When the cowherd men saw the pastimes of the cowherd women, they became very joyful, and in response they also began to throw yogurt, milk, clarified butter and water upon the bodies of the gopīs. Then both parties began to throw butter on each other's bodies. Nanda Mahārāja was also very happy to see the pastimes of the cowherd men and women, and he became very liberal in giving charity to the different singers who were assembled there. Some singers were reciting great verses from the Upaniṣads and Purāṇas, some were glorifying the family ancestors, and some were singing very sweet songs. There were also many learned brāhmaṇas present, and Nanda Mahārāja, being very satisfied on this occasion, gave them different kinds of garments, ornaments and cows in charity.
Singer (Books)
Bhagavad-gita As It Is
BG Chapters 7 - 12
The banyan tree (aśvattha) is one of the highest and most beautiful trees, and people in India often worship it as one of their daily morning rituals. Amongst the demigods they also worship Nārada, who is considered the greatest devotee in the universe. Thus he is the representation of Kṛṣṇa as a devotee. The Gandharva planet is filled with entities who sing beautifully, and among them the best singer is Citraratha. Amongst the perfect living entities, Kapila, the son of Devahūti, is a representative of Kṛṣṇa. He is considered an incarnation of Kṛṣṇa, and His philosophy is mentioned in the Śrīmad-Bhāgavatam. Later on another Kapila became famous, but his philosophy was atheistic. Thus there is a gulf of difference between them.
Srimad-Bhagavatam
SB Canto 1
Expert dramatists, artists, dancers, singers, historians, genealogists and learned speakers all gave their respective contributions, being inspired by the superhuman pastimes of the Lord. Thus they proceeded on and on.
It appears that five thousand years ago the society also needed the services of the dramatists, artists, dancers, singers, historians, genealogists, public speakers, etc. Dancers, singers and dramatic artists mostly hailed from the śūdra community, whereas the learned historians, genealogists and public speakers hailed from the brāhmaṇa community. All of them belonged to a particular caste, and they became so trained in their respective families. Such dramatists, dancers, singers, historians, genealogists and public speakers would dwell on the subject of the Lord's superhuman activities in different ages and millenniums, and not on ordinary events. Nor were they in chronological order. All the Purāṇas are historical facts described only in relation with the Supreme Lord in different ages and times as well as on different planets also. Therefore, we do not find any chronological order. The modern historians, therefore, cannot catch up the link, and thus they unauthoritatively remark that the Purāṇas are all imaginary stories only.
The common people would be verily entertained by the performances of dramas, and yātrā parties played wonderfully on the superhuman activities of the Lord, and thus even the illiterate agriculturist would be a participant in the knowledge of Vedic literature, despite a considerable lack of academic qualifications. Therefore, expert players in drama, dancers, singers, speakers, etc., are required for the spiritual enlightenment of the common man. The genealogists would give account completely of the descendants of a particular family. Even at the present moment the guides in the pilgrimage sites of India submit a complete account of genealogical tables before a newcomer. This wonderful act sometimes attracts more customers to receive such important information.
Wherever the King visited, he continuously heard the glories of his great forefathers, who were all devotees of the Lord, and also of the glorious acts of Lord Kṛṣṇa. He also heard how he himself had been protected by the Lord from the powerful heat of the weapon of Aśvatthāmā. People also mentioned the great affection between the descendants of Vṛṣṇi and Pṛthā due to the latter's great devotion to Lord Keśava. The King, being very pleased with the singers of such glories, opened his eyes in great satisfaction. Out of magnanimity he was pleased to award them very valuable necklaces and clothing.
SB Canto 3
The creation of the demigods is of eight varieties: (1) the demigods, (2) the forefathers, (3) the asuras, or demons, (4) the Gandharvas and Apsarās, or angels, (5) the Yakṣas and Rākṣasas, (6) the Siddhas, Cāraṇas and Vidyādharas, (7) the Bhūtas, Pretas and Piśācas, and (8) the superhuman beings, celestial singers, etc. All are created by Brahmā, the creator of the universe.
