Radha Vallabha Stotram
श्री हित चौरासी से चयनित पद
What is the Radha Vallabha Stotram?
Radha Vallabha Stotram The Radha Vallabha Stotram on this page is a curated set of six padas selected from Sri Hit Harivansh Mahaprabhu's Hita Chaurasi, the founding scripture of the Radha Vallabh Sampraday. No single fixed Sanskrit ashtakam verifies under this exact name, so these Braj Bhasha verses in praise of Radha Vallabh Lal and his devotion to Radha serve that purpose here.
In Vrindavan’s Radha Vallabh Sampraday, Krishna is worshipped not as an independent deity but as Radha Vallabh, Radha’s own beloved. The six padas gathered here come from Sri Hit Harivansh Mahaprabhu’s Hita Chaurasi, the sampraday’s founding scripture, and move through Radha’s beauty, the raas dance on the Yamuna’s bank, the sweetness of spring in Vrindavan, and the inseparable love between Radha and Krishna.
Radha Vallabha Stotram Lyrics in English
These six padas are selected from Sri Hit Harivansh's 84-verse Hita Chaurasi, not a single fixed ashtakam of that exact name.
Joi joi pyaro karai soi mohi bhaave
Bhaave mohi joi, soi-soi karain pyaare
Moko to bhaavati thaur pyaare ke nainan mein
Pyaare bhaye chaahain mere nainan ke taare
Mere tan-man-praan hoon te preetam priya aapne
Kotik praan preetam moson haare
Jai shri hit haribans hans-hansini syaamal gaur
Kaho, kaun karai jal-tarangini nyaare //
जोई-जोई प्यारो करैं सोई मोहि भावै।
भावै मोहि जोई, सोई-सोई करें प्यारे॥
मोकों तो भावती ठौर प्यारे के नैनन में,
प्यारे भये चाहैं मेरे नैनन के तारे॥
मेरे तन-मन-प्रानहूँ तें प्रीतम प्रिय आपने,
कोटिक प्रान प्रीतम मोसों हारे।
जय श्री हित हरिबंस हंस-हंसिनी स्यामल गौर,
कहौ, कौन करै जल-तरंगिनि न्यारे॥
Meaning
Radha speaks: whatever pleases my beloved is what pleases me, and whatever pleases me is exactly what he does. My delight rests in the very place I hold in his eyes, and he has become the very pupil of mine. He is dearer to me than my own body, mind and breath, and he has surrendered his life to me a million times over. Hit Harivansh sings: they are a swan and his mate, one dark, one fair – who could ever call the meeting waters of a single river separate from each other?
Dekhau bhai, sundarta ki sinva
Braj-nav-taruni-kandab-nagari nirakhi karati adh griva
Jo kou koti kalap lagi jovai rasana kotik paavai
Tau ruchir badanaravind ki sobha kahati na aavai
Devalok bhuvalok rasatal suni kabikul man dariye
Sahaj madhuri ang-ang ki, kahi kaso patatariye
Jai shri hit harivans pratap roop gun bay bal syaam ujaagar
Jaako bhoo-bilaas bas pasuriv, din bithakit ras-saagar //
देखौ भाई, सुंदरता की सींवा।
ब्रज-नव-तरुनि-कंदब-नागरी निरखि करति अध ग्रीवा॥
जो कोउ कोटि कलप लगि जोवै रसना कोटिक पावै।
तऊ रुचिर बदनारविंद की सोभा कहति न आवै॥
देवलोक भुवलोक रसातल सुनि कबिकुल मन डरियै।
सहज माधुरी अंग-अंग की, कहि कासों पटतरियै॥
जय श्री हित हरिवंस प्रताप रूप गुन बय बल स्याम उजागर।
जाकौ भू-बिलास बस पसुरिव, दिन बिथकित रससागर॥
Meaning
Look, friend, here is the very outer edge of beauty itself – even the freshest, most graceful young women of Braj lower their necks in shyness when they behold her. If someone gazed for ten million ages and grew ten million tongues, they still could not finish praising the loveliness of her lotus face. Poets in the heavens, on earth, and in the netherworld tremble at the thought of describing it; to what could the natural sweetness of every one of her limbs ever be compared? Hit Harivansh sings of dark Shyam too: his glory, form, virtue and strength are so plain that the ocean of rasa itself stands dazed, held captive by his play on earth.
