by His Divine Grace A.C. Bhaktivedanta Swami Prabhupāda, Founder and Acharya of the International Society for Krishna Consciousness
The transcendental vibration established by the chanting of Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare/ Hare Rama, Hare Rama, Rama Rama, Hare Hare is the sublime method for reviving our transcendental consciousness. As living spiritual souls, we are all originally Krishna Conscious entities, but due to our association with matter since time immemorial, our consciousness is now adulterated by the material atmosphere. The material atmosphere, in which we are now living, is called maya, or illusion. Maya means “that which is not.” And what is this illusion? The illusion is that we are all trying to be lords of material nature, while actually we are under the grip of her stringent laws. When a servant artificially tries to imitate the all-powerful master, he is said to be in illusion.
George Harrison Interview: Hare Krishna Mantra–There’s Nothing Higher (1982)
This entry is part 3 of 10 in the series The Beatles and Hare Krishna
George: It’s really the same sort of thing as meditation, but I think it has a quicker effect. I mean, even if you put your beads down, you can still say the mantra or sing it without actually keeping track on your beads. One of the main differences between silent meditation and chanting is that silent meditation is rather dependent on concentration, but when you chant, it’s more of a direct connection with God.
The Happening Album: “Krishna Consciousness”
by Hansadutta Das on KRSNA Tunes
This is the first Hare Krishna record album, produced in 1966 by Alan Kallman in New York. Satsvarupa das Gosvami has written about it: First Hare Krsna Albums (posted at bottom). Mr. Kallman, a record producer, and his wife came to see Prabhupada at 26 Second Avenue one evening in 1966, and inspired by the joyous kirtan, suggested that Prabhupada and the devotees make a record. Continue reading →
One of the most used books in our temple room is the songbook. Everyday it seems, I am flipping through the “Songs of the Vaisnava Acaryas”, singing one of the many songs or reciting some of the numerous pranams (prayers) as part of my daily sadhana. The following post is the first 13 pages of songbook, which in my mind is a nice way to start the day and is a good prelude to other devotional service.
Pranams
from the Songs of the Vaisnava Acaryas
SRI GURU PRANAMA
om ajnana-timirandhasya jnananjana-salakaya
caksur unmilitam yena tasmai sri-gurave namah
om-address; ajnana-of ignorance; timira-by the darkness; andhasya-of one who was blinded; jnana-anjana-by the ointment of spiritual knowledge; salakaya-by a medical instrument called a salaka, which is used to apply medical ointment to eyes afflicted with cataracts: caksuh-eyes; unmilitam-were opened; yena-by whom; tasmai-unto him; sri-gurave-unto my spiritual master; namah-obeisances.
I offer my respectful obeisances unto my spiritual master, who has opened my eyes, which were blinded by the darkness of ignorance, with the torchlight of knowledge.
The verses 30 and 32 from the Brahma-samita are sung in the morning Srngara Arati in all ISKCON temples, while the first track of the 1970 album “Radha Krsna Temple” is played. Srila Prabhupada enjoyed this track very much and was so moved that he said that this track will play at all ISKCON temples for the Srngara Arati. As a result, no one ever leads kirtan for this song, as it is played through that track.
Govinda
The Radha Krsna Temple Album
Sung by Yamuna devi
Produced by George Harrison
veṇum—the flute; kvaṇantam—playing; aravinda-dala—(like) lotus petals; āyata—blooming; akṣam—whose eyes; barha—a peacock’s feather; avataṁsam—whose ornament on the head; asita-ambuda—(tinged with the hue of) blue clouds; sundara—beautiful; aṅgam—whose figure; kandarpa—of Cupids; koṭi—millions; kamanīya—charming; viśeṣa—unique; śobham—whose loveliness; govindam—Govinda; ādi-puruṣam—the original person; tam—Him; aham—I; bhajāmi—worship.
I worship Govinda, the primeval Lord, who is adept in playing on His flute, with blooming eyes like lotus petals with head decked with peacock’s feather, with the figure of beauty tinged with the hue of blue clouds, and His unique loveliness charming millions of Cupids.
aṅgāni—the limbs; yasya—of whom; sakala-indriya—of all the organs; vṛtti-manti—possessing the functions; paśyanti—see; pānti—maintain; kalayanti—manifest; ciram—eternally,; jaganti—the universes; ānanda—bliss; cit—truth; maya—full of; sat—substantiality; ujjvala—full of dazzling splendor; vigrahasya—whose form; govindam—Govinda; ādi-puruṣam—the original person; tam—Him; aham—I; bhajāmi—worship.
I worship Govinda, the primeval Lord, whose transcendental form is full of bliss, truth, substantiality and is thus full of the most dazzling splendor. Each of the limbs of that transcendental figure possesses in Himself, the full-fledged functions of all the organs, and eternally sees, maintains and manifests the infinite universes, both spiritual and mundane.
As explained on the cover of the record album, this transcendental vibration– by chanting of Hare Krsna, Hare Krsna, Krsna Krsna, Hare Hare/ Hare Rama, Hare Rama, Rama Rama, Hare Hare– is the sublime method for reviving our Krsna consciousness. As living spiritual souls we are all originally Krsna conscious entities, but due to our asociation with matter since time immemorial, our consciousness is now poluted by material atmosphere. In this polluted concept of life, we are all trying to exploit the resources of material nature, but actually we are becoming more and more entangled in our complexities.
This illusion is called maya, or hard struggle for existence over the stringent laws of material nature. This illusory struggle against the material nature can at once be stopped by revival of our Krsna consciousness.