It is understood that Emperor Svāyambhuva Manu enjoyed his household life by following these principles. It is stated here that early in the morning there were musicians who used to sing with musical instruments about the glories of the Lord, and the Emperor, with his family, personally used to hear about the pastimes of the Supreme Person. This custom is still prevalent in India in some of the royal families and temples. Professional musicians sing with śahnāīs, and the sleeping members of the house gradually get up from their beds in a pleasing atmosphere. During bedtime also the singers sing songs in relationship with the pastimes of the Lord, with śahnāī accompaniment, and the householders gradually fall asleep remembering the glories of the Lord. In every house, in addition to the singing program, there is an arrangement for Bhāgavatam lectures in the evening; family members sit down, hold Hare Kṛṣṇa kīrtana, hear narrations from Śrīmad-Bhāgavatam and Bhagavad-gītā and enjoy music before going to bed.
SB Canto 4
The great sage Maitreya continued: My dear Vidurajī, at that time all the brāhmaṇas highly praised and glorified King Pṛthu, and the best singers of Gandharvaloka chanted his glories. The inhabitants of Siddhaloka showered flowers, and the beautiful women in the heavenly planets danced in ecstasy.
Many professional singers used to sing about the glories of King Purañjana and his glorious activities. When it was too hot in the summer, he used to enter a reservoir of water. He would surround himself with many women and enjoy their company.
SB Canto 5
If persons who are very serious about being liberated from material life hear the glories of Anantadeva from the mouth of a spiritual master in the chain of disciplic succession, and if they always meditate upon Saṅkarṣaṇa, the Lord enters the cores of their hearts, vanquishes all the dirty contamination of the material modes of nature, and cuts to pieces the hard knot within the heart, which has been tied tightly since time immemorial by the desire to dominate material nature through fruitive activities. Nārada Muni, the son of Lord Brahmā, always glorifies Anantadeva in his father's assembly. There he sings blissful verses of his own composition, accompanied by his stringed instrument (or a celestial singer) known as Tumburu.
SB Canto 6
Woman is now depicted very well from the materialistic point of view by Kaśyapa Muni. Women are generally known as the fair sex, and especially in youth, at the age of sixteen or seventeen, women are very attractive to men. Therefore a woman's face is compared to a blooming lotus flower in autumn. Just as a lotus is extremely beautiful in autumn, a woman at the threshold of youthful beauty is extremely attractive. In Sanskrit a woman's voice is called nārī-svara because women generally sing and their singing is very attractive. At the present moment, cinema artists, especially female singers, are especially welcome. Some of them earn fabulous amounts of money simply by singing. Therefore, as taught by Śrī Caitanya Mahāprabhu, a woman's singing is dangerous because it can make a sannyāsī fall a victim to the woman. Sannyāsa means giving up the company of women, but if a sannyāsī hears the voice of a woman and sees her beautiful face, he certainly becomes attracted and is sure to fall down. There have been many examples.
SB Canto 9
Because Saubhari Muni was expert in chanting mantras perfectly, his severe austerities resulted in an opulent home, with garments, ornaments, properly dressed and decorated maidservants and manservants, and varieties of parks with clear-water lakes and gardens. In the gardens, fragrant with varieties of flowers, birds chirped and bees hummed, surrounded by professional singers. Saubhari Muni's home was amply provided with valuable beds, seats, ornaments, and arrangements for bathing, and there were varieties of sandalwood creams, flower garlands, and palatable dishes. Thus surrounded by opulent paraphernalia, the muni engaged in family affairs with his numerous wives.
SB Canto 10.1 to 10.13
The brāhmaṇas recited auspicious Vedic hymns, which purified the environment by their vibration. The experts in reciting old histories like the Purāṇas, the experts in reciting the histories of royal families, and general reciters all chanted, while singers sang and many kinds of musical instruments, like bherīs and dundubhis, played in accompaniment.
