Stringed instrument

Expressions researched:
"stringed instrument" |"stringed instruments"

SB Canto 1

SB 1.6.32, Purport:

The musical stringed instrument called the vīṇā, which was handed to Nārada by Lord Śrī Kṛṣṇa, is described in the Liṅga Purāṇa, and this is confirmed by Śrīla Jīva Gosvāmī. This transcendental instrument is identical with Lord Śrī Kṛṣṇa and Nārada because all of them are of the same transcendental category. Sound vibrated by the instrument cannot be material, and therefore the glories and pastimes which are broadcast by the instrument of Nārada are also transcendental, without a tinge of material inebriety. The seven singing meters, namely ṣa (ṣaḍja), ṛ (ṛṣabha), gā (gāndhāra), ma (madhyama), pa (pañcama), dha (dhaivata) and ni (niṣāda), are also transcendental and specifically meant for transcendental songs. As a pure devotee of the Lord, Śrī Nāradadeva is always fulfilling his obligation to the Lord for His gift of the instrument, and thus he is always engaged in singing His transcendental glories and is therefore infallible in his exalted position. Following in the footsteps of Śrīla Nārada Muni, a self-realized soul in the material world also properly uses the sound meters, namely ṣa, ṛ, gā, mā, etc., in the service of the Lord by constantly singing His glories. As confirmed in the Bhagavad-gītā (9.14), the mahātmās, or great souls, have no business in life except singing the transcendental glories of the Lord, following in the footsteps of Śrīla Nārada-deva.

SB 1.13.38, Purport:

The confidential devotees of the Lord treat such illusioned living beings, and therefore they are most pleasing in the eyes of the Lord. The Lord says in the Bhagavad-gītā that no one is dearer to Him than one who actually preaches the glories of the Lord to convert the nonbelievers and nondevotees. Such personalities as Nārada must be offered all due respects, like those offered to the Personality of Godhead Himself, and Mahārāja Yudhiṣṭhira, along with his noble brothers, were examples for others in receiving a pure devotee of the Lord like Nārada, who had no other business save and except singing the glories of the Lord along with his vīṇā, a musical stringed instrument.

SB Canto 5

SB 5.25.8, Purport:

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 5.25.9, Purport:

"I have already spoken to you of His service to the Lord. Now hear how the self-sufficient Anantadeva exists in the lower planetary system of Pātāla.

śrī-nārada-gosāñi 'tumburu' kari' saṅge

se yaśa gāyena brahmā-sthāne śloka-vandhe

"Bearing his stringed instrument, the tumburu, on his shoulders, the great sage Nārada Muni always glorifies Lord Ananta. Nārada Muni has composed many transcendental verses in praise of the Lord."

sṛṣṭi, sthiti, pralaya, sattvādi yata guṇa

yāṅra dṛṣṭi-pāte haya, yāya punaḥ punaḥ

"Simply due to the glance of Lord Ananta, the three material modes of nature interact and produce creation, maintenance and annihilation. These modes of nature appear again and again.

advitīya-rūpa, satya anādi mahattva

tathāpi 'ananta' haya, ke bujhe se tattva?

"The Lord is glorified as one without a second and as the supreme truth who has no beginning. Therefore He is called Anantadeva (unlimited). Who can understand Him?

SB Canto 6

SB 6.5.22, Purport:

The purport of this song is that Nārada Muni, the great soul, plays a stringed instrument called a vīṇā, vibrating the sound rādhikā-ramaṇa, which is another name for Kṛṣṇa. As soon as he strokes the strings, all the devotees begin responding, making a very beautiful vibration. Accompanied by the stringed instrument, the singing seems like a shower of nectar, and all the devotees dance in ecstasy to the fullest extent of their satisfaction. While dancing, they appear madly intoxicated with ecstasy, as if drinking the beverage called mādhurī-pūra. Some of them cry, some of them dance, and some of them, although unable to dance publicly, dance within their hearts. Lord Śiva embraces Nārada Muni and begins talking in an ecstatic voice, and seeing Lord Śiva dancing with Nārada, Lord Brahmā also joins, saying, "All of you kindly chant 'Hari bol! Hari bol!' " The King of heaven, Indra, also gradually joins with great satisfaction and begins dancing and chanting "Hari bol! Hari bol!" In this way, by the influence of the transcendental vibration of the holy name of God, the whole universe becomes ecstatic. Bhaktivinoda Ṭhākura says, "When the universe becomes ecstatic, my desire is satisfied.

