(translated by Swami B.V. Giri)<\/p>\n<\/div><\/div><\/div><\/div><\/div>
In \u015ar\u012b Caitanya-carit\u0101m\u1e5bta<\/em> we see the following verse –<\/p>\n bhakti-siddh\u0101nta-viruddha, \u0101ra ras\u0101bh\u0101sa (“The Lord’s heart felt no joy in hearing ras\u0101bh\u0101sa<\/em> and anything opposed to the conclusions of bhakti<\/em>.” \u2013 Caitanya-carit\u0101m\u1e5bta, Madhya-l\u012bl\u0101 <\/em>10.113)<\/p>\n There are many substantial teachings in this verse. There are various schools of k\u012brtana<\/em> nowadays. They refer to their songs as Manoh\u0101rs\u0101h\u012b<\/em>.* The tradition of their songs is that they first play the khol<\/em> (m\u1e5bda\u1e45ga<\/em>). After that is the sura<\/em> (melody). When the sura<\/em> is set, they sing a song about Gauracandra. The rasa<\/em> in Gauracandra\u2019s song is the same rasa<\/em> as the following p\u0101l\u0101-g\u0101na<\/em> of k\u1e5b\u1e63\u1e47a-l\u012bl\u0101.* <\/strong><\/em>At the time of the Gauracandra song, the singers, musicians and listeners stand up. When the song about Gaura is over, everyone sits down and sings and listens to the song about K\u1e5b\u1e63\u1e47a. The p\u0101l\u0101s<\/em> are full of songs by the previous mah\u0101janas<\/em>. The householder who performed the song arranges for garlands and sandalwood and first places then upon the m\u1e5bda\u1e45ga<\/em>, then offers them to the singers, then the musicians, and then the audience.<\/p>\n * <\/strong>Translators Note:<\/strong> The Bengali word <\/span>p\u0101l\u0101<\/span><\/em> means \u2018story.\u2019 Thus, <\/span>p\u0101l\u0101-g\u0101na<\/span><\/em>, or <\/span>p\u0101l\u0101-k\u012brtana<\/span><\/em> is a narrative about a particular <\/span>l\u012bl\u0101<\/span><\/em> of Gaura or K\u1e5b\u1e63\u1e47a.<\/span><\/p>\n Although the name of these songs are commonly called Manoh\u0101rs\u0101h\u012b<\/em>, research reveals that not all the songs are Manoh\u0101rs\u0101h\u012b<\/em>. The seeds of such songs in k\u012brtana<\/em> were sown under \u015ar\u012b Svar\u016bpa Gosv\u0101m\u012b\u2019s inspection of tattva<\/em> of during the time of \u015ar\u012bman Mah\u0101prabhu. But at that time it was not very systematic. It was standardised during the time of \u015ar\u012b \u015ar\u012bniv\u0101sa \u0100c\u0101rya. \u015ar\u012bniv\u0101sa \u0100c\u0101rya, \u015ar\u012b Narottama D\u0101sa and \u015ar\u012b \u015ay\u0101m\u0101nanda \u2013 these three mah\u0101tm\u0101s<\/em> resided for some time in \u015ar\u012b V\u1e5bnd\u0101vana as the disciples of \u015ar\u012b J\u012bva Gosv\u0101m\u012b. They arranged the k\u012brtana<\/em> system with the approval of \u015ar\u012b J\u012bva Gosv\u0101m\u012b. The three of them were mah\u0101mahop\u0101dhy\u0101s <\/em>(the greatest scholars) in sa\u1e45g\u012bta-\u015b\u0101stra<\/em> (the \u015b\u0101stra<\/em> dealing with music). All three were experts in the knowledge of the K\u0101loyati style of Delhi. The three of them were of one soul, one intention and devoted friends. However these three mah\u0101tm\u0101s<\/em> were from different provinces. \u015ar\u012bniv\u0101sa \u0100c\u0101rya illuminated the province of K\u0101tw\u0101. His province belongs to the Manoh\u0101rs\u0101h\u012b region. The style of songs that he introduced is called \u2018Manoh\u0101rs\u0101h\u012b<\/em>.\u2019 \u015ar\u012b Narottama D\u0101sa was a resident of Khetur\u012b-gr\u0101ma in Gar\u0101\u1e47h\u0101\u1e6di, or the region of Ga\u1e0der Ha\u1e6da, of R\u0101js\u0101h\u012b district. The style of songs that he introduced is called \u2018Gar\u0101\u1e47h\u0101\u1e6di.