Meter

Expressions researched:
"meter" |"meters"

BG Chapters 7 - 12

BG 10.35, Translation and Purport:

Of the hymns in the Sāma Veda I am the Bṛhat-sāma, and of poetry I am the Gāyatrī. Of months I am Mārgaśīrṣa (November-December), and of seasons I am flower-bearing spring.

It has already been explained by the Lord that amongst all the Vedas, He is the Sāma Veda. The Sāma Veda is rich with beautiful songs played by the various demigods. One of these songs is the Bṛhat-sāma, which has an exquisite melody and is sung at midnight.

In Sanskrit, there are definite rules that regulate poetry; rhyme and meter are not written whimsically, as in much modern poetry. Amongst the regulated poetry, the Gāyatrī mantra, which is chanted by the duly qualified brāhmaṇas, is the most prominent. The Gāyatrī mantra is mentioned in the Śrīmad-Bhāgavatam. Because the Gāyatrī mantra is especially meant for God realization, it represents the Supreme Lord. This mantra is meant for spiritually advanced people, and when one attains success in chanting it, he can enter into the transcendental position of the Lord. One must first acquire the qualities of the perfectly situated person, the qualities of goodness according to the laws of material nature, in order to chant the Gāyatrī mantra. The Gāyatrī mantra is very important in Vedic civilization and is considered to be the sound incarnation of Brahman. Brahmā is its initiator, and it is passed down from him in disciplic succession.

The month of November-December is considered the best of all months because in India grains are collected from the fields at this time and the people become very happy. Of course spring is a season universally liked because it is neither too hot nor too cold and the flowers and trees blossom and flourish. In spring there are also many ceremonies commemorating Kṛṣṇa's pastimes; therefore this is considered to be the most joyful of all seasons, and it is the representative of the Supreme Lord, Kṛṣṇa.

SB Canto 1

SB 1.4.13, Purport:

The difference between the Vedas and the Purāṇas is like that between the brāhmaṇas and the parivrājakas. The brāhmaṇas are meant to administer some fruitive sacrifices mentioned in the Vedas, but the parivrājakācāryas, or learned preachers, are meant to disseminate transcendental knowledge to one and all. As such, the parivrājakācāryas are not always expert in pronouncing the Vedic mantras, which are practiced systematically by accent and meter by the brāhmaṇas who are meant for administering Vedic rites. Yet it should not be considered that the brāhmaṇas are more important than the itinerant preachers. They are one and different simultaneously because they are meant for the same end, in different ways.

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 should also properly use the sound meters, namely ṣa, ṛ, gā, mā, etc., in the service of the Lord by constantly singing the glories of the Lord, as confirmed in the Bhagavad-gītā.

SB Canto 5

SB 5.21.15, Translation:

My dear King, the carriage of the sun-god's chariot is estimated to be 3,600,000 yojanas (28,800,000 miles) long and one-fourth as wide (900,000 yojanas, or 7,200,000 miles). The chariot's horses, which are named after Gāyatrī and other Vedic meters, are harnessed by Aruṇadeva to a yoke that is also 900,000 yojanas wide. This chariot continuously carries the sun-god.

SB 5.21.15, Purport:

In the Viṣṇu Purāṇa it is stated:

gāyatrī ca bṛhaty uṣṇig

jagatī triṣṭup eva ca

anuṣṭup paṅktir ity uktāś

chandāṁsi harayo raveḥ

The seven horses yoked to the sun-god's chariot are named Gāyatrī, Bṛhati, Uṣṇik, Jagatī, Triṣṭup, Anuṣṭup and Paṅkti. These names of various Vedic meters designate the seven horses that carry the sun-god's chariot.

SB Cantos 10.14 to 12 (Translations Only)

SB 10.42.36, Translation:

While the musical instruments loudly played in the rhythmic meters appropriate for wrestling matches, the lavishly ornamented wrestlers proudly entered the arena with their coaches and sat down.

SB 11.16.12, Translation:

Among the Vedas I am their original teacher, Lord Brahmā, and of all mantras I am the three-lettered oṁkāra. Among letters I am the first letter, "a," and among sacred meters I am the Gāyatrī mantra.

SB 11.21.38-40, Translation:

Just as a spider brings forth from its heart its web and emits it through its mouth, the Supreme Personality of Godhead manifests Himself as the reverberating primeval vital air, comprising all sacred Vedic meters and full of transcendental pleasure. Thus the Lord, from the ethereal sky of His heart, creates the great and limitless Vedic sound by the agency of His mind, which conceives of variegated sounds such as the sparśas. The Vedic sound branches out in thousands of directions, adorned with the different letters expanded from the syllable oṁ: the consonants, vowels, sibilants and semivowels. The Veda is then elaborated by many verbal varieties, expressed in different meters, each having four more syllables than the previous one. Ultimately the Lord again withdraws His manifestation of Vedic sound within Himself.

SB 11.21.41, Translation:

The Vedic meters are Gāyatrī, Uṣṇik, Anuṣṭup, Bṛhatī, Paṅkti, Triṣṭup, Jagatī, Aticchanda, Atyaṣṭi, Atijagatī and Ativirāṭ.