SB Canto 8

SB 8.8.13, Translation:

The clouds in personified form beat various types of drums, known as mṛdaṅgas, paṇavas, murajas and ānakas. They also blew conchshells and bugles known as gomukhas and played flutes and stringed instruments. The combined sound of these instruments was tumultuous.

SB 8.15.21, Translation:

The city was filled with the sounds of mṛdaṅgas, conchshells, kettledrums, flutes and well-tuned stringed instruments all playing in concert. There was constant dancing and the Gandharvas sang. The combined beauty of Indrapurī defeated beauty personified.

CC Madhya-lila

CC Madhya 8.133, Translation:

"My dear Lord, my tongue is just like a stringed instrument, and You are its player. Therefore I simply vibrate whatever arises in Your mind."

CC Madhya 8.166, Purport:

Her transcendental anger toward Kṛṣṇa is embodied as the arrangement of the hair on Her head, and the tilaka of Her great fortune shines on Her beautiful forehead. Śrīmatī Rādhārāṇī’s earrings are the holy names of Kṛṣṇa, as well as the hearing of His name and fame. Her lips are always reddish due to the betel nut of ecstatic affection for Kṛṣṇa. The black ointment around Her eyes is Her tricky behavior with Kṛṣṇa brought about by love. Her joking with Kṛṣṇa and gentle smiling constitute the camphor with which She is perfumed. She sleeps in Her room with the aroma of pride, and when She lies down in Her bed, the transcendental variety of Her loving ecstasies is like a jeweled locket in the midst of Her necklace of separation. Her transcendental breasts are covered by Her sari in the form of affection and anger toward Kṛṣṇa. She has a stringed instrument known as a kacchapī-vīṇā, which is the fame and fortune that actually dries up the faces and breasts of the other gopīs. She always keeps Her hands on the shoulder of Her gopī friend, who represents Her youthful beauty, and although She is highly qualified with so many spiritual assets, She is nonetheless affected by the Cupid known as Kṛṣṇa. Thus She is defeated. Śrīla Raghunātha dāsa Gosvāmī offers his respectful obeisances to Śrīmatī Rādhārāṇī, taking a straw in his mouth. Indeed, he prays, "O Gāndharvikā, Śrīmatī Rādhārāṇī, just as Lord Kṛṣṇa never rejects a surrendered soul, please don"t reject me.’” This is a summary translation of the Premāmbhoja-maranda, which Kavirāja Gosvāmī quotes.

CC Antya-lila

CC Antya 5.73, Translation:

“‘Whatever I speak is personally spoken by Lord Śrī Caitanya Mahāprabhu. Like a stringed instrument, I vibrate whatever He causes me to speak.

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter 31:

"Because You are asking me to speak of the pastimes of Rādhā and Kṛṣṇa," Rāmānanda Rāya humbly submitted, "I will obey Your order. I will speak in whatever way You like." Thus Rāmānanda Rāya humbly submitted himself as a puppet before Lord Caitanya, the puppet master. He only wanted to dance according to the will of Caitanya Mahāprabhu. He compared his tongue to a stringed instrument, saying, "You are the player of that instrument." Thus as Lord Caitanya would play, Rāmānanda Rāya would vibrate the sound.

Teachings of Lord Caitanya, Chapter 31:

Rādhārāṇī’s sense of hearing is eternally fixed on Kṛṣṇa's name and fame. Chewing betel nuts makes one's lips reddish. Similarly, Rādhārāṇī’s complete attachment to Kṛṣṇa has blackened the borders of Her eyes. This darkness might be compared to ointment produced by Rādhā’s joking with Kṛṣṇa. Rādhārāṇī’s smile is just like the taste of camphor. The garland of separation moves on Her body when She lies down on the bed of pride within the room of aroma. Her breasts are covered by the blouse of anger born of Her ecstatic affection for Kṛṣṇa. Her reputation as the best of all Kṛṣṇa's girlfriends is the stringed instrument She plays. When Kṛṣṇa stands in His youthful posture, She puts Her hand on His shoulder. Although She possesses so many transcendental qualities, She is still always engaged in the service of Kṛṣṇa.

