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GURU 9 - DeerGURU 9 - Deer
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Deer –
In 4.29.53, Narada Muni likens the oblivious human being to a deer
grazing with his mate happily in the forest. The stag is absorbed in the
taste of the sweet grass and enchanted by the humming of the bees. He
does not know that in front of him a tiger is crouching, preparing to
spring, and that behind him a hunter stalks with drawn bow.
THE LESSON LEARNT BY THE AVADHUTA BRAHMANA
A devotee should never listen to songs or music promoting material enjoyment.
Rather, he should carefully study the example of the deer, who is bewildered by the
sweet music of the hunter’s horn and is thus captured and killed.
PURPORT
If one becomes attached to the sense gratification of materialistic music and songs,
one will develop all the features of material entanglement. One should hear Bhagavad-
gétä, or the song sung by the Supreme Lord. SB 11.8.18
The instruction from the deer is that just as he becomes confused upon hearing the
song of the hunter’s flute and loses his life, so also does any person who becomes
attracted to mundane music and song uselessly wastes his life.
The Theme – Film songs – enticing, but harmful
SLOKA RECITATION
Let us learn a sloka from the Srimad Bhagavatam which teaches us something
about the above theme.
Before teaching the present verse, the teacher should begin the class by
chanting all the verses of the 24 Gurus with the children all together.
Chant the 9th verse of the 24 Gurus again. Tell the children we will learn the
twenty-fourth verse and also understand it.
Learn the 9th verse. (The teacher recites the sloka line by line and makes the
children repeat and memorize the sloka)
kñudraà caraà sumanasäà çaraëe mithitvä
raktaà ñaòaìghri-gaëa-sämasu lubdha-karëam
agre våkän asu-tåpo ‘vigaëayya yäntaà
påñöhe mågaà mågaya lubdhaka-bäëa-bhinnam
1/2 60 mins 120 mins
`
Let us learn a sloka from the Srimad Bhagavatam which teaches us something
about the above theme.
Before teaching the present verse, the teacher should begin the class by
chanting all the verses of the 24 Gurus with the children all together.chanting all the verses of the 24 Gurus with the children all together.
Chant the 9th verse of the 24 Gurus again. Tell the children we will learn the
Learn the 9th verse. (The teacher recites the sloka line by line and makes the
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SYNONYMS
kñudram—on grass; caram—grazing; sumanasäm—of a beautiful flower garden;
çaraëe—under the protection; mithitvä—being united with a woman; raktam—
attached; ñaö-aìghri—of bumblebees; gaëa—of groups; sämasu—to the singing;
lubdha-karëam—whose ear is attracted; agre—in front; våkän—tigers; asu-tåpaù—
who live at the cost of another’s life; avigaëayya—neglecting; yäntam—moving;
påñöhe—behind; mågam—the deer; mågaya—search out; lubdhaka—of a hunter;
bäëa—by the arrows; bhinnam—liable to be pierced.
TRANSLATION
My dear King, please search out that deer who is engaged in eating grass in a very
nice flower garden along with his wife. That deer is very much attached to his
business, and he is enjoying the sweet singing of the bumblebees in his garden. Just
try to understand his position. He is unaware that before him is a tiger, which is
accustomed to living at the cost of another’s flesh. Behind the deer is a hunter, who
is threatening to pierce him with sharp arrows. Thus the deer’s death is imminent.
LESSONS FROM GURU - CET - GD
1. Music means Culture
2. Spiritual music is Eternal and lasting for centuries – mundane music has to be
newer and newer
3. Music may be a Trap of maya to take you away from Krsna
4. Music as a tool to Grow personally
5. Devotionally applying music to our lives
The teacher can explain to the children, the lessons that this deer
guru teaches us. The abbreviation “CET-GD” makes it convenient
for us to remember what the guru wants to teach us.
The teacher can write down on the board the below abbreviation
and ask the children to note it down and learn it.
In this session, after explaining the meaning of CET - GD, the teacher will be able
to narrate a maximum of four stories. The remaining stories can be continued in
the next class.
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Facts about the Power of Music
“There is music in everyone,” says Aaron Copland, “otherwise why should
our hearts beat faster when listening to music, our temperature rise, our toes start
tapping and our minds start racing after the music we hear?” Music is a universal
language that can be understood by everyone. It has a great transforming influence
on the character of the listener. No art is more closely associated with the inner
life of man than music, and that is why it has the power to help one discover one ’s
innermost sanctuary. Music has a soothing effect on human nerve and the power to
offset the tensions of life. It is a balm for the human spirit.
Music means culture
All the aspects of spirituality we learn are through music. Every scripture is basically
composed of slokas, which are to be sung in a particular meter or tune. For example
the Ramayana, Srimad Bhagavatam (Song of God), Srimad Bhagvatam and all the
acarya’s songs are nothing but music.
All ways to speak to God through prayers is music. All the prayers that we can
chant for example the samsara prayers, the narasinga prayers, etc are all performed
through music.
Did you know?
- From birth to death you are manipulated by music.
- A lullaby puts you to sleep when you are a child.
- Programmed music in departmental stores encourages you to buy more.
- In restaurants it makes you eat faster and get out.
- In banks, it gives you a feeling of cheerfulness and confidence.
- In factories, it makes you produce more.
- In hospitals, it makes you well faster.
- In sports meets, it inspires you to try harder.
- At study and work, it stimulates you for better results.
- In advertisements, it creates in you unnecessary wants.
- In banks, it gives you a feeling of cheerfulness and confidence.
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This Välméki Muni was a dacoit, a
plunderer. He used to plunder
innocentmenontheroad,killthem
and take everything. That was his
business. But by chance, he was
associated with Närada Muni, and
he rectified him. How did Narada Muni
rectify him? He was given this mantra,
“Räma.” He could not chant it. Then he
was advised to chant just the opposite,
mära. Mära means dead body. So mära
mära mära. Three mära means one
“Räma” is there. So in this way he
was initiated and he became a great
sage. For sixty thousands of years
he meditated simply on “Räma,
Räma, Räma, Räma, Räma, Räma.” And
when he was liberated, he wrote this
Rämäyaëa. The names of the Lord are so
musical to the ear.
STORY 1 - VALMIKI
plunderer. He used to plunder
innocentmenontheroad,killthem
and take everything. That was his
business. But by chance, he was
associated with Närada Muni, and
clean. Seeing this Lord Rama declared
the ragi to be the king of the grains.