Everyone has some particular duty. The śāstra has concluded (nirūpitaḥ) that everyone should glorify the Supreme Personality of Godhead by his own qualifications. If you are a singer, always glorify the Supreme Lord by singing very nicely. If you are a musician, glorify the Supreme Lord by playing musical instruments. Svanuṣṭhitasya dharmasya saṁsiddhir hari-toṣaṇam (SB 1.2.13). The perfection of life is to satisfy the Personality of Godhead. Therefore, beginning from this earth up to the celestial kingdom, everyone engaged in glorifying the Supreme Personality of Godhead. The decision of all great saintly persons is that whatever qualifications one has acquired should be utilized to glorify the Supreme Lord.
SB Cantos 10.14 to 12 (Translations Only)
Behind the bride followed thousands of prominent courtesans bearing various offerings and presents, along with well-adorned brāhmaṇas' wives singing and reciting prayers and bearing gifts of garlands, scents, clothing and jewelry. There were also professional singers, musicians, bards, chroniclers and heralds.
Just then there were loud sounds of conchshells and mṛdaṅga, paṭaha, bherī and ānaka drums, as well as other instruments. Men and women began to dance, and singers began to sing.
The five hundred disciples of Pauṣyañji and Āvantya became known as the northern singers of the Sāma Veda, and in later times some of them also became known as eastern singers.
To ruin the sage's spiritual practice, Lord Indra sent Cupid, beautiful celestial singers, dancing girls, the season of spring and the sandalwood-scented breeze from the Malaya Hills, along with greed and intoxication personified.
The women danced before the sage, and the celestial singers sang to the charming accompaniment of drums, cymbals and vīṇās.
Sri Caitanya-caritamrta
CC Adi-lila
The Gandharvas, who are residents of Gandharvaloka, are celebrated as celestial singers. Whenever singing is needed in the celestial planets, the Gandharvas are invited to sing. The Gandharvas can sing continuously for days, and therefore Vakreśvara Paṇḍita wanted to dance as they sang.
"In Vraja there were two very nice singers named Madhukaṇṭha and Madhuvrata. They appeared in caitanya-līlā as Mukunda and Vāsudeva Datta, who were singers in the society of Lord Caitanya Mahāprabhu." When Lord Caitanya was a student, Mukunda Datta was His class friend, and they frequently engaged in logical arguments. Sometimes Lord Caitanya Mahāprabhu would fight with Mukunda Datta, using tricks of logic. This is described in the Caitanya-bhāgavata, Ādi-khaṇḍa, Chapters Eleven and Twelve. When Lord Caitanya Mahāprabhu returned from Gayā, Mukunda Datta gave Him pleasure by reciting verses from Śrīmad-Bhāgavatam about kṛṣṇa-līlā. It was by his endeavor that Gadādhara Paṇḍita Gosvāmī became a disciple of Puṇḍarīka Vidyānidhi, as stated in Śrī Caitanya-bhāgavata, Madhya-khaṇḍa, Chapter Seven. When Mukunda Datta sang in the courtyard of Śrīvāsa Prabhu, Mahāprabhu danced with His singing, and when Lord Caitanya for twenty-one hours exhibited an ecstatic manifestation known as sāta-prahariyā, Mukunda Datta inaugurated the function by singing.
Govindānanda and Govinda Datta, the twenty-fifth and twenty-sixth branches of the tree, were performers of kīrtana in the company of Śrī Caitanya Mahāprabhu. Govinda Datta was the principal singer in Lord Caitanya's kīrtana party.
Śrī Vijaya dāsa, the twenty-seventh branch, another of the Lord's chief singers, gave the Lord many books written by hand.
The three brothers Govinda, Mādhava and Vāsudeva Ghoṣa all belonged to a kāyastha family. Govinda established the Gopīnātha temple in Agradvīpa, where he resided. Mādhava Ghoṣa was expert in performing kīrtana. No one within this world could compete with him. He was known as the singer of Vṛndāvana and was very dear to Śrī Nityānanda Prabhu. It is said that when the three brothers performed saṅkīrtana, immediately Lord Caitanya and Nityānanda would dance in ecstasy. According to the Gaura-gaṇoddeśa-dīpikā (188), the three brothers were formerly Kalāvatī, Rasollāsā and Guṇatuṅgā, who recited the songs composed by Śrī Viśākhā-gopī. The three brothers were among one of the seven parties that performed kīrtana when Lord Śrī Caitanya Mahāprabhu attended the Ratha-yātrā festival at Jagannātha Purī. Vakreśvara Paṇḍita was the chief dancer in their party.
