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Närada became the king of the munis or sages and the best of
Vaishnava devotees. A blazing sun of transcendental knowledge and a
pure devotee very dear to Me, Närada always fixed his mind on Me.
Text 21
One day, as he was traveling where he wished, seeing many different
worlds, and singing many songs, Närada came to the place named
Ilävåta-varña.
Text 22
O beloved, in that place is a dark jambu-juice river that produces gold
named Jambünada river.
Text 23
In that place the yogé Närada saw the city Veda-nagara, which was
filled with bejewelled palaces and with many divine men and women.
Texts 24 and 25
There he saw the men and women were all deformed. Some had no
feet, some no ankles, some no knees, some no legs, some twisted hips,
some emaciated thighs, some disfigured torsos, some loosened teeth,
some hunched shoulders, some bowed heads, and some no necks.
Text 26
Seeing them all, the sage Närada said: “What is this wonder? You all
have lotus faces, splendid forms, and beautiful garments.
Text 27
“Are you devas? Are You upadevas? Are you great åñis? You sing and
play on your instruments very beautifully.
Text 28
“Why are you deformed? Please tell me." Addressed in this way, all the
people, unhappy at heart, replied.
Text 29
The rägas said: O sage, our bodies have suffered terribly. We will tell
you how these sufferings may be thrown off far away.
Text 30
O sage, we are rägas and we live in the city of Veda-puri. O gentle and
humble one, please hear how we became deformed in this way.
Text 31
Lord Brahma has a son named Närada who, mad with love, sings the
wrong melodies at the wrong times.
Text 32
He is a great sage that wanders the worlds as he wishes. But his singing
the wrong songs at the wrong times, with the wrong notes and without
a proper rhythm, has broken the limbs of our bodies.
Text 33
Hearing these words, Närada became astonished. Humbled, and trying
to smile, he spoke.
Text 34
Çré Närada said: How can one obtain knowledge of the proper times
and proper rhythms of music? Please tell me.
Text 35
The rägas said: Goddess Sarasvaté is the dearest beloved of the
Supreme Personality of Godhead, the master of Vaikuëöhaloka. One
who learns from her will know the proper times and types of music.
Text 36
After hearing their words, Närada, who is very kind to the distressed,
went to Mount Çubhra to obtrain the mercy of Goddess Sarasvaté.
Text 37
O queen of Vraja, for one hundred celestial years Närada performed
austerities. Fasting from food and water, he meditated on Goddess
Sarasvaté.
Text 38
Purified by Närada's austerities, that mountain ceased to be called
Mount Çubhra. Now it is called Mount Närada.
Text 39
When his austerities had come to their end, the sage Närada personally
saw splendid Sarasvaté, the goddess of speech and the beloved of Lord
Viñëu.
Text 40
At once standing up, then bowing down, and then circumambulating
Her with bowed head, Närada, the king of sages, spoke many prayers
gloirifying her beauty, virtues, and sweetness.
Text 41 çré-närada uväca
navärka-bimba-dyutim udgalam-jvalat-
täöaìka-keyüra-kiréöa-kaìkanäm
sphurat-kvaëan-nüpura-räva-raïjitäà
namämi koöéndu-mukhém-sarasvatém
çré-närada uväca-Çré Närada said; navärka-rising sun; bimba-bimba fruit; dyutim-splendor; udgalat-eclipsing;
jvalat-shining; täöaìka-earrings; keyüra-armlets; kiréöa-crown; kaìkanäm- bracelets; sphurat-glistening;
kvaëa-tinkling; nüpura-anklets; räva-sound; ranjitam-charming; namämi-I bow down; koöi-millions; indu-of
moons; mukhém-whose face; sarasvatém-Sarasvaté.
O goddess dressed in white silk which dance like graceful waves as you
walk, O auspicious one, please give me knowledge of music. Make me
the best of musicians. Make me unrivalled among musicians.