\u2019 <\/em>\u015ar\u012b \u015ay\u0101m\u0101nanda was from Medin\u012bpur district. The style of songs that he introduced is known as \u2018Re\u1e47et\u012b<\/em>.\u2019 \u015ar\u012b J\u012bva Gosv\u0101m\u012b gave \u015ar\u012bniv\u0101sa \u0100c\u0101rya the title of \u2018Prabhu,\u2019 \u015ar\u012b Narottama D\u0101sa the title of \u2018Th\u0101kura\u2019 and \u015ar\u012b \u015ay\u0101m\u0101nanda the title of \u2018Prabhu\u2019 in order to encourage these g\u0101n\u0101c\u0101ryas<\/em> (\u0101c\u0101ryas<\/em> of devotional songs). \u015ar\u012b J\u012bva Gosv\u0101m\u012b was naturally supremely magnanimous and endowed with all transcendental qualities. Since \u0100c\u0101rya Prabhu was a br\u0101hma\u1e47a<\/em>, there was no objection to him receiving the title of \u2018Prabhu.\u2019 \u015ar\u012b Narottama D\u0101sa was born in the k\u0101yastha<\/em> caste, and \u015ar\u012b \u015ay\u0101m\u0101nanda appeared in the sadagopa<\/em> caste. Judging by their merits and greatness, it is only right that the Vai\u1e63\u1e47ava \u0101c\u0101rya<\/em> should have given them the titles of \u2018\u1e6ch\u0101kura\u2019 and \u2018Prabhu.\u2019<\/p>\n Encouraged by the approval of \u015ar\u012b J\u012bva Gosv\u0101m\u012b, the three g\u012bt\u0101c\u0101ryas<\/em> went to their respective provinces. These three mah\u0101tm\u0101s<\/em> are ornaments of the land of Gau\u1e0da. It seems that they were not as learned in Sanskrit as the Gosv\u0101m\u012bs. This is because no Sanskrit texts written by them can be found. They were learned in vraja-rasa bhajana<\/em>, Vai\u1e63\u1e47ava siddh\u0101nta<\/em> and expert in music. After \u015ar\u012bman Mah\u0101prabhu\u2019s disappearance, the Vai\u1e63\u1e47ava world became devastated. Due to a lack of suitable recipients in the prabhu-va\u1e41\u015ba<\/em> (the lineage of Advaita and Nity\u0101nanda), and the introduction of various doctrines, the land of Gau\u1e0da deteriorated without the authority of \u0101c\u0101ryas<\/em>. Due to the unique nature of Vircandra Prabhu, he could not bring all of Gau\u1e0da-bh\u016bmi under his control. There was a great disturbance amongst the sons of \u015ar\u012bla Advaita. All of Mah\u0101prabhu\u2019s great associates began to disappear. At this opportunity, the propounders of evil doctrines such as the B\u0101ula, Sahajiy\u0101, Darave\u015ba, Sai\u1e45, etc. began to spread their propaganda in different places. There is some special faith in the Names of \u015ar\u012b Caitanya and Nity\u0101nanda amongst the common folk. In order to do their own thing, they began to teach an evil path to these unfortunate j\u012bvas<\/em>. At that time, \u015ar\u012b J\u012bva Gosv\u0101m\u012b was the only Vai\u1e63\u1e47ava \u0101c\u0101rya<\/em>. As a resident of Vraja, he was saddened by the miserable condition of Gau\u1e0da-ma\u1e47\u1e0dala, so he established \u015ar\u012bniv\u0101sa \u0100c\u0101rya Prabhu, \u015ar\u012b Narottama D\u0101sa \u1e6ch\u0101kura Mah\u0101\u015baya and \u015ar\u012b \u015ay\u0101m\u0101nanda Prabhu as the religious reformers of Gau\u1e0da-bh\u016bmi, and they took all the books on siddh\u0101nta<\/em> composed by the Lord\u2019s associates to Gau\u1e0da. By the will of Mah\u0101prabhu, all these books were stolen. Without those books, these missionaries began to propagate pure Vai\u1e63\u1e47ava dharma<\/em> on the strength of their own bhajana <\/em>and system of songs.