Therefore from Raghava the ragi was
derived. Of course Rama did not neglect
the rice, for coronation of a king you
need to perform abhisheka with rice,
since rice has the place of making things
auspicious.
This pastime is actually composed in the
form of a beautiful song by Purandara
das. As soon as he heard this pastime
he naturally composed
the song depicting this
pastime. So the culture
was full of music.
Ragi and rice had an
argument. Rice was saying
he was better since he is
used by the opulent and
rich people. Ragi being
the food of the poor is never preferred
in opulent places.
The complaint went eventually to Lord
Rama, Rama asked both of them to be
arrested. He said we will wait till six
months to find out who is superior.
Both grains were kept underneath the
ground, after six months when they
removed the grains, they saw the rice
was rotten, but ragi remained fresh, and
STORY 3 - RAGI AND RICE
das. As soon as he heard this pastime
STORY 2 - VALMIKI
Valmiki one day while in
the forest watches a hunter,
shooting an arrow at the
croncha bird. When the arrow
pierces the body of the bird, Valmiki is
agonized and out of his lamentation, he
spells out a curse, which comes out in
the form of a sloka or a verse. Thus we
see that such was the power of vedic
culture where even a curse is spoken in
the form of a verse and
when he starts lamenting
Narada Muni appears and
tells him that he need not
lament for this incident
as it was ordained by the
Lord. Now that the verse has been spoken
which was so poetic it would form the
basis of his writing the epic Ramayana as
a similar poetic composition.
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Tukaram Abhangas
Why he sang certain abhangas – tell the situation, which made him compose it.
Abhanga 1
Vriksha valli aamha soyri vanchare. Pakshihi susvare alhaviti..1..
Tene sukhe ruche ekantacha vas. Nahi gundosh anga yeta..2..
Aakasha mandapa prithivi aasan. Rame tethe man krida kari..3..
Katha kamandalu dehupchara. Janvito vaara avsaru..4..
Hari katha bhojana paravadi vistara karoni prakara sevu ruci 5…
Tuka mhane hoya manasi samvad ! apulaci vada apanasi 6.
The different types of trees and creepers, the animals in the forests, the birds singing
sweetly are my relatives. By the bliss of this atmosphere seclusion has become very
dear to us. There is no credit to fault that comes our way here. The sky is the roof
and the earth the seat (asana) to sit on. Thus wherever our mind finds pleasure we
will allow it to play there. The paraphernalia to protect our body is the blanket and
the kamandalu and to know the time we take help of the breeze. At this place, our
meal is Hari katha and sitting in a row we will have dialogue with our own mind and
thus we discuss with ourselves.
This abhanga was composed by Tukaram maharaj when he was chastised by his wife
for not working to earn so that he could feed his children. At that time he decided to
look for a job. So a landlord who had a farm, which was being cultivated, and crops
were bearing fruits but he needed someone who would sit there and prevent the
animals and birds from destroying the harvest. This job he entrusted to Tukaram.
He used to sit there and sing this song there much to the delight of all the workers.
This is his vision to see everything in the nature related to him as spirit souls serving
Krishna in their own capacities.
Abhanga 2
Sada majhe dola jado tujhi murti. Rakhumaichya pati soyriya..1..
Goda tujhe rup god tujhe nam. Dei maj prem sarva kal..2..
Vitho mauliye hachi var dei. Sanchroni rahi hradayamaji..3..
Tuka mhane kahi na mage aanik. Tujhe payi sukh sarva aahe..4..
O dear Lord, husband of Srimati Rukmini devi, please let my eyes be always fixed
on your beautiful form. Your name and form are very sweet and I pray that let there
be love for them in my heart. O Lord Vitthala ! O Mother ! Please benedict me that
you may eternally remain within my heart. Tukaram Maharaj says, “ I do not wish
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for any other benediction, for all happiness lies at your lotus feet.”
This is his prayers that let me be absorbed in thoughts of you.
Abhanga 3
Vitthala giti gava vitthala citti dhyava
Vitthala ubha pahava vitevari
Anathanca bandhu vithhala krpasindhu
Todi bhavabandhu yamapasa
Tochi saranagata vitthala muktidata
Vitthala gunanidhi vithala sarva siddhi
Lagali Samadhi vitthalaname
Vitthalace nama gheta jhale sukha
Godavale mukha tuka mhane
Sing the glories of Lord Vitthala in your songs. Meditate on Lord Vitthala in your
heart see with your own eyes the beautiful form of Lord vitthala standing on a brick.
Lord Vitthala is the shelter of all orphan (conditioned) souls in this world and He
is an ocean of mercy. He is the one who can break the cycle of repeated birth and
death and that of Yamaraj. He awards liberation to those who take shelter of his lotus
feet and is always found in the association of saintly devotees. Lord Vitthala is the
treasure of all wonderful qualities and He is the real perfection to be achieved. I have
achieved complete absorption in His holy name. Tukaram Maharaj says “I am feeling
great ecstacy in chanting His holy name and by doing so my mouth experiences a
sweet taste”.
Spiritual music is eternal and lasting for centuries –
mundane music has to be newer and newer
Mundane music, the characteristics is that as time goes by different music replaces
the older ones. And it seems stale to sing the old ones. So there is always need for
remixing of old songs with new music.
Debate: Which is better film songs or devotional songs?
Divide the class into two groups and each group should present their argument and
the other group counters the previous groups argument and also presents a new
argument of their own.
DEVOTIONAL
SONGS
DEVOTIONAL
SONGS
FILM SONGS
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SLOKA RECITATION
The teacher should begin the class by chanting all the verses of the 24 Gurus
with the children all together.
Chant the 9th verse of the 24 Gurus again.
kñudraà caraà sumanasäà çaraëe mithitvä
raktaà ñaòaìghri-gaëa-sämasu lubdha-karëam
agre våkän asu-tåpo ‘vigaëayya yäntaà
påñöhe mågaà mågaya lubdhaka-bäëa-bhinnam
SYNONYMS
kñudram—on grass; caram—grazing; sumanasäm—of a beautiful flower garden;
çaraëe—under the protection; mithitvä—being united with a woman; raktam—
attached; ñaö-aìghri—of bumblebees; gaëa—of groups; sämasu—to the singing;
lubdha-karëam—whose ear is attracted; agre—in front; våkän—tigers; asu-tåpaù—
who live at the cost of another’s life; avigaëayya—neglecting; yäntam—moving;
påñöhe—behind; mågam—the deer; mågaya—search out; lubdhaka—of a hunter;
bäëa—by the arrows; bhinnam—liable to be pierced.