Baḍa Haridāsa and Choṭa Haridāsa, the twenty-fourth and twenty-fifth devotees in Nīlācala, were good singers who always accompanied Lord Caitanya.
Śrī Yadunandana Ācārya was a student of Vāsudeva Datta, and he received all his mercy. Therefore he could accept Lord Caitanya's lotus feet, from all angles of vision, as the supreme shelter.
The Gaura-gaṇoddeśa-dīpikā (140) describes that Vāsudeva Datta was formerly Madhuvrata, a singer in Vṛndāvana.
As there are professional singers, dancers and reciters of prayers in the heavenly planets, so in India still there are professional dancers, blessers and singers, all of whom assemble together during householder ceremonies, especially marriages and birth ceremonies. These professional men earn their livelihood by taking charity on such occasions from the homes of the Hindus. Eunuchs also take advantage of such ceremonies to receive charity. That is their means of livelihood. Such men never become servants or engage themselves in agriculture or business occupations; they simply take charity from neighborhood friends to maintain themselves peacefully. The bhāṭas are a class of brāhmaṇas who go to such ceremonies to offer blessings by composing poems with references to the Vedic scriptures.
Whatever riches Jagannātha Miśra collected in the form of gifts and presentations, and whatever he had in his house, he distributed among the brāhmaṇas, professional singers, dancers, bhāṭas and the poor. He honored them all by giving them riches in charity.
CC Madhya-lila
In the first group, Dāmodara Svarūpa was appointed chief singer, and the responding singers were Dāmodara Paṇḍita, Nārāyaṇa, Govinda Datta, Rāghava Paṇḍita and Govindānanda. Śrī Advaita Ācārya was appointed as a dancer. The next group was formed, and the chief singer was Śrīvāsa Ṭhākura.
The five singers who responded to the singing of Śrīvāsa Ṭhākura were Gaṅgādāsa, Haridāsa, Śrīmān, Śubhānanda and Śrī Rāma Paṇḍita. Śrī Nityānanda Prabhu was appointed as a dancer.
Another group was formed consisting of Vāsudeva, Gopīnātha and Murāri. All these were responsive singers, and Mukunda was the chief singer.
Another two persons, Śrīkānta and Vallabha Sena, joined as responsive singers. In this group, the senior Haridāsa (Haridāsa Ṭhākura) was the dancer.
In the third group, Mukunda was appointed the chief singer. This party was composed of Vāsudeva, Gopīnātha, Murāri, Śrīkānta and Vallabha Sena. The senior Haridāsa (Haridāsa Ṭhākura) was the dancer.
The Lord formed another group, appointing Govinda Ghoṣa as leader. In this group the younger Haridāsa, Viṣṇudāsa and Rāghava were the responding singers.
Two brothers named Mādhava Ghoṣa and Vāsudeva Ghoṣa also joined this group as responsive singers. Vakreśvara Paṇḍita was the dancer.
There was another party that came from Śāntipura and was formed by Advaita Ācārya. Acyutānanda was the dancer, and the rest of the men were singers.
CC Antya-lila
It is said in the Padma Purāṇa, ataḥ śrī-kṛṣṇa-nāmādi na bhaved grāhyam indriyaiḥ (CC Madhya 17.136). Chanting and hearing of the transcendental holy name of the Lord cannot be performed by the ordinary senses. The transcendental vibration of the Lord's holy name is completely spiritual. Thus it must be received from spiritual sources and must be chanted after having been heard from a spiritual master. One who hears the chanting of the Hare Kṛṣṇa mantra must receive it from the spiritual master by aural reception. Śrīla Sanātana Gosvāmī has forbidden us to hear the holy name of Kṛṣṇa chanted by non-Vaiṣṇavas, such as professional actors and singers, for it will have no effect. It is like milk touched by the lips of a serpent, as stated in the Padma Purāṇa:
- avaiṣṇava-mukhodgīrṇaṁ pūtaṁ hari-kathāmṛtam
- śravaṇaṁ naiva kartavyaṁ sarpocchiṣṭaṁ yathā payaḥ
As far as possible, therefore, the devotees in the Kṛṣṇa consciousness movement gather to chant the holy name of Kṛṣṇa in public so that both the chanters and the listeners may benefit.