Text 45
çré-bhagavän uväca
stotram-jäòyäpaham-divyaà
prätar utthäya yaù paöhet
näradoktam-sarasvatyäù
sa vidyävän bhaved iha
çré-bhagavän uväca-the Supreme Personality of Godhead said; stotram-prayer; jäòya-ignorance; apaham-
removing; divyam-splendid; prätaù-at sunrise; utthäya-rising; yaù-who; paöhet-recites; närada-by Närada;
uktam-spoken; sarasvatyäù-to Sarasvaté; sa-he; vidyävän-a great scholar; bhavet- becomes; iha-in this
world.
Pleased, Goddess Sarasvaté gave to the great saint Närada the véëa
named Devadattä, which was decorated with spiritual sound vibrations.
Texts 47-49
Goddess Sarasvaté, the dearest beloved of the Lord of Vaikuëöha, then
taught Närada the different rägas and rägiëés, and, tat-putraiù, with
their children, deça-kälädi-bhedais with the distinctions of the proper
times and places, täla-mäna-svaraiù, for the different kinds of beats,
musical tempos, rhythms and choruses, the many different melodies
with their five-hundred-and-sixty-million divisions and numberless sub-
divisions of musical scales, their various accompanying dances, mastery
of the different kinds of musical instruments used, and the different
kinds of modulation or changing from one key to another.
In the Çré Brahma-saàhitä, 5.24, Then the goddess of learning Sarasvaté,
the divine consort of the Supreme Lord, said thus to Brahmä who saw
nothing but gloom in all directions, "O Brahmä, this mantra, viz., kléà
kåñëäya govindäya gopé-jana-vallabhäya svähä, will assuredly fulfil your
heart's desire." "O Brahmä, do thou practice spiritual association by
means of this mantra; then all your desires will be fulfilled." In the
purport of SBSSTP for verse 37, änanda-cinmaya-rasa-pratibhävitäbhis
täbhir ya eva nija-rüpatayä kaläbhiù, I worship Govinda, the primeval
Lord, residing in His own realm, Goloka, with Rädhä, the embodiment
of the ecstatic potency possessed of the sixty-four artistic activities -
The sixty-four activities in fine arts and crafts are the following: (1) géta-
art of singing. (2) vädya-art of playing on musical instruments. (3) nåtya-
art of dancing. (4) näöya-art of theatricals. (12) udaka-vädya-art of
making music in or with water. (28) véëä-òamuraka-vädya-art of playing
on lute and small x-shaped drum. (32) näöikäkhyäyikä-darçana-art of
enacting short plays and anecdotes. (57) abhidhäna-koña-cchando-
jïäna- art of the use of lexicography and meters. In music, meter refers
to regularly recurring patterns and accents such as bars and beats.
Unlike rhythm, metric onsets are not necessarily sounded, but are
pauses. (64) vaitäliké vidyä-art of awakening master with music at dawn.
So that’s 9 out of 64.
Srila Prabhupada strictly introduced the morning melody for singing
samsara dava but with time this practice has been lost. I guess that
because they may know this katha or other instructions from the
Acharyas the Gaudiya Math strictly apply the different ragas for the
different times of the day. Morning down to up, evening up to down
like kiba jaya jaya. Harmonizing our kirtans with the appropriate raga-
tempos puts us into ecstasy of associating with transcendental sound.
Text 50
In this way, O Rädhä, Sarasvaté, the goddess of speech and the beloved
of Lord Viñëu, made Närada unrivalled in the circle of musicians. Then
she returned to the spiritual world of Vaikuëöha.
Chapter Twenty-two Çré Näradopäkhyäna The Story of Çré Närada
Text 1
The Supreme Personality of Godhead said: Thinking, “to whom should I
give this beautiful and secret knowledge of music?", Närada went to
the city of the gandharvas.
Text 2
Making the Gandharva named Tumburu his disciple, Närada sang My
glories while playing his vina in a most extraordinary way.
And the for rest of this katha which we are eagerly waiting for, because
Kushktrata Prabhu stopped the 5th Canto translation at this point. I have
searched the web but no luck so far. So, we have yet to learn and hear
about the intriguing katha of how Narada sang for the Lord and made
him melt out of love!