeting after a long Viraha: janam safal ho jaaye. Thus Sahir, an Urdu poet, a student of Gurbani and a lover of Sanskrit Rasa, carried Jayadeva into Bombay cinema. Geet Govind lived again in his songs.
( Avtar Mota)
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