In India śukla-cāula (white rice) is also called ātapa-cāula, or rice that has not been boiled before being threshed. Another kind of rice, called siddha-cāula (brown rice), is boiled before being threshed. Generally, first-class fine white rice is required for offerings to the Deity. Thus Bhagavān Ācārya asked Choṭa Haridāsa, or Junior Haridāsa, a singer in the assembly of Śrī Caitanya Mahāprabhu, to get some of this rice from the sister of Śikhi Māhiti. A māna is a standard of measurement in Orissa for rice and other food grains.
Śrīla Bhaktivinoda Ṭhākura writes in his Amṛta-pravāha-bhāṣya: "Śrīla Rāmānanda Rāya composed a drama named Jagannātha-vallabha-nāṭaka, and he engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dāsīs, are still employed in the temple of Jagannātha, where they are called māhārīs. Śrī Rāmānanda Rāya engaged two such girls, and because they were meant to play the parts of gopīs, he taught them how to awaken thoughts like those of the gopīs. Because the gopīs are worshipable personalities, Rāmānanda Rāya, who considered the two girls gopīs and himself their maidservant, engaged in their service by massaging their bodies with oil to cleanse them completely. Because Rāmānanda Rāya always placed himself in the position of a maidservant of the gopīs, his rehearsal with the girls was actually on the spiritual platform."
One day when the Lord was going to the temple of Yameśvara, a female singer began to sing in the Jagannātha temple.
As the Lord ran in ecstasy to meet the singer, thorny hedges pricked His body.
Other Books by Srila Prabhupada
Krsna, The Supreme Personality of Godhead
The denizens of heaven were very much pleased, and they offered their respects by chanting in glorification of the Lord and showering Him with flowers, accepting the victory with great appreciation. Jarāsandha returned to his kingdom, and Mathurā City was saved from the danger of imminent attack. The citizens of Mathurā organized the combined services of professional singers like sūtas and māgadhas, along with poets who could compose nice songs, and they began to chant the victory glorification of Lord Kṛṣṇa. When Lord Kṛṣṇa entered the city after the victory, many bugles, conches and kettledrums sounded, and the vibrations of various musical instruments like bherīs, tūryas, vīṇās, flutes and mṛdaṅgas all joined together to make a beautiful reception. While Kṛṣṇa was entering, the whole city was cleansed, all the different streets and roads were sprinkled with water, and the inhabitants, being joyous, decorated their respective houses and shops with flags and festoons. The brāhmaṇas chanted Vedic mantras at numerous places. The people constructed road crossings and gates at entrances to lanes and streets. When Lord Kṛṣṇa was entering the nicely decorated city of Mathurā in a festive attitude, the ladies and girls of Mathurā prepared different kinds of flower garlands to make the ceremony most auspicious.
First of all the jokers would talk in such a way that the Lord and His associates would enjoy their humor, which would refresh the morning mood. The dramatic actors would then play their parts, and the dancing ballet girls would separately display their artistic movements. All these functions would be accompanied by the beating of mṛdaṅga drums and the sounds of the vīṇā, flutes and bells, followed by the sound of the muraja, another type of drum. To these musical vibrations, the auspicious sound of the conchshell would be added. The professional singers called sūtas and māgadhas would sing, and others would perform their dancing art. In this way, as devotees, they would offer respectful prayers to the Supreme Personality of Godhead. Sometimes the learned brāhmaṇas present in that assembly would chant Vedic hymns and explain them to the audience to the best of their knowledge, and sometimes some of them would recite old historical accounts of the activities of prominent kings. The Lord, accompanied by His associates, would be very much pleased to hear them.