<\/p>\n At this time, their methods of singing were strongly propagated in their respective provinces. From time to time, the three \u0101c\u0101ryas<\/em> would gather at Khetur\u012b, Vi\u1e63\u1e47upur, Navagr\u0101ma, Gop\u012bvallabhapur, etc., for installing Deities and other activities, and on those occasions they would discuss and plan things with each other. Due to their efforts, the pure dharma<\/em> of the Vai\u1e63\u1e47avas was revived and promulgated more than before. It is no exaggeration to say that these three preachers were the chief ornaments of Gau\u1e0da-bh\u016bmi.<\/p>\n The age of Kali is so terrible that it does not allow good deeds to last long. After the words of the three \u0101c\u0101ryas<\/em> and their follower, \u015ar\u012b Govinda D\u0101sa and other mah\u0101janas <\/em>were neglected, the supreme dharma<\/em> immediately became degraded again. In Gau\u1e0da-bh\u016bmi, discussions on pure bhakti<\/em> became obsolete. Whether they were a Vai\u1e63\u1e47ava, a \u015a\u0101kta or a Karma-k\u0101\u1e47\u1e0d\u012b, whoever they may be, the \u0101c\u0101rya<\/em> families began the work of preachers, as one does in Vai\u1e63\u1e47ava dharma<\/em>. After much difficulty, \u015ar\u012b Gaur\u0101\u1e45ga, Nity\u0101nanda, Advaita and the pure Vai\u1e63\u1e47ava dharma<\/em> introduced by Them gradually became remote. Meanwhile, during such turmoil amongst the \u0101c\u0101ryas<\/em>, again there was disturbance from the B\u0101ulas, Sahajiy\u0101s etc. which gradually increased. The plight of Vai\u1e63\u1e47ava dharma<\/em> is still evident today for these reasons.<\/p>\n Conclusions that are averse to Vai\u1e63\u1e47avas can be observed everywhere in the world. Some follow m\u0101y\u0101v\u0101da<\/em> as Vai\u1e63\u1e47ava dharma<\/em>, some take that pure dharma<\/em> and combine it with m\u0101y\u0101v\u0101da <\/em>and karmav\u0101da<\/em>, and propagate a mutated form of Vai\u1e63\u1e47ava dharma<\/em>. Then there are those who are innocent:<\/p>\n arc\u0101y\u0101m eva haraye ya\u1e25 p\u016bj\u0101m \u015braddhayehate (\u201cOne who faithfully and respectfully worships the Deity, but does respect other devotees or people in general, should be thought of as a neophyte devotee.\u201d – \u015ar\u012bmad Bh\u0101gavatam<\/em> 11.2.47)<\/p>\n According to this rule, such a person is situated as a kani\u1e63\u1e6dha<\/em> Vai\u1e63\u1e47ava. There is a complete lack of intelligent pure Vai\u1e63\u1e47avas. The condition of Gau\u1e0da-ma\u1e47\u1e0dala nowadays is the same as the state of the j\u012bvas<\/em> when there is a lack of proper teachers. We do not have the scope to discuss here all the unfortunate events that have occurred. I will conclude this article by discussing some of the nuances that have arisen regarding the music introduced by the aforesaid three \u0101c\u0101ryas<\/em>.<\/p>\n Nowadays the Gar\u0101\u1e47h\u0101\u1e6di<\/em> k\u012brtana<\/em> has almost become obsolete. Some persons know authentic Manoh\u0101rs\u0101h\u012b k\u012brtana. <\/em>There is no system of adding new words in authentic Manoh\u0101rs\u0101h\u012b k\u012brtana<\/em>. The words that the mah\u0101janas<\/em> have included in their songs make up the song itself. The Manoh\u0101rs\u0101h\u012b<\/em> songs are of a wonderful style. Repeating a verse two or four times evokes bh\u0101va<\/em> in the heart of the listener.<\/p>\n The words of the mah\u0101janas<\/em> are devoid of ras\u0101bh\u0101sa<\/em> (incompatible rasas<\/em>) or conclusions that are in opposition to Vai\u1e63navism. When persons do not know the concepts of rasa<\/em>, or singers add their own words, it only creates trouble, and their words are ras\u0101bh\u0101sa<\/em> and opposed to siddh\u0101nta<\/em>. Vai\u1e63\u1e47ava siddh\u0101nta<\/em> is extremely deep. If pure Vai\u1e63\u1e47ava dharma<\/em> is not discussed for many days in the company of s\u0101dhus<\/em>, it is inevitable that opposing conclusions will ensue. Vai\u1e63\u1e47ava rasa<\/em> is supremely esoteric. The rasa<\/em> in mundane embellishments created by professors, and the rasa<\/em> in the embellishments of transcendental Vai\u1e63\u1e47avas are naturally different. Professional singers do not associate with real s\u0101dhus<\/em>, nor do they understand Vai\u1e63\u1e47ava siddh\u0101nta<\/em> properly. Therefore their words fall like a thunderbolts on a Vai\u1e63\u1e47ava\u2019s ears.<\/p>\n Manoh\u0101rs\u0101h\u012b <\/em>songs are sung by very few people. Listening to their songs is an addition to one\u2019s hearing. After the demise of Ustadj\u012b Vai\u1e63\u1e47ava D\u0101sa, \u015ar\u012b Advaita D\u0101sa of K\u016bliy\u0101 in Navadv\u012bpa, R\u0101ga-bh\u016b\u1e63a\u1e47a Rasika-l\u0101la Datta of L\u0101khuriy\u0101, and \u015ar\u012byuta Varad\u0101-pras\u0101da B\u0101gj\u012b Mah\u0101\u015baya of Ra\u1e45gapur etc. still preserve the Manoh\u0101rs\u0101h\u012b<\/em> songs. Those who experience rasa<\/em> even once after listening to their songs will no longer be interested in listening to the songs of those professional schools that are only interested in money. Nowadays professional business singers only sing the Re\u1e47et\u012b<\/em> style for entertainment. In order to maintain some position amongst the Vai\u1e63\u1e47avas, occasionally they may sing an authentic song. Amongst the professional singers, Ve\u1e47\u012b D\u0101sa has some understanding of rasa<\/em>. Everyone else is just a rasika<\/em> by name only. They have no concept of rasa<\/em> and what they speak is opposed to Vai\u1e63\u1e47ava siddh\u0101nta<\/em>. There is plenty of r\u0101g\u0101, r\u0101gi\u1e47\u012b<\/em>, entertainment etc. in their songs, but not many Vai\u1e63\u1e47avas are seen amongst their listeners. They add so many extra words to their songs, with the intention of satisfying the assembled women and idiots, that it is not known where the mah\u0101jana\u2019s<\/em> words are! The fools applaud, they give money, and that is why they are full of so much false-ego.<\/p>\n Again, there is no consideration about the time of a particular rasa<\/em>. In Vai\u1e63\u1e47ava tattva<\/em>, it is proper that the ni\u015b\u0101nta-l\u012bl\u0101<\/em> (pastimes at the end of the night) should be first. These dishonest entertainers sing about the ni\u015b\u0101nta-l\u012bl\u0101 <\/em>at the end. This is opposed to Vai\u1e63\u1e47ava siddh\u0101nta<\/em>. One other point within this which is terrible. The songs concerning \u015ar\u012b R\u0101dh\u0101-Govinda\u2019s \u015b\u1e5b\u1e45g\u0101ra<\/em>–l\u012bl\u0101<\/em>, and listening to them, are our main worship and eternal bhajana<\/em>. It is improper and offensive to sing about this bhajana-l\u012bl\u0101 <\/em>to the whole public. <\/strong>Apana bhajana kath\u0101, n\u0101 kahibe yath\u0101 tath\u0101<\/em> (\u2018Do not discuss your bhajana<\/em> here and there\u2019 \u2013 \u015ar\u012bla Narottama D\u0101sa Th\u0101kura) \u2013 if one has faith in this \u0101c\u0101rya\u2019s<\/em> words, then it makes it an apar\u0101dha<\/em> to hear songs about rasa<\/em> from the mouths of professional money-grabbing singers. At a previous g\u0101notsava<\/em> (song festival), a Vai\u1e63\u1e47ava mah\u0101tm\u0101<\/em> from Birbhum went to \u015ar\u012b K\u016bliy\u0101 in Navadv\u012bpa to listen to the music. There were songs about sambhoga-rasa<\/em> (R\u0101dh\u0101 and K\u1e5b\u1e63\u1e47a\u2019s union) being sung by all kinds of people. At that, he became appalled and left. Such offences by singers and listeners have become rampant nowadays.