Krsna, The Supreme Personality of Godhead

Krsna Book 90:

The only difference is that in the spiritual world such facilities are eternal, never-ending occurrences, whereas in the material world they are simply impermanent perverted reflections. When Lord Kṛṣṇa was engaged in such enjoyment, the Gandharvas and professional musicians would glorify Him with melodious musical concerts, accompanied by kettledrums, mṛdaṅgas and other drums, along with stringed instruments and brass bugles, and the whole atmosphere would change into a greatly festive celebration. In a festive mood, the wives of the Lord would sometimes sprinkle water on the His body with a syringelike instrument, and the Lord would similarly wet the bodies of the queens. When Kṛṣṇa and the queens engaged themselves in these pastimes, it seemed as if the heavenly king Yakṣarāja were engaged in pastimes with his many wives. (Yakṣarāja is also known as Kuvera and is considered the treasurer of the heavenly kingdom.) When the wives of Lord Kṛṣṇa thus became wet, their breasts and thighs would increase in beauty a thousand times, and their long hair would fall down to decorate those parts of their bodies. The beautiful flowers placed in their hair would fall, and the queens, seemingly harassed by the Lord's throwing water at them, would approach Him on the plea of snatching the syringelike instrument.

Srimad-Bhagavatam Lectures

Lecture on SB 1.5.1-4 -- New Vrindaban, May 22, 1969:

So Devarṣi, when he was comfortably seated, with his hand, in his hand that vīṇā, vīṇā-pāṇiḥ. Vīṇā-pāṇiḥ is called Sarasvatī. Vīṇā means that stringed instrument which is carried by Nārada and also Sarasvatī, the goddess of learning. Sarasvatī. Students, they worship Sarasvatī for getting learning, material knowledge. And we Vaiṣṇavas, we also... He is also Sarasvatī. Nārada is also Sarasvatī. My spiritual master was known as Sarasvatī, Siddhānta Sarasvatī. Sarasvatī is the knowledge.

1976 Conversations and Morning Walks

Room Conversation -- September 9, 1976, Vrndavana:

Prabhupāda: Sound chamber may be called. So with that dry squash he made the sound chamber. The bamboo he fixed up and the wire upon it and then it became a "Tin, tin, tin, tin..." (laughs) Our organization is like that. I was loitering in the street. Somebody was over there, somebody was there. Not combined together, International Society String Band. Yes. Separately we are all useless. Eh?

Hari-śauri: No, we were useless. You were never useless.

Prabhupāda: No, your assistance was required. How you can be useless? We're all useless. But combined together, now we have become a stringed instrument. This is very good example. Separately... Just like the same logic, andha-khañja. Separately, andha is useless, and khañja is useless. Blind and lame. They cannot do anything. But combined together, they become useful. Then?

Hari-śauri: Would you like to reply? Or it's just recorded.

Prabhupāda: I shall reply. You find them if they are coming.

Room Conversation -- December 26, 1976, Bombay:

Prabhupāda: The other musical instrument, if he plays his attention will be diverted in musical instrument, not to chanting. "We have to see melody, whether it is going on nicely." But that is not good. Our concentration should be hearing Hare Kṛṣṇa. That is... That is bhakti. Caitanya Mahāprabhu, simply this karatāla, khola, that's all. In those days... Of course, there was no harmonium, but many stringed instruments were there. Sitar, esarāja, but these things were not used. Sometimes we do use to attract, but it is not required. (Hindi)

Indian lady: Yesterday I was (indistinct). The way it was for me, prema-bhakti. Through music it is very easy. (indistinct) You have to take rest now.

Prabhupāda: No, I have to take prasāda. (indistinct)

Indian man: Śrīla Prabhupāda, I've got some good quality tape. If you like it you can get more. Very good quality. (break)

Prabhupāda: ...saintly person. Such men should understand. Rājarṣi. Not ordinary king. Ṛṣi. Ṛṣi tulya. So if one is religious, then he will institute. Yad yad ācarati śreṣṭhas tat tad evetaro janaḥ (BG 3.21). If the big, big leaders, politicians, they accept Bhagavad-gītā As It Is, then others will follow. Unfortunately, the leaders, they have their own interpretation. They won't accept Bhagavad-gītā. That is the difficulty

1975 Correspondence

Letter to Bahudak -- Bombay 10 November, 1975:

Please accept my blessings. I am in due receipt of your letter dated September 23rd and have noted the contents. I am glad to note that you are taking out the traveling party. I hope that you have good success. Just do everything very soberly. Regarding the instruments, stringed instruments are Vedic, but the real Vedic instrument is mrdanga and karatala. Anyway, you have to do according to the time and circumstances if you use these other instruments. So you have got my approval and you can go on.

Regarding complaints by the sannyasis, these things shall be discussed in everyone's presence at the Mayapur meeting. There is no question of change but sometimes change is invigorating.

I note that your wife has given birth to one girl child. Are all your other children also dasi's or do you have any das's? We want more das's than dasi's.