(1)
adharam madhuram vadanam madhuram
nayanam madhuram hasitam madhuram
hṛdayam madhuram gamanam madhuram
madhurādhi-pater akhilam madhuram
(2)
vacanam madhuram caritam madhuram
vasanam madhuram valitam madhuram
calitam madhuram bhramitam madhuram
madhurādhi-pater akhilam madhuram
(3)
veṇur madhuro reṇur madhuraḥ
pāṇir madhuraḥ pādau madhurau
nṛtyam madhuram sakhyam madhuram
madhurādhi-pater akhilam madhuram
(4)
gītam madhuram pītam madhuram
bhuktam madhuram suptam madhuram
rūpam madhuram tilakam madhuram
madhurādhi-pater akhilam madhuram
(5)
karaṇam madhuram taraṇam madhuram
haraṇam madhuram smaraṇam madhuram
vamitam madhuram śamitam madhuram
madhurādhi-pater akhilam madhuram
(6)
guñjā madhurā mālā madhurā
yamunā madhurā vīcī madhurā
salilam madhuram kamalam madhuram
madhurādhi-pater akhilam madhuram
(7)
gopī madhurā līlā madhurā
yuktam madhuram muktam madhuram
hṛṣṭam madhuram śiṣtam madhuram
madhurādhi-pater akhilam madhuram
(8)
gopā madhurā gāvo madhurā
yaṣṭir madhurā sṛṣṭir madhurā
dalitam madhuram phalitam madhuram
madhurādhi-pater akhilam madhuram
Madhurāṣṭakam
Vallabhācārya
The Madhurāṣtakam (eight-sweet-verses, sweetness in eight verses) is made of a string of two-word phrases in which the first word describes something that Krishna is or does, and the second word classifies it "sweet." As the hymn proceeds, the 'm' endings of the words in the original amplify the mood of tenderness. Even as one lingers on the vibrant "mmm.." sound, relishing the particular thought invoked by its pair-word, the hymn has gone on to find yet another characteristic of Krishna that is also "..mmm..".
The emotion, stunning in its honesty, is surely rooted in everyday experience—the emotion of total love towards a beloved child where every aspect of the child is found endearing. Does the poet also smile at himself, recognize the indiscriminating absoluteness of his adoration? Or/and am I, still in a world of distinctions, surprised by the ordinariness in the presentation of characteristics which transcend measures such as ethics (adorable stealing) and aesthetics (adorable vomiting)?
The composition is also grammatically interesting and often taught in beginner Sanskrit classes. Students identify when the word ending with 'm' is a nominative case neuter gender, and when it is an accusative case masculine gender, and learn how the adjectives and nouns agree in case endings.
The emotion, stunning in its honesty, is surely rooted in everyday experience—the emotion of total love towards a beloved child where every aspect of the child is found endearing. Does the poet also smile at himself, recognize the indiscriminating absoluteness of his adoration? Or/and am I, still in a world of distinctions, surprised by the ordinariness in the presentation of characteristics which transcend measures such as ethics (adorable stealing) and aesthetics (adorable vomiting)?
The composition is also grammatically interesting and often taught in beginner Sanskrit classes. Students identify when the word ending with 'm' is a nominative case neuter gender, and when it is an accusative case masculine gender, and learn how the adjectives and nouns agree in case endings.
Vallabhācārya (1479–1531 CE) is a prominent figure associated with the bhakti (devotional) movement in 15th CE India. Author of commentaries on Sanskrit texts including the Bhāgavata Purāṇa, he founded the devotional Pushti-marg in India, with its devotion to Krishna, especially baby Krishna.
Mani Rao is the author of eight books of poetry and a translation of the Bhagavad Gita. Her website has links to her publications.