<\/p>\n Most people in the world are perverted, they love entertainment and they do whatever they want in the name of real bhajana<\/em>. As long as this evil practice is not stopped, there will be no gravity to \u015b\u1e5b\u1e45g\u0101ra-rasa. <\/em>O devotees! Do no listen to songs on rasa<\/em> in assemblies of self-serving singers and listeners who find pleasure in mundanity. Leave that \u015br\u0101ddha<\/em> assembly far behind!* <\/strong>Please take care that, in the assembly of Vai\u1e63\u1e47avas, this method does not become present. Whenever those of different qualifications are in attendence, one should sing the Holy Name, prayers and songs about d\u0101sya<\/em>–rasa<\/em>. Whenever pure rasika<\/em> Vai\u1e63\u1e47avas are present, one may listen to songs about rasa<\/em>. And at the time of hearing such songs, one will eventually become eligible for one\u2019s siddha<\/em>–svar\u016bpa<\/em> (eternal spiritual form), experiencing the bh\u0101va<\/em> of bhajana<\/em>. If this method of singing becomes obsolete, then so be it \u2013 that is also auspicious for the Vai\u1e63\u1e47avas. The practice of singing songs on rasa<\/em> here and there by those who are greedy for money and wish to enjoy their senses, gives Kali an occupation.<\/p>\n * <\/strong>Translators Note: <\/strong>A <\/span>\u015br\u0101ddha<\/span><\/em> assembly (<\/span>\u015br\u0101ddha-sabh\u0101<\/span><\/em>) is a gathering to honour a dead relative.<\/span><\/p>\n<\/div> Bhakti-siddh\u0101nta-viruddha o Ras\u0101bh\u0101sa (Opposition to the Conclusions of Bhakti and Incompatible Rasa) was first published in Sajjana To\u1e63a\u1e47i Vol.6. Issue 2. In this article Bhaktivinoda \u1e6ch\u0101kura writes about the various styles of rasa-k\u012brtana that orginated with \u015ar\u012bniv\u0101sa \u0100c\u0101rya, Narottama D\u0101sa \u1e6ch\u0101kura and \u015ay\u0101m\u0101nanda Prabhu. He also discusses the so-called ‘rasa-k\u012brtana’ performed by professional k\u012brtaneers.<\/p>\n","protected":false},"author":10,"featured_media":4976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"content-type":"","footnotes":""},"categories":[2],"tags":[2022,2026,560],"_links":{"self":[{"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/posts\/4973"}],"collection":[{"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/comments?post=4973"}],"version-history":[{"count":4,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/posts\/4973\/revisions"}],"predecessor-version":[{"id":10625,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/posts\/4973\/revisions\/10625"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/media\/4976"}],"wp:attachment":[{"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/media?parent=4973"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/categories?post=4973"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bhaktivinodainstitute.org\/wp-json\/wp\/v2\/tags?post=4973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\u015bunite n\u0101 haya prabhura cittera ull\u0101sa<\/em><\/p>\n
\n<\/em>na tad-bhakte\u1e63u c\u0101nye\u1e63u sa bhakta\u1e25 pr\u0101k\u1e5bta\u1e25 sm\u1e5bta\u1e25<\/em><\/p>\n(‘Bhakti-siddh\u0101nta-viruddha o Ras\u0101bh\u0101sa – Opposition to the Conclusions of Bhakti and Incompatible Rasa’ by \u015ar\u012bla Bhaktivinoda \u1e6ch\u0101kura was first published in Sajjana To\u1e63a\u1e47i Vol.6. Issue 2 in 1894, and translated into English by Swami B.V. Giri)<\/em><\/h5>\n<\/div><\/div><\/div>
Related Articles:<\/h3><\/div>
\n
Further Reading:<\/h3><\/div>
\n