Aaju ban niko raas banaayau
Pulin pavitra subhag jamuna-tat, mohan benu bajaayau
Kal kankan kinkini nupur-dhuni, suni khag-mrig sach paayau
Juvatin-mandal madhya syaamghan, saarang-raag jamaayau
Taal, mridang upang muraj daf, mili ras-sindhu badhaayau
Vividh bisad vrishabhaanu-nandini, ang-sudhang dikhaayau
Abhinay, nipun latki lati lochan, bhrikuti anand nachaayau
Tatathei taathei dharati naval gati, pati brajaraaj rijhaayau
Barasat kusum mudit nabh-naayak, indra nisaan bajaayau
Jai shri hit haribans rasik radhaapati, jas bitaan jag chhaayau //
आजु बन नीको रास बनायौ।
पुलिन पवित्र सुभग जमुना-तट, मोहन बेनु बजायौ॥
कल कंकन किंकिनि नूपुर-धुनि, सुनि खग-मृग सच पायौ।
जुवतिन-मंडल मध्य स्यामघन, सारंग-राग जमायौ॥
ताल, मृदंग उपंग मुरज डफ, मिलि रस-सिंधु बढायौ।
विविध बिसद वृषभानु-नंदिनी, अंग-सुढंग दिखायौ॥
अभिनय, निपुन लटकि लटि लोचन, भृकुटि अनंद नचायौ।
ततथेई ताथेई धरति नवल गति, पति ब्रजराज रिझायौ॥
बरसत कुसुम मुदित नभ-नायक, इन्द्र निसान बजायौ।
जय श्री हित हरिबंस रसिक राधापति, जस बितान जग छायौ॥
Meaning
Today a beautiful raas dance has been arranged in the forest. On the sacred, lovely bank of the Yamuna, the charming one played his flute. Hearing the sweet sound of bangles, waist-bells and anklets, the birds and deer felt their lives had found meaning. Surrounded by the circle of young women, the dark rain cloud himself set the raga in motion. Cymbals, mridang, small drums and daf joined in and swelled the ocean of rasa higher still. Radha, daughter of Vrishabhanu, showed the grace of her limbs in countless lovely ways; skilled in gesture, casting sidelong glances, moving her eyebrows, she made joy itself dance. Taking new steps to the beat, she delighted her beloved, the king of Braj. Flowers rained down in celebration and Indra sounded his own drum in the sky. Hit Harivansh sings: the fame of Radha's rasik lord spread like a canopy over the whole world.
Suni mero bachan chhabili Radha
Tain paayau ras-sindhu agaadha
Jaahin biranchi umaapati naaye
Taapai tain ban-phool binaaye
Tero roop kahat nahi aavai
Jai shri hit haribans kachhuk jasu gaavai //
सुनि मेरो बचन छबीली राधा।
तैं पायौ रससिंधु अगाधा॥
जाहिं बिरंचि उमापति नाये।
तापै तैं बन-फूल बिनाये॥
तेरो रूप कहत नहि आवै।
जय श्री हित हरिबंस कछुक जसु गावै॥
Meaning
Listen to my words, beautiful Radha: you have found the bottomless ocean of divine rasa. Even Brahma and Shiva bow before what you have gathered simply by picking wildflowers in the forest. Your beauty cannot be put into words at all. Hit Harivansh can only sing a small fragment of your glory.
Madhuritu brindaban anand na thor
Raajati naagari nav kusal kisor
Joothika jugalroop manjari rasaal
Bithakit ali madhu maadhavi gulaal
Champak bakul kul bibidh saroj
Ketaki medini mad mudit manoj
Rochak ruchir bahai trividh sameer
Mukulit choot nadati pik keer
Paavan pulin ghan manjul nikunj
Kisalay sain rachit sukhapunj
Manjeer muraj daf murali mridang
Baajat upang beena var mukh-chang
Mrigamad malayaj kunkum abeer
Badan agar-sat surabhit cheer
Gaavat sundar hari sarasa dhamaari
Pulakit khag-mrig bahat na baari
Jai shri hitaharibans hans-hansini-samaaj
Aise hi karahu mili jug-jug raaj //
मधुरितु बृंदाबन आनंद न थोर।
राजति नागरी नव कुसल किसोर॥
जूथिका जुगलरूप मंजरी रसाल।
बिथकित अलि मधु माधवी गुलाल॥
चंपक बकुल कुल बिबिध सरोज।
केतकी मेदिनी मद मुदित मनोज॥
रोचक रुचिर बहै त्रिविध समीर।
मुकुलित चूत नदति पिक कीर॥
पावन पुलिन घन मंजुल निकुंज।
किसलय सैन रचित सुखपुंज॥
मंजीर मुरज डफ मुरली मृदंग।
बाजत उपंग बीना वर मुख-चंग॥
मृगमद मलयज कुंकुम अबीर।
बदन अगर-सत सुरभित चीर॥
गावत सुंदर हरि सरस धमारि।
पुलकित खग-मृग बहत न बारि॥
जय श्री हितहरिबंस हंस-हंसिनी-समाज।
ऐसे ई करहु मिलि जुग-जुग राज॥
Meaning
In the sweetness of spring, Vrindavan's joy knows no limit; the ever-fresh, love-skilled young woman shines here in glory. Jasmine and clustered blossoms mirror the loveliness of the divine pair, and bees grow dizzy on their honeyed fragrance. Champak, bakul and countless lotuses bloom together, and the earth itself grows joyful, stirred by the god of love. A gentle threefold breeze blows, mango trees put out fresh buds, and the koel and parrot call out. On the sacred riverbank stand dense, lovely forest bowers, their floors spread with tender leaves for a bed of happiness. Anklets, drums, daf, flute and mridang sound together with veena and cheek-flute. Musk, sandal, saffron and colored powder scent the air, and their garments carry the fragrance of fine incense. The beautiful lord sings a joyful springtime melody while birds and deer stand so thrilled that even the water seems to stop flowing. Hit Harivansh prays that this swan and his mate, with their whole company, reign just like this, age after age.
Braj-nav-taruni-kadamb-mukut mani syaama aaju bani
Nakh-sikh laun ang-ang maadhuri mohe syaam dhani
Yaun raajat kabari goothit kach kanakakanj-badani
Chikur chandrakani beech aragh bidhu maanaun grasat phani
Saubhag ras sir sravat panaari piya seemant thani
Bhrakuti kaam kodand, nain sar, kajjal rekh ani
Bhaal tilak, taatank gand par, naasa jalaj mani
Dasan kund, sarasaadhar-pallav peetam-man-samani
Jai shri hitaharibans prasansit syaama, keerati bisad ghani
Gaavat shravanani sunat sukhaakar vishwa-durit-dabani //
ब्रज-नव-तरुनि-कदंब-मुकुट मनि स्यामा आजु बनी।
नख-सिख लौं अंग-अंग माधुरी मोहे स्याम धनी॥
यौं राजत कबरी गूथित कच कनककंज-बदनी॥
चिकुर चंद्रकनि बीच अरघ बिधु मानौं ग्रसत फनी॥
सौभग रस सिर स्रवत पनारी पिय सीमंत ठनी॥
भ्रकुटि काम कोदंड, नैन सर, कज्जल रेख अनी॥
भाल तिलक, ताटंक गंड पर, नासा जलज मनी।
दसन कुंद, सरसाधर-पल्लव पीतम-मन-समनी॥
जय श्री हितहरिबंस प्रसंसित स्यामा, कीरति विसद घनी।
गावत श्रवननि सुनत सुखाकर विस्व-दुरित-दबनी॥
Meaning
Today, crowned as the jewel among all the fresh young women of Braj, Shyama has adorned herself, and from her toes to the crown of her head every limb's sweetness enchants dark, wealthy Shyam. Her braided hair frames a golden lotus face; among the strands, at her parting, a crescent seems caught as if a serpent were swallowing the moon. A channel of good fortune's nectar seems to flow from the part in her hair straight to her beloved. Her eyebrows are Kama's bow, her eyes his arrows, and her line of kohl their sharpened tip. A tilak marks her brow, earrings rest on her cheeks, her nose is a fine lotus jewel, her teeth are jasmine buds, and her tender red lips settle the mind of her golden beloved. Hit Harivansh praises Shyama, whose spotless fame runs deep and wide; whoever hears it sung finds joy, and the sorrows of the whole world are pressed down.
Meaning & Significance
The distinct feature of Radha Vallabh devotion is that Krishna is not worshipped as an independent deity but as Radha’s own beloved. That is why the temple’s central image is called Radha Vallabh Lal, and why Krishna’s glory in these padas always arrives through Radha’s love rather than on its own terms.
These six padas are drawn from Hita Chaurasi, Sri Hit Harivansh Mahaprabhu’s principal work. Some describe Radha’s beauty in close physical detail, others recreate the raas dance on the Yamuna’s bank or the forest bowers of Vrindavan in spring, and others simply marvel at the completeness of Radha and Krishna’s love for each other.
Vrindavan’s Yamuna bank, its nikunj groves and its raas ground return again and again across the verses, because Radha Vallabh devotion is not built on abstract doctrine. It is anchored to the actual ground of Vrindavan and the pastimes believed to unfold there eternally.
How Do You Recite the Radha Vallabha Stotram?
- Sit facing east or toward an image of Radha Vallabh – Settle into a quiet, clean space, ideally near sunrise, facing an image or symbol of Radha Vallabh Lal.
- Light a lamp and offer a flower – A simple diya and a fresh flower are enough; elaborate ritual items are not required.
- Begin with the opening pada, Joi Joi Pyaro Kare – Start with the traditional first verse of the Hita Chaurasi before moving through the other padas.
- Recite each pada slowly, in order – Let the Braj words settle rather than rushing; the language rewards unhurried, feeling-full recitation.
- Pause on the closing Hit Harivansh line of each pada – This signature line is where the poet steps back and offers the verse to Radha and Krishna together.
- Close with a moment of silent remembrance of Vrindavan – End by simply picturing the Yamuna bank and the nikunj groves described in the padas.
What Are the Benefits?
Reciting these padas regularly deepens both the understanding and the felt experience of Radha-centered bhakti.
- Turns the mind toward Radha-centered bhakti: The padas train attention on Radha's feelings first, and Krishna's love for her second, which is the sampraday's central practice.
- Builds familiarity with Braj Bhasha devotional poetry: Regular recitation makes the sound and rhythm of sixteenth-century Braj verse familiar rather than foreign.
- Connects the reciter to Vrindavan's geography: Verses naming the Yamuna bank, the nikunj groves and the raas ground make Vrindavan's physical landscape part of daily practice.
- Offers a short, doable daily practice: Six padas take only a few minutes, so the practice fits into a morning or evening routine without needing long free time.
- Deepens appreciation of the Radha Vallabh Sampraday's outlook: The verses show, in the founder's own words, why the tradition places Radha's happiness at the center of worship.
- Supports focused, image-based meditation: The detailed physical imagery in the padas gives the mind concrete pictures to hold during quiet reflection.
Hit Harivansh & the Radha Vallabh Sampraday
Sri Hit Harivansh Mahaprabhu was born in the sixteenth century near Mathura, into a Brahmin family. Tradition holds that Radha herself appeared to him in a vision, gave him the Yugal Mantra and directed him to Vrindavan. There, near a well, he found a two-armed image of Krishna holding a flute and installed it as Radha Vallabh Lal.
The defining feature of the Radha Vallabh Sampraday is that it does not keep a separate image of Radha alongside Krishna. Devotees hold that Radha is eternally present beside her beloved, unseen but never absent, and that Krishna’s own identity as Radha Vallabh already carries her within it. This outlook runs through everything Hit Harivansh wrote.
Beyond Hita Chaurasi, his principal work in Braj Bhasha, Hit Harivansh also composed Radha Sudha Nidhi in Sanskrit, along with Yamunashtak and Sphuta Vani. Of these, Hita Chaurasi remains the text recited daily in Radha Vallabh temples, and it is the source of the six padas on this page.
Frequently Asked Questions
Who is Radha Vallabh?
Radha Vallabh, meaning 'Radha's beloved,' is the form of Krishna worshipped in Vrindavan as devoted entirely to Radha. The name reflects the sampraday's theology, in which Krishna's identity is defined through his love for Radha rather than the other way around.
What is the Radha Vallabh Sampraday?
It is a Vaishnava devotional tradition founded in sixteenth-century Vrindavan by Sri Hit Harivansh Mahaprabhu. It centers on the worship of Radha Vallabh Lal and places Radha's emotional world, rather than ritual formality, at the heart of practice.
Is there an official Radha Vallabha Stotram?
No single fixed Sanskrit ashtakam by that exact name is well documented across independent sources. What the tradition does have, and still recites daily, is Hit Harivansh's Hita Chaurasi, 84 padas in Braj Bhasha, from which the verses on this page are drawn.
What language are these verses in?
They are in Braj Bhasha, the Hindi dialect of the Mathura-Vrindavan region, not Sanskrit. Braj Bhasha was the literary language Hit Harivansh chose for his most important devotional poetry.
What is Hita Chaurasi?
Hita Chaurasi is Sri Hit Harivansh's principal work, a collection of 84 padas describing the eternal love between Radha and Krishna in Vrindavan. It remains the foundational scripture recited daily in Radha Vallabh temples.
When is the best time to recite these padas?
Morning or evening suits most practitioners, and Radhashtami, Radha's appearance day, is a particularly meaningful occasion. There is no strict rule; sincerity matters more than timing.
Do I need a guru or initiation to recite these verses?
No. Reading or reciting the padas as devotional literature is open to anyone. Formal initiation in the Radha Vallabh Sampraday is a separate step for those who wish to join the tradition.
Where is the Radha Vallabh temple located?
The principal Radha Vallabh temple stands in Vrindavan, Uttar Pradesh, near Nidhivan, where Hit Harivansh is said to have first found and consecrated the deity.
॥ श्री राधावल्लभो जयति ॥