SB 12.11.11-12, Translation:

His flower garland is His material energy, comprising various combinations of the modes of nature. His yellow garment is the Vedic meters, and His sacred thread the syllable oṁ composed of three sounds. In the form of His two shark-shaped earrings, the Lord carries the processes of Sāṅkhya and yoga, and His crown, bestowing fearlessness on the inhabitants of all the worlds, is the supreme position of Brahmaloka.

CC Madhya-lila

CC Madhya 24.67, Translation:

“‘The word "ca" ("and") is used to connect a word or sentence with a previous word or sentence, to give the sense of aggregation, to assist the meaning, to give a collective understanding, to suggest another effort or exertion, or to fulfill the meter of a verse. It is also used in the sense of certainty.’"

Krsna, The Supreme Personality of Godhead

Krsna Book 45:

After hearing only once from Their teacher, Kṛṣṇa and Balarāma learned all the arts and sciences. In sixty-four days and sixty-four nights, They learned all the necessary arts and sciences required in human society. During the daytime They took lessons on a subject from the teacher, and by nightfall They were expert in that department of knowledge.

First of all They learned how to sing, how to compose songs and how to recognize the different tunes; They learned the favorable and unfavorable accents and meters, how to sing different kinds of rhythms and melodies, and how to follow them by beating different kinds of drums. They learned how to dance to the rhythm of melody and different songs. They learned how to write dramas, and They learned the various types of painting, beginning from simple village arts up to the highest perfectional stage. They also learned how to paint tilaka on the face by making different kinds of dots on the forehead and cheeks. Then They learned the art of making paintings on the floor with a liquid paste of rice and flour; such paintings are very popular at auspicious ceremonies performed at household affairs or in the temple. They learned how to make a resting place with flowers and how to decorate clothing and limbs with colorful paintings. They also learned how to set valuable jewels in ornaments. They learned the art of ringing waterpots. Waterpots are filled with water to a certain measurement so that as one beats on the pots, different tones are produced, and when the pots are beaten together they produce a melodious sound. They also learned how to splash water in the rivers or lakes while taking a bath among friends. They learned how to decorate with flowers. This art of decorating can still be seen in various temples of Vṛndāvana during the summer season. It is called phulla-bāḍi. The dais, the throne, the walls and the ceiling are all fully decorated, and a small, aromatic fountain of flowers is fixed in the center. Because of these floral decorations, the people, fatigued from the heat of the summer, become refreshed.

Srimad-Bhagavatam Lectures

Lecture on SB 1.8.20 -- Mayapura, September 30, 1974:

So this is accepted. Tad-vāg-visargo janatāgha-viplavo yasmin prati-ślokam abaddha... Śloka (SB 1.5.11). To write Sanskrit śloka, it requires erudite scholarship. There are many, many rules and regulation. It is not that you compose anything and you become a poet. No. There are sufficient rules and regulations, one has to follow. Then one can compose. Just like you see, there is meter:

tathā paramahaṁsānāṁ

munīnām amalātmanām

bhakti-yoga-vidhānārthaṁ

kathaṁ paśyema hi striyaḥ

(SB 1.8.20)

There is meter. Every śloka, there is meter. So even it is not written to the standard meter, and sometimes there are broken, so still, because there is glorification of the Supreme Lord... Nāmāny anantasya. Ananta is the Supreme, Unlimited. His names are there. Therefore my Guru Mahārāja accepted. If anantasya, of the ananta, the Supreme, the name is there—"Kṛṣṇa," "Nārāyaṇa," "Caitanya," like that—so śṛṇvanti gāyanti gṛṇanti sādhavaḥ. Sādhavaḥ means those who are saintly persons. Such kind of literature, although it is written in broken language, they hear it. Hear it. Because there is glorification of the Lord.

Lecture on SB 2.9.1 -- Tokyo, April 20, 1972:

The thing is hearing the meter and repeat. That's all. The writing is already there, transliteration. Simply you have to hear the written. Just like you have chanted so many verses, songs, by hearing. The hearing is very important. A child learns another language simply by hearing, pronunciation, hearing. That is natural. If we hear one thing repeatedly, you will learn. You will learn. So one has to hear little attentively. Then it will be easy. There is no difficulty. Just like you are singing our song in tune, (sings) saṁsāra-dāvānala-līḍha-loka **. This is by hearing. So simply you have to hear. Therefore whole Vedic śāstra is called śruti. It is a process of hearing. (coughing) This is a disease of old age. These are the warnings that the body is getting rotten.

Philosophy Discussions

Philosophy Discussion on Hegel:

Prabhupāda: Yes, so therefore we write, Vyāsadeva has written so many nice poetries in praise of Kṛṣṇa. Brahmā is writing, cintāmaṇi-prakara-sadmasu kalpa-vṛkṣa lakṣāvṛteṣu surabhīr abhipālayantam (Bs. 5.29). All sages, they write praise of Kṛṣṇa.

Śyāmasundara: Poetry.

Prabhupāda: Yes, poetry. Therefore Kṛṣṇa's another name is Uttama-śloka, He is described by first-class poetry. And a devotee is supposