Ashtachap Ki Kavita Yani Bhakti Kavya Evam Sangit Ki Triveni - Book Summary

Here is a comprehensive summary in English of the provided Jain text, "Ashtachap ki Kavita Yani Bhakti Kavya evam Sangit ki Triveni" by Premshankar Tripathi:

The book "Ashtachap ki Kavita Yani Bhakti Kavya evam Sangit ki Triveni" by Premshankar Tripathi explores the profound contributions of the "Ashtachap" poets to devotional poetry and music in India. The Ashtachap, established by Goswami Vitthalnath in 1602 Vikram Samvat (approximately 1545 CE), was a group of eight highly accomplished poets and musicians who were instrumental in popularizing the Krishna bhakti (devotion to Lord Krishna) tradition.

Founding and Context:

Goswami Vitthalnath: The founder, Vitthalnath, was the second son of Mahaprabhu Vallabhacharya, the progenitor of the Pushtimarg sect. After his father's passing and his elder brother's demise, Vitthalnath assumed leadership in 1595 VS. He played a crucial role in propagating his father's principles through his commentaries on Vallabhacharya's works and his own compositions. He passed away in 1642 VS.
The Ashtachap: Vitthalnath brought together four of his father's disciples and four of his own disciples to form the Ashtachap. These eight poets were not only devout followers of Krishna but also profound literary scholars and melodious singers. They served at the Shri Nathji temple on Girivardhan Hill in Braj, performing kirtan (devotional singing) and composing verses. Their collective works enriched the devotional poetry of the Bhakti movement in North India, encompassing various bhavas (emotions) like vatsalya (parental love), sakhya (friendship), madhurya (romantic love), and dasya (servitude).

The Ashtachap Poets and Their Contributions:

The book then delves into the individual biographies and poetic styles of each of the eight Ashtachap poets:

Surdas (1478-1582 CE): Widely considered the most prominent figure of the Krishna bhakti branch, Surdas enriched the movement with his extensive compositions. Born in a humble Sarawat Brahmin family near Delhi, his exact birth and death years are debated. Whether he was born blind or lost his sight later is also a point of scholarly discussion. However, his literary output is universally acknowledged as supreme in both devotion and poetry. His works, particularly the "Sur Sagar," contain around 5,000 available verses that vividly describe the child Krishna (Bal Leela), the love between Radha and Krishna (Madhurya Leela), and the pain of separation (Viraha Shringar). His "Bhramar Geet" (Song of the Bumblebee) is noted for its philosophical depth and emotional complexity. Goswami Vitthalnath famously remarked, "The ship of Pushtimarg is sinking, whoever wishes to take something should take it now," as he was nearing his end, highlighting Surdas's immense stature.
Kumbhandas (1468-1582 CE): A farmer from Jamnavati village near Govardhan, Kumbhandas was one of Vallabhacharya's earliest disciples. His devotional singing impressed the Acharya, who appointed him to the kirtan service at the temple. His songs were popular among the common people. It is said that Emperor Akbar was so captivated by his singing that he invited Kumbhandas to Fatehpur Sikri. Kumbhandas, though initially hesitant, agreed. When asked to sing, he recited a verse expressing his disinterest in worldly affairs outside of devotion to Krishna, demonstrating his profound detachment and self-respect. He lived the longest among the Ashtachap poets, for about 113 years.
Parmananddas (1493-1583 CE): A Kannauj Brahmin from Kannauj, Parmananddas was born into a poor family. His name, meaning "great joy," was given after his father received wealth on the day of his birth. He dedicated his life to the service of Shri Nathji, foregoing marriage and wealth. He is highly regarded for his profound devotion and lyrical compositions, particularly in depicting child Krishna's exploits, the romance of Radha-Krishna, and the emotions of separation. His works are compiled in "Parmanand Sagar," containing about 2,000 verses.
Krishnadas (1495-1581 CE): Known more as an administrator and manager than a poet, Krishnadas came to Braj at the age of 13 from Gujarat. After receiving initiation from Vallabhacharya, he dedicated himself to Krishna bhakti. Born in a Shudra family in Gujarat, he left his home due to his father's unethical practices and sought refuge with Vallabhacharya. His practical wisdom and management skills led to his appointment as the officer of the Shri Nathji temple. He significantly contributed to enhancing the temple's grandeur. He composed about 250 verses, primarily in Brajbhasha, with beautiful descriptions of Radha-Krishna's love and beauty.
Nandadas (1533-1583 CE): The youngest of the Ashtachap poets by age, Nandadas is considered second only to Surdas in poetic skill, linguistic finesse, and versatility. He was initially a worldly individual but became a devoted follower after receiving the grace of Goswami Vitthalnath. He composed about 15 significant works, including "Anekarth Manjari" (a synonym glossary), "Ras Manjari" (dealing with heroine classification and feminine gestures), and the highly acclaimed "Bhramar Geet" and "Ras Panchadhyayi" (depicting Krishna's Ras Leela). His compositions are praised for their refined language, musicality, and poetic beauty, leading to the popular saying, "Other poets are merely crafted; Nandadas is studded."
Govindaswami (1505-1585 CE): Born in a Sanadhya Brahmin family in Bharatpur, Rajasthan, Govindaswami was devoted to kirtan from a young age. He abandoned his family and settled in Braj. He was not only a skilled poet but also a renowned musicologist, reportedly even teaching music to Tansen. His devotional songs deeply impressed Vitthalnath, who initiated him and assigned him to the kirtan service at Shri Nathji's temple. His approximately 600 verses, including a significant collection in "Govindaswami ke Pad," focus on child Krishna's plays and Radha-Krishna's romance, noted for their natural expression and emotional depth.
Chaturbhujdas (1530-1585 CE): The youngest son of Kumbhandas, Chaturbhujdas inherited a legacy of devotion and musicality. He was initiated by his father and dedicated himself to the service of Shri Nathji. His works, including "Chaturbhuj Kirtan Sangrah," "Kirtanavali," and "Dan Leela," showcase a blend of devotion and sensuality. His compositions are characterized by their sincerity and emotional resonance.
Chhitaswami (1515-1585 CE): A Chaturvedi Brahmin from Mathura, Chhitaswami was initially known for his boisterous nature and was even the priest of Birbal. After an encounter where he tested Vitthalnath and was miraculously impressed, he became a disciple and was included in the Ashtachap. His compositions, though perhaps not as sophisticated as others, are praised for their natural flow and heartfelt devotion to Krishna. His approximately 200 verses are compiled in "Chhitaswami ki Padavali."

Conclusion:

The book concludes by emphasizing that while the subject matter of the Ashtachap poets' work primarily revolved around Krishna's pastimes, their exploration of diverse musical melodies and the multifaceted aspects of Krishna bhakti created a unique and enduring legacy. This stream of devotion, flowing through the music and poetry of these eight accomplished individuals, represents a confluence of divine love (Bhakti Bhagirathi) and poetic brilliance (Kavyakālindī). In essence, Ashtachap poetry is a sacred confluence (Triveni) of devotional poetry and music, offering joy to poetic enthusiasts and devout followers for ages.

The latter part of the text includes a separate narrative about societal indifference to a road accident victim, highlighting a stark contrast between the spiritual devotion of the Ashtachap poets and the lack of compassion in modern society.