TRANSLATION
My dear King, please search out that deer who is engaged in eating grass in a very
nice flower garden along with his wife. That deer is very much attached to his
business, and he is enjoying the sweet singing of the bumblebees in his garden. Just
try to understand his position. He is unaware that before him is a tiger, which is
accustomed to living at the cost of another’s flesh. Behind the deer is a hunter, who
is threatening to pierce him with sharp arrows. Thus the deer’s death is imminent.
2/2 60 mins 120 mins
The teacher should begin the class by chanting all the verses of the 24 Gurus
with the children all together.
Chant the 9th verse of the 24 Gurus again.
Research in the last 5 decades, how many film songs have been made
in the Hindi film industry? How many of those film songs and how many people
actually are ready to sing those songs every day first thing in the morning and
actually experience joy?
Analysis:
Devotees sing “Samsara dava …” everyday in the morning and derive the same
satisfaction, if not more.
And also sing the Hare Krsna maha mantra – for centuries.
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MORE LESSONS FROM GURU
Music may be a trap of maya to take you away from Krsna
Mundane music, the characteristics is that as time goes by different music replaces
the older ones. And it seems stale to sing the old ones. So there is always need for
remixing of old songs with new music.
Becoming attracted to
the worldly singing,
dancing and musical
entertainment of
beautiful women,
even the great sage
Åñyaçåìga, the son of
Mågé, fell totally under
their control, just like a pet animal.
Åñyaçåìga, the young son of the sage
Mågé, was intentionally brought up by
his father in an atmosphere of complete
innocence. Mågé Åñi thought that if
his son was never exposed to the sight
of women he would always remain a
perfect brahmacäré. But by chance the
inhabitants of the neighboring kingdom,
who were suffering from a long-term
drought, received divine advice that rain
would return to their kingdom only after
the brähmaëa named Åñyaçåìga stepped
foot in it. Therefore they sent beautiful
women to the hermitage of Mågé to
entice Åñyaçåìga and bring him back
with them. Since Åñyaçåìga had never
even heard about women, he easily fell
for their trap.
The name Åñyaçåìga indicates that the
young sage was born with a deerlike
horn growing out of his forehead. If like
the deer a saint becomes attracted to
sweet musical sounds promising sense
gratification, then like the deer he is
quickly vanquished.
A thoughtful person should humbly
take instruction from the deer, who is
doomed by attraction to musical sense
gratification.
STORY 5 - STORY OF RSYASRNGA
(STRICT RESTRICTION/SUPPRESSION CANNOT PROTECT FROM TRAP)
STORY 6
Although Viçvämitra Muni was
engaged in practicing mystic
yoga with closed eyes, his
transcendental meditation was
broken when he heard the tinkling of
bangles on the hands of Menakä.
In this way, Viçvämitra Muni
became a victim of Menakä and
fathered a child who is universally
celebrated as Çakuntalä.
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and services, and the Apsaräs and
Gandharvas were dancing and singing
with very sweet musical instruments.
Over Indra’s head was a white umbrella
as effulgent as the full moon. Fanned by
yak-tail whisks and served with
all the paraphernalia of a great
king, Indra was sitting with his
wife, Çacédevé, who occupied
half the throne, when the great
sage Båhaspati appeared in that
assembly. Båhaspati, the best
of the sages, was the spiritual
master of Indra and the demigods and
was respected by the demigods and
demons alike. Nevertheless, although
Indra saw his spiritual master before
him, he did not rise from his own seat or
offer a seat to his spiritual master, nor did
Indra offer him a respectful swelcome.
Indra did nothing to show him respect.
Indra hearing mundane film music
led him to disrespect Brhaspati and
thus due to disrespect he was cursed
(Material enjoyment blinds one’s
spiritual vision.)
Once upon a time, the King
of heaven, Indra, being
extremely proud because
of his great opulence of the
three worlds, transgressed
the law of Vedic etiquette.
Seated on his throne, he
was surrounded by the Maruts, Vasus,
Rudras, Ädityas, Åbhus, Viçvadevas,
Sädhyas, Açviné-kumäras, Siddhas,
Cäraëas and Gandharvas and by great
saintly persons. Also surrounding him
weretheVidyädharas,Apsaräs,Kinnaras,
Patagas [birds] and Uragas [snakes]. All
of them were offering Indra their respects
STORY 7
Elvis Presley was a big musician
of his time. He would drive people
mad with his singing. When people
would hear him, they would literally
faint. He was literally worshipped
as a demigod. This madness to hearing
mundane music made people insane.
When he would come on stage
people would go mad. Such was
the madness that he would actually
pass urine on the audience and
people would faint on receiving
a drop of it. People lost sanity to
differentiate what is good and bad.
STORY 8 - ELVIS PRESLEY
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If this kind of music is detested by even
wild boars, what kind of human being
would be attracted to this?
Once a westerner went to a village in
Bihar. In the middle of the night, he was
walking in a field and suddenly he heard
a loud blasting music being played in
some part of the field. He quickly walked
to that place to find out if there is a party
going on in the middle of the village. But
to his surprise there was no one except a
farmer who was sitting on a stack of hay
to guard the field and he was playing the
music loudly. The westerner asked, full
of surprise, that why he in the middle
of the field was playing rock music.
The farmer answered that, “This music
is good, because hearing this blasting
music, wild boars don’t come to this
area. That’s why we play this music.”
STORY 9 - VILLAGE IN BIHAR
Music as a tool to grow personally take you away from Krsna
(a) Refineness in sound – Refineness indicates subtlety. It indicates cultural presence.
(b) Taste for meaning and not just sound – Music is not meant to hear some sound
created in a pleasing manner. But it should be meaningful sound created in a pleasing
manner. Music without meaning is practically like the sound made by animals. And
it can be used to drive away animals.
(c) Music that satisfies the soul and not the ears –
On Nov. 18, 1995,
Itzhak Perlman, the
violinist, came on stage
to give a concert at
Avery Fisher Hall at
Lincoln Center in New
York City. If you have ever been to a
Perlman concert, you know that getting
on stage is no small achievement for
him. He was stricken with polio as a
child, and so he has braces on both legs
and walks with the aid of two crutches.
To see him walk across the stage one
step at a time, painfully and slowly, is
an awesome sight. He walks painfully,
yet majestically, until he reaches his
chair. Then he sits down, slowly, puts
his crutches on the floor, undoes the
clasps on his legs, tucks one foot back
and extends the other foot forward.
Then he bends down and picks up the
violin, puts it under his chin, nods to
the conductor and proceeds to play. By
now, the audience is used to this ritual.
STORY 10 - LAME MAN PLAYING VIOLIN
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They sit quietly while he makes his way
across the stage to his chair. They remain
reverently silent while he undoes the
clasps on his legs. They wait until he is
ready to play. But this time, something
went wrong. Just as he finished the first
few bars, one of the strings on his violin
broke. You could hear it snap - it went
off like gunfire across
the room. There was
no mistaking what that
sound meant. There was
no mistaking what he had
to do. We figured that he
would have to get up, put on the clasps
again, pick up the crutches and limp
his way off stage - to either find another
violin or else find another string for this
one. But he didn’t. Instead, he waited
a moment, closed his eyes and then
signaled the conductor to begin again.
The orchestra began, and he played from
where he had left off. And he played
with such passion and such power and
such purity, as they had never heard
before. Of course, anyone knows that it
is impossible to play a symphonic work
with just three strings. I know that, and
you know that, but that night Itzhak
Perlman refused to know that. You
could see him modulating, changing,
re-composing the piece in his head. At
one point, it sounded like he was de-
tuning the strings to get new sounds
from them that they had never made
before. When he finished, there was an
awesome silence in the room. And then
people rose and cheered. There was
an extraordinary outburst of applause
from every corner of the auditorium.
We were all on our feet, screaming and
cheering, doing everything we could to
show how much we appreciated what he
had done. He smiled, wiped the sweat
from this brow, raised his
bow to quiet us, and then
he said - not boastfully,
but in a quiet, pensive,
reverent tone - “You know,
sometimes it is the artist’s
task to find out how much music you
can still make with what you have left.”
What a powerful line that is. It has
stayed in my mind ever since I heard
it. And who knows? Perhaps that is the
definition of life - not just for artists
but for all of us. Here is a man who
has prepared all his life to make music
on a violin of four strings, who, all of
a sudden, in the middle of a concert,
finds himself with only three strings; so
he makes music with three strings, and
the music he made that night with just
three strings was more beautiful, more
sacred, more memorable, than any that
he had ever made before, when he had
four strings. So, perhaps our task in this
shaky, fast-changing, bewildering world
in which we live is to make music, at
first with all that we have, and then,
when that is no longer possible, to make
music with what we have left.
(d) Music is tool to motivate and inspire people – E.g. Malls music – play a kind of
music to encourage people to buy.
Freedom fighters hear a kind of music that keeps them inspired to surrender their
lives to their country.
Plant which have soothing music kept near it – grows nicely
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(e) Music is a nice alternative to other distractions like TV which are actually harmful
to the individual. One should be trained in musical instruments rather than seeing
TV. One gets the opportunity to use hands and act instead of becoming couch
potatoes.
Devotionally applying music to our lives
Dovetailing propensity in Krishna Consciousness
of his feathers and with tears of love in
his eyes offered his prostrated obeisance
to Krsna and said this is the only thing
we have. We are just peacocks. The only
thing we have of any value to give you is
our peacock feather. What is a peacock
feather worth in the market place.
The demigods are offering Krsna the
most beautiful jewels, diamonds, gold,
emaralds, lapis lazuli, all these jewels
that don’t even exist in this world.
What all the peacocks could offer, was
just simple feather. But because it was
offered with intimate spontaneous love,
Krsna took that peacock feather and
placed it on top of his head on top of his
little crown and kept it there forever.
He is taking the love of the peacock
and putting on top of his
head - the highest place of
his body. In a certain way
He is taking the feet of the peacock and
keeping always on his head to show his
subordination to the love of His devotee.
The peacock feather represents so many
things but that is one of the things it
represents. How Krsna is subordinate to
the love of His devotee. How he keeps
the offering of His love on top of His
head and He is under that subordinate
to that.
Once some peacocks
in Vrindavan were
dancing only for the
purpose of Krsna’s
pleasure. They were opening their tails
and their plumes and manifesting such
brilliant colors.
What was Krsna’s response? He is not
saying, “I am pleased.” He wants to
serve them and he begins to dance only
for the pleasure of the peacocks. He was
dancing like the peacocks. They were
thinking, “Krsna is one of us.” And they
began singing and dancing and dancing
and dancing. And while dancing he is
holding his flute in his hands. His flute
who is the servant of the servant, his
own diving energy, and he is pleased
to see the peacocks in such ecstasy. He
just couldn’t control himself
and the flute started playing
by himself. Beautiful sweet
melodies are emanating
from the flute in Krsna’s hands. Krsna is
looking at the flute amazed.
And soon the other animals, the deers
and everyone else from Govardhan Hill
begantojointhedancetothesweetsound
of Krsna’s flute, which spontaneously
began playing in his hand. And then
the king of the peacocks took the best
STORY 7
pleasure. They were opening their tails
He is taking the love of the peacock
head - the highest place of
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105
Exmaple 1
Origin of creation – 7th note of Krsna’s flute
Krsna taught the Vedic hymns to Brahma by just playing the
seventh note of his flute. Just by playing the seventh note,
Brahma got all knowledge of creation. One note on Krsna’s flute
has all the knowledge needed to create this entire creation. This
is the actual sastric reference for the Big Bang Theory. The whole
creation started from that hole which is Krsna’s flute.
Swaroop Damodar would sing the exact melodies to the Lord depending
on the mood in which the Lord was.
Find out which songs were sung by Swaroop Damodar or Ramananda Raya or
Mukunda Dutta in the following moods and following times of the day and also
which raga to sing that song:
[if this is tough – may be the teacher can mention the mood and the song to be sung
for that mood and if time permits sing one or 2 songs]
1. Prayerful mood
2. Esctatic mood
3. Mood of separation
4. Mood of sadness
5. While eating
6. While resting
7. While bhoga is being offered
8. Going to meet His beloved
Conclusion
A brief recap of the guru.
HOW IS IT RELEVANT IN MY LIFE?
Sound vibration is a powerful medium in the material world. Big world wars have
been created just by the powerful sound vibration of certain people. For example,
Hitler just by his powerful speeches could get the support of the entire German
nation.
Therefore we should be careful in differentiating what we are listening to. We should
not think that what if I hear some good film song for some time. I am not breaking
regulative principles. I am just giving some pleasure to my ears. What is wrong?
No actually what happens is that when sound vibrations enter the ear, they cause a
GURU 9 - Deer
106
GURU 9 - Deer
deep impression in our minds and lives a lasting impression. Therefore we should
be careful which vibrations enter our ears.
That is why it is said in the scriptures that we should not even hear the blaspheme of
a vaishnava. Because there is a danger that our mind might actually start believing
it and we will offend the devotee.
Field Activity
Visit to a recording studio for seeing how audio recording is done.

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Guru09 13 15

  • 1. GURU 9 - DeerGURU 9 - Deer 93 Deer – In 4.29.53, Narada Muni likens the oblivious human being to a deer grazing with his mate happily in the forest. The stag is absorbed in the taste of the sweet grass and enchanted by the humming of the bees. He does not know that in front of him a tiger is crouching, preparing to spring, and that behind him a hunter stalks with drawn bow. THE LESSON LEARNT BY THE AVADHUTA BRAHMANA A devotee should never listen to songs or music promoting material enjoyment. Rather, he should carefully study the example of the deer, who is bewildered by the sweet music of the hunter’s horn and is thus captured and killed. PURPORT If one becomes attached to the sense gratification of materialistic music and songs, one will develop all the features of material entanglement. One should hear Bhagavad- gétä, or the song sung by the Supreme Lord. SB 11.8.18 The instruction from the deer is that just as he becomes confused upon hearing the song of the hunter’s flute and loses his life, so also does any person who becomes attracted to mundane music and song uselessly wastes his life. The Theme – Film songs – enticing, but harmful SLOKA RECITATION Let us learn a sloka from the Srimad Bhagavatam which teaches us something about the above theme. Before teaching the present verse, the teacher should begin the class by chanting all the verses of the 24 Gurus with the children all together. Chant the 9th verse of the 24 Gurus again. Tell the children we will learn the twenty-fourth verse and also understand it. Learn the 9th verse. (The teacher recites the sloka line by line and makes the children repeat and memorize the sloka) kñudraà caraà sumanasäà çaraëe mithitvä raktaà ñaòaìghri-gaëa-sämasu lubdha-karëam agre våkän asu-tåpo ‘vigaëayya yäntaà påñöhe mågaà mågaya lubdhaka-bäëa-bhinnam 1/2 60 mins 120 mins ` Let us learn a sloka from the Srimad Bhagavatam which teaches us something about the above theme. Before teaching the present verse, the teacher should begin the class by chanting all the verses of the 24 Gurus with the children all together.chanting all the verses of the 24 Gurus with the children all together. Chant the 9th verse of the 24 Gurus again. Tell the children we will learn the Learn the 9th verse. (The teacher recites the sloka line by line and makes the GURU 9 - Deer
  • 2. 94 GURU 9 - Deer SYNONYMS kñudram—on grass; caram—grazing; sumanasäm—of a beautiful flower garden; çaraëe—under the protection; mithitvä—being united with a woman; raktam— attached; ñaö-aìghri—of bumblebees; gaëa—of groups; sämasu—to the singing; lubdha-karëam—whose ear is attracted; agre—in front; våkän—tigers; asu-tåpaù— who live at the cost of another’s life; avigaëayya—neglecting; yäntam—moving; påñöhe—behind; mågam—the deer; mågaya—search out; lubdhaka—of a hunter; bäëa—by the arrows; bhinnam—liable to be pierced. TRANSLATION My dear King, please search out that deer who is engaged in eating grass in a very nice flower garden along with his wife. That deer is very much attached to his business, and he is enjoying the sweet singing of the bumblebees in his garden. Just try to understand his position. He is unaware that before him is a tiger, which is accustomed to living at the cost of another’s flesh. Behind the deer is a hunter, who is threatening to pierce him with sharp arrows. Thus the deer’s death is imminent. LESSONS FROM GURU - CET - GD 1. Music means Culture 2. Spiritual music is Eternal and lasting for centuries – mundane music has to be newer and newer 3. Music may be a Trap of maya to take you away from Krsna 4. Music as a tool to Grow personally 5. Devotionally applying music to our lives The teacher can explain to the children, the lessons that this deer guru teaches us. The abbreviation “CET-GD” makes it convenient for us to remember what the guru wants to teach us. The teacher can write down on the board the below abbreviation and ask the children to note it down and learn it. In this session, after explaining the meaning of CET - GD, the teacher will be able to narrate a maximum of four stories. The remaining stories can be continued in the next class.
  • 3. GURU 9 - DeerGURU 9 - Deer 95 GURU 9 - Deer Facts about the Power of Music “There is music in everyone,” says Aaron Copland, “otherwise why should our hearts beat faster when listening to music, our temperature rise, our toes start tapping and our minds start racing after the music we hear?” Music is a universal language that can be understood by everyone. It has a great transforming influence on the character of the listener. No art is more closely associated with the inner life of man than music, and that is why it has the power to help one discover one ’s innermost sanctuary. Music has a soothing effect on human nerve and the power to offset the tensions of life. It is a balm for the human spirit. Music means culture All the aspects of spirituality we learn are through music. Every scripture is basically composed of slokas, which are to be sung in a particular meter or tune. For example the Ramayana, Srimad Bhagavatam (Song of God), Srimad Bhagvatam and all the acarya’s songs are nothing but music. All ways to speak to God through prayers is music. All the prayers that we can chant for example the samsara prayers, the narasinga prayers, etc are all performed through music. Did you know? - From birth to death you are manipulated by music. - A lullaby puts you to sleep when you are a child. - Programmed music in departmental stores encourages you to buy more. - In restaurants it makes you eat faster and get out. - In banks, it gives you a feeling of cheerfulness and confidence. - In factories, it makes you produce more. - In hospitals, it makes you well faster. - In sports meets, it inspires you to try harder. - At study and work, it stimulates you for better results. - In advertisements, it creates in you unnecessary wants. - In banks, it gives you a feeling of cheerfulness and confidence.
  • 4. 96 GURU 9 - Deer This Välméki Muni was a dacoit, a plunderer. He used to plunder innocentmenontheroad,killthem and take everything. That was his business. But by chance, he was associated with Närada Muni, and he rectified him. How did Narada Muni rectify him? He was given this mantra, “Räma.” He could not chant it. Then he was advised to chant just the opposite, mära. Mära means dead body. So mära mära mära. Three mära means one “Räma” is there. So in this way he was initiated and he became a great sage. For sixty thousands of years he meditated simply on “Räma, Räma, Räma, Räma, Räma, Räma.” And when he was liberated, he wrote this Rämäyaëa. The names of the Lord are so musical to the ear. STORY 1 - VALMIKI plunderer. He used to plunder innocentmenontheroad,killthem and take everything. That was his business. But by chance, he was associated with Närada Muni, and clean. Seeing this Lord Rama declared the ragi to be the king of the grains. Therefore from Raghava the ragi was derived. Of course Rama did not neglect the rice, for coronation of a king you need to perform abhisheka with rice, since rice has the place of making things auspicious. This pastime is actually composed in the form of a beautiful song by Purandara das. As soon as he heard this pastime he naturally composed the song depicting this pastime. So the culture was full of music. Ragi and rice had an argument. Rice was saying he was better since he is used by the opulent and rich people. Ragi being the food of the poor is never preferred in opulent places. The complaint went eventually to Lord Rama, Rama asked both of them to be arrested. He said we will wait till six months to find out who is superior. Both grains were kept underneath the ground, after six months when they removed the grains, they saw the rice was rotten, but ragi remained fresh, and STORY 3 - RAGI AND RICE das. As soon as he heard this pastime STORY 2 - VALMIKI Valmiki one day while in the forest watches a hunter, shooting an arrow at the croncha bird. When the arrow pierces the body of the bird, Valmiki is agonized and out of his lamentation, he spells out a curse, which comes out in the form of a sloka or a verse. Thus we see that such was the power of vedic culture where even a curse is spoken in the form of a verse and when he starts lamenting Narada Muni appears and tells him that he need not lament for this incident as it was ordained by the Lord. Now that the verse has been spoken which was so poetic it would form the basis of his writing the epic Ramayana as a similar poetic composition.
  • 5. GURU 9 - DeerGURU 9 - Deer 97 Tukaram Abhangas Why he sang certain abhangas – tell the situation, which made him compose it. Abhanga 1 Vriksha valli aamha soyri vanchare. Pakshihi susvare alhaviti..1.. Tene sukhe ruche ekantacha vas. Nahi gundosh anga yeta..2.. Aakasha mandapa prithivi aasan. Rame tethe man krida kari..3.. Katha kamandalu dehupchara. Janvito vaara avsaru..4.. Hari katha bhojana paravadi vistara karoni prakara sevu ruci 5… Tuka mhane hoya manasi samvad ! apulaci vada apanasi 6. The different types of trees and creepers, the animals in the forests, the birds singing sweetly are my relatives. By the bliss of this atmosphere seclusion has become very dear to us. There is no credit to fault that comes our way here. The sky is the roof and the earth the seat (asana) to sit on. Thus wherever our mind finds pleasure we will allow it to play there. The paraphernalia to protect our body is the blanket and the kamandalu and to know the time we take help of the breeze. At this place, our meal is Hari katha and sitting in a row we will have dialogue with our own mind and thus we discuss with ourselves. This abhanga was composed by Tukaram maharaj when he was chastised by his wife for not working to earn so that he could feed his children. At that time he decided to look for a job. So a landlord who had a farm, which was being cultivated, and crops were bearing fruits but he needed someone who would sit there and prevent the animals and birds from destroying the harvest. This job he entrusted to Tukaram. He used to sit there and sing this song there much to the delight of all the workers. This is his vision to see everything in the nature related to him as spirit souls serving Krishna in their own capacities. Abhanga 2 Sada majhe dola jado tujhi murti. Rakhumaichya pati soyriya..1.. Goda tujhe rup god tujhe nam. Dei maj prem sarva kal..2.. Vitho mauliye hachi var dei. Sanchroni rahi hradayamaji..3.. Tuka mhane kahi na mage aanik. Tujhe payi sukh sarva aahe..4.. O dear Lord, husband of Srimati Rukmini devi, please let my eyes be always fixed on your beautiful form. Your name and form are very sweet and I pray that let there be love for them in my heart. O Lord Vitthala ! O Mother ! Please benedict me that you may eternally remain within my heart. Tukaram Maharaj says, “ I do not wish GURU 9 - Deer
  • 6. 98 GURU 9 - Deer for any other benediction, for all happiness lies at your lotus feet.” This is his prayers that let me be absorbed in thoughts of you. Abhanga 3 Vitthala giti gava vitthala citti dhyava Vitthala ubha pahava vitevari Anathanca bandhu vithhala krpasindhu Todi bhavabandhu yamapasa Tochi saranagata vitthala muktidata Vitthala gunanidhi vithala sarva siddhi Lagali Samadhi vitthalaname Vitthalace nama gheta jhale sukha Godavale mukha tuka mhane Sing the glories of Lord Vitthala in your songs. Meditate on Lord Vitthala in your heart see with your own eyes the beautiful form of Lord vitthala standing on a brick. Lord Vitthala is the shelter of all orphan (conditioned) souls in this world and He is an ocean of mercy. He is the one who can break the cycle of repeated birth and death and that of Yamaraj. He awards liberation to those who take shelter of his lotus feet and is always found in the association of saintly devotees. Lord Vitthala is the treasure of all wonderful qualities and He is the real perfection to be achieved. I have achieved complete absorption in His holy name. Tukaram Maharaj says “I am feeling great ecstacy in chanting His holy name and by doing so my mouth experiences a sweet taste”. Spiritual music is eternal and lasting for centuries – mundane music has to be newer and newer Mundane music, the characteristics is that as time goes by different music replaces the older ones. And it seems stale to sing the old ones. So there is always need for remixing of old songs with new music. Debate: Which is better film songs or devotional songs? Divide the class into two groups and each group should present their argument and the other group counters the previous groups argument and also presents a new argument of their own. DEVOTIONAL SONGS DEVOTIONAL SONGS FILM SONGS