After Śiśupāla died by the mercy of Lord Kṛṣṇa and merged into the spiritual existence, and after the end of the Rājasūya-yajña, when all the friends, guests and well-wishers had been sufficiently honored and rewarded, King Yudhiṣṭhira went to bathe in the Ganges. The city of Hastināpura stands today on the bank of the Yamunā, and the statement of Śrīmad-Bhāgavatam that King Yudhiṣṭhira went to bathe in the Ganges indicates, therefore, that during the time of the Pāṇḍavas the river Yamunā was also known as the Ganges. While the King was taking the avabhṛtha bath, different musical instruments vibrated, such as mṛdaṅgas, conchshells, paṇava drums, kettledrums and bugles, and the ankle bells of the dancing girls jingled. Many groups of professional singers sang as vīṇās, flutes, gongs and cymbals were played, and thus a tumultuous sound vibrated in the sky. The princely guests from many kingdoms, like Sṛñjaya, Kāmboja, Kuru, Kekaya and Kośala, were present with their different flags and gorgeously decorated elephants, chariots, horses and soldiers. All of them passed in a procession, with King Yudhiṣṭhira in the forefront. The executive members who had performed the sacrifice—the priests, religious ministers and brāhmaṇas—all loudly chanted the Vedic hymns. The demigods and the inhabitants of Pitṛloka and Gandharvaloka, as well as many sages, showered flowers from the sky.
When everything was complete, there was heard the vibration of mṛdaṅgas, conchshells, kettledrums and other musical instruments. Professional dancers, both male and female, began to dance. The sūtas and māgadhas, who were professional singers, began to offer prayers by singing. And the Gandharvas and their wives, whose voices were very sweet, began to sing many auspicious songs. Vasudeva anointed his eyes with black cosmetic, smeared butter over his body and then, along with his eighteen wives, headed by Devakī, sat before the priests to be purified by the abhiṣeka ceremony. While the ceremony was being observed strictly according to the principles of the scriptures, Vasudeva resembled the moon encircled by stars. Because he was being initiated for the sacrifice, he was dressed in a deerskin, but all his wives were dressed with very nice saris, bangles, necklaces, ankle bells, earrings and many other ornaments. Vasudeva looked very beautiful surrounded by his wives, exactly like the King of heaven when he performs such sacrifices.
After offering the used articles to the singers and reciters, Vasudeva and his wives, dressed with new ornaments and garments, fed everyone very sumptuously, from the brāhmaṇas down to the dogs. After this, all the friends, family members, wives and children of Vasudeva assembled together, along with all the kings and members of the Vidarbha, Kośala, Kuru, Kāśī, Kekaya and Sṛñjaya dynasties. The priests, the demigods, the people in general, the forefathers, the ghosts and the Cāraṇas were all sufficiently remunerated by being offered ample gifts and respectful honor. Then all the persons assembled there took permission from Lord Kṛṣṇa, the husband of the goddess of fortune, and while glorifying the perfection of the sacrifice made by Vasudeva, they departed to their respective homes.
After enjoying fully amongst themselves, the queens and Lord Kṛṣṇa would come out of the water, and they would give up their wet garments, which were very valuable, to be taken away by the professional singers and dancers. These singers and dancers had no means of subsistence other than the rewards of valuable garments and ornaments left by the queens and kings on such occasions. The whole system of society was so well planned that all the members of society in their different positions as brāhmaṇas, kṣatriyas, vaiśyas and śūdras had no difficulty in earning their livelihood. There was no competition among the divisions of society. The original conception of the caste system was so planned that a group of men engaged in a particular type of occupation would not compete with another group of men engaged in a different occupation.
| Page Title: | Singer (Books) |
| Compiler: | Visnu Murti, Serene |
| Created: | 03 of Dec, 2012 |
| Totals by Section: | BG=1, SB=18, CC=22, OB=8, Lec=0, Con=0, Let=0 |
| No. of Quotes: | 49 |