  • 7. GURU 9 - DeerGURU 9 - Deer 99 SLOKA RECITATION The teacher should begin the class by chanting all the verses of the 24 Gurus with the children all together. Chant the 9th verse of the 24 Gurus again. kñudraà caraà sumanasäà çaraëe mithitvä raktaà ñaòaìghri-gaëa-sämasu lubdha-karëam agre våkän asu-tåpo ‘vigaëayya yäntaà påñöhe mågaà mågaya lubdhaka-bäëa-bhinnam SYNONYMS kñudram—on grass; caram—grazing; sumanasäm—of a beautiful flower garden; çaraëe—under the protection; mithitvä—being united with a woman; raktam— attached; ñaö-aìghri—of bumblebees; gaëa—of groups; sämasu—to the singing; lubdha-karëam—whose ear is attracted; agre—in front; våkän—tigers; asu-tåpaù— who live at the cost of another’s life; avigaëayya—neglecting; yäntam—moving; påñöhe—behind; mågam—the deer; mågaya—search out; lubdhaka—of a hunter; bäëa—by the arrows; bhinnam—liable to be pierced. TRANSLATION My dear King, please search out that deer who is engaged in eating grass in a very nice flower garden along with his wife. That deer is very much attached to his business, and he is enjoying the sweet singing of the bumblebees in his garden. Just try to understand his position. He is unaware that before him is a tiger, which is accustomed to living at the cost of another’s flesh. Behind the deer is a hunter, who is threatening to pierce him with sharp arrows. Thus the deer’s death is imminent. 2/2 60 mins 120 mins The teacher should begin the class by chanting all the verses of the 24 Gurus with the children all together. Chant the 9th verse of the 24 Gurus again. Research in the last 5 decades, how many film songs have been made in the Hindi film industry? How many of those film songs and how many people actually are ready to sing those songs every day first thing in the morning and actually experience joy? Analysis: Devotees sing “Samsara dava …” everyday in the morning and derive the same satisfaction, if not more. And also sing the Hare Krsna maha mantra – for centuries. GURU 9 - Deer
  • 8. 100 GURU 9 - Deer MORE LESSONS FROM GURU Music may be a trap of maya to take you away from Krsna Mundane music, the characteristics is that as time goes by different music replaces the older ones. And it seems stale to sing the old ones. So there is always need for remixing of old songs with new music. Becoming attracted to the worldly singing, dancing and musical entertainment of beautiful women, even the great sage Åñyaçåìga, the son of Mågé, fell totally under their control, just like a pet animal. Åñyaçåìga, the young son of the sage Mågé, was intentionally brought up by his father in an atmosphere of complete innocence. Mågé Åñi thought that if his son was never exposed to the sight of women he would always remain a perfect brahmacäré. But by chance the inhabitants of the neighboring kingdom, who were suffering from a long-term drought, received divine advice that rain would return to their kingdom only after the brähmaëa named Åñyaçåìga stepped foot in it. Therefore they sent beautiful women to the hermitage of Mågé to entice Åñyaçåìga and bring him back with them. Since Åñyaçåìga had never even heard about women, he easily fell for their trap. The name Åñyaçåìga indicates that the young sage was born with a deerlike horn growing out of his forehead. If like the deer a saint becomes attracted to sweet musical sounds promising sense gratification, then like the deer he is quickly vanquished. A thoughtful person should humbly take instruction from the deer, who is doomed by attraction to musical sense gratification. STORY 5 - STORY OF RSYASRNGA (STRICT RESTRICTION/SUPPRESSION CANNOT PROTECT FROM TRAP) STORY 6 Although Viçvämitra Muni was engaged in practicing mystic yoga with closed eyes, his transcendental meditation was broken when he heard the tinkling of bangles on the hands of Menakä. In this way, Viçvämitra Muni became a victim of Menakä and fathered a child who is universally celebrated as Çakuntalä.
  • 9. GURU 9 - DeerGURU 9 - Deer 101 and services, and the Apsaräs and Gandharvas were dancing and singing with very sweet musical instruments. Over Indra’s head was a white umbrella as effulgent as the full moon. Fanned by yak-tail whisks and served with all the paraphernalia of a great king, Indra was sitting with his wife, Çacédevé, who occupied half the throne, when the great sage Båhaspati appeared in that assembly. Båhaspati, the best of the sages, was the spiritual master of Indra and the demigods and was respected by the demigods and demons alike. Nevertheless, although Indra saw his spiritual master before him, he did not rise from his own seat or offer a seat to his spiritual master, nor did Indra offer him a respectful swelcome. Indra did nothing to show him respect. Indra hearing mundane film music led him to disrespect Brhaspati and thus due to disrespect he was cursed (Material enjoyment blinds one’s spiritual vision.) Once upon a time, the King of heaven, Indra, being extremely proud because of his great opulence of the three worlds, transgressed the law of Vedic etiquette. Seated on his throne, he was surrounded by the Maruts, Vasus, Rudras, Ädityas, Åbhus, Viçvadevas, Sädhyas, Açviné-kumäras, Siddhas, Cäraëas and Gandharvas and by great saintly persons. Also surrounding him weretheVidyädharas,Apsaräs,Kinnaras, Patagas [birds] and Uragas [snakes]. All of them were offering Indra their respects STORY 7 Elvis Presley was a big musician of his time. He would drive people mad with his singing. When people would hear him, they would literally faint. He was literally worshipped as a demigod. This madness to hearing mundane music made people insane. When he would come on stage people would go mad. Such was the madness that he would actually pass urine on the audience and people would faint on receiving a drop of it. People lost sanity to differentiate what is good and bad. STORY 8 - ELVIS PRESLEY GURU 9 - Deer
  • 10. 102 GURU 9 - Deer If this kind of music is detested by even wild boars, what kind of human being would be attracted to this? Once a westerner went to a village in Bihar. In the middle of the night, he was walking in a field and suddenly he heard a loud blasting music being played in some part of the field. He quickly walked to that place to find out if there is a party going on in the middle of the village. But to his surprise there was no one except a farmer who was sitting on a stack of hay to guard the field and he was playing the music loudly. The westerner asked, full of surprise, that why he in the middle of the field was playing rock music. The farmer answered that, “This music is good, because hearing this blasting music, wild boars don’t come to this area. That’s why we play this music.” STORY 9 - VILLAGE IN BIHAR Music as a tool to grow personally take you away from Krsna (a) Refineness in sound – Refineness indicates subtlety. It indicates cultural presence. (b) Taste for meaning and not just sound – Music is not meant to hear some sound created in a pleasing manner. But it should be meaningful sound created in a pleasing manner. Music without meaning is practically like the sound made by animals. And it can be used to drive away animals. (c) Music that satisfies the soul and not the ears – On Nov. 18, 1995, Itzhak Perlman, the violinist, came on stage to give a concert at Avery Fisher Hall at Lincoln Center in New York City. If you have ever been to a Perlman concert, you know that getting on stage is no small achievement for him. He was stricken with polio as a child, and so he has braces on both legs and walks with the aid of two crutches. To see him walk across the stage one step at a time, painfully and slowly, is an awesome sight. He walks painfully, yet majestically, until he reaches his chair. Then he sits down, slowly, puts his crutches on the floor, undoes the clasps on his legs, tucks one foot back and extends the other foot forward. Then he bends down and picks up the violin, puts it under his chin, nods to the conductor and proceeds to play. By now, the audience is used to this ritual. STORY 10 - LAME MAN PLAYING VIOLIN
  • 11. GURU 9 - DeerGURU 9 - Deer 103 They sit quietly while he makes his way across the stage to his chair. They remain reverently silent while he undoes the clasps on his legs. They wait until he is ready to play. But this time, something went wrong. Just as he finished the first few bars, one of the strings on his violin broke. You could hear it snap - it went off like gunfire across the room. There was no mistaking what that sound meant. There was no mistaking what he had to do. We figured that he would have to get up, put on the clasps again, pick up the crutches and limp his way off stage - to either find another violin or else find another string for this one. But he didn’t. Instead, he waited a moment, closed his eyes and then signaled the conductor to begin again. The orchestra began, and he played from where he had left off. And he played with such passion and such power and such purity, as they had never heard before. Of course, anyone knows that it is impossible to play a symphonic work with just three strings. I know that, and you know that, but that night Itzhak Perlman refused to know that. You could see him modulating, changing, re-composing the piece in his head. At one point, it sounded like he was de- tuning the strings to get new sounds from them that they had never made before. When he finished, there was an awesome silence in the room. And then people rose and cheered. There was an extraordinary outburst of applause from every corner of the auditorium. We were all on our feet, screaming and cheering, doing everything we could to show how much we appreciated what he had done. He smiled, wiped the sweat from this brow, raised his bow to quiet us, and then he said - not boastfully, but in a quiet, pensive, reverent tone - “You know, sometimes it is the artist’s task to find out how much music you can still make with what you have left.” What a powerful line that is. It has stayed in my mind ever since I heard it. And who knows? Perhaps that is the definition of life - not just for artists but for all of us. Here is a man who has prepared all his life to make music on a violin of four strings, who, all of a sudden, in the middle of a concert, finds himself with only three strings; so he makes music with three strings, and the music he made that night with just three strings was more beautiful, more sacred, more memorable, than any that he had ever made before, when he had four strings. So, perhaps our task in this shaky, fast-changing, bewildering world in which we live is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left. (d) Music is tool to motivate and inspire people – E.g. Malls music – play a kind of music to encourage people to buy. Freedom fighters hear a kind of music that keeps them inspired to surrender their lives to their country. Plant which have soothing music kept near it – grows nicely GURU 9 - Deer
  • 12. 104 GURU 9 - Deer (e) Music is a nice alternative to other distractions like TV which are actually harmful to the individual. One should be trained in musical instruments rather than seeing TV. One gets the opportunity to use hands and act instead of becoming couch potatoes. Devotionally applying music to our lives Dovetailing propensity in Krishna Consciousness of his feathers and with tears of love in his eyes offered his prostrated obeisance to Krsna and said this is the only thing we have. We are just peacocks. The only thing we have of any value to give you is our peacock feather. What is a peacock feather worth in the market place. The demigods are offering Krsna the most beautiful jewels, diamonds, gold, emaralds, lapis lazuli, all these jewels that don’t even exist in this world. What all the peacocks could offer, was just simple feather. But because it was offered with intimate spontaneous love, Krsna took that peacock feather and placed it on top of his head on top of his little crown and kept it there forever. He is taking the love of the peacock and putting on top of his head - the highest place of his body. In a certain way He is taking the feet of the peacock and keeping always on his head to show his subordination to the love of His devotee. The peacock feather represents so many things but that is one of the things it represents. How Krsna is subordinate to the love of His devotee. How he keeps the offering of His love on top of His head and He is under that subordinate to that. Once some peacocks in Vrindavan were dancing only for the purpose of Krsna’s pleasure. They were opening their tails and their plumes and manifesting such brilliant colors. What was Krsna’s response? He is not saying, “I am pleased.” He wants to serve them and he begins to dance only for the pleasure of the peacocks. He was dancing like the peacocks. They were thinking, “Krsna is one of us.” And they began singing and dancing and dancing and dancing. And while dancing he is holding his flute in his hands. His flute who is the servant of the servant, his own diving energy, and he is pleased to see the peacocks in such ecstasy. He just couldn’t control himself and the flute started playing by himself. Beautiful sweet melodies are emanating from the flute in Krsna’s hands. Krsna is looking at the flute amazed. And soon the other animals, the deers and everyone else from Govardhan Hill begantojointhedancetothesweetsound of Krsna’s flute, which spontaneously began playing in his hand. And then the king of the peacocks took the best STORY 7 pleasure. They were opening their tails He is taking the love of the peacock head - the highest place of
  • 13. GURU 9 - DeerGURU 9 - Deer 105 Exmaple 1 Origin of creation – 7th note of Krsna’s flute Krsna taught the Vedic hymns to Brahma by just playing the seventh note of his flute. Just by playing the seventh note, Brahma got all knowledge of creation. One note on Krsna’s flute has all the knowledge needed to create this entire creation. This is the actual sastric reference for the Big Bang Theory. The whole creation started from that hole which is Krsna’s flute. Swaroop Damodar would sing the exact melodies to the Lord depending on the mood in which the Lord was. Find out which songs were sung by Swaroop Damodar or Ramananda Raya or Mukunda Dutta in the following moods and following times of the day and also which raga to sing that song: [if this is tough – may be the teacher can mention the mood and the song to be sung for that mood and if time permits sing one or 2 songs] 1. Prayerful mood 2. Esctatic mood 3. Mood of separation 4. Mood of sadness 5. While eating 6. While resting 7. While bhoga is being offered 8. Going to meet His beloved Conclusion A brief recap of the guru. HOW IS IT RELEVANT IN MY LIFE? Sound vibration is a powerful medium in the material world. Big world wars have been created just by the powerful sound vibration of certain people. For example, Hitler just by his powerful speeches could get the support of the entire German nation. Therefore we should be careful in differentiating what we are listening to. We should not think that what if I hear some good film song for some time. I am not breaking regulative principles. I am just giving some pleasure to my ears. What is wrong? No actually what happens is that when sound vibrations enter the ear, they cause a GURU 9 - Deer
  • 14. 106 GURU 9 - Deer deep impression in our minds and lives a lasting impression. Therefore we should be careful which vibrations enter our ears. That is why it is said in the scriptures that we should not even hear the blaspheme of a vaishnava. Because there is a danger that our mind might actually start believing it and we will offend the devotee. Field Activity Visit to a recording studio for seeing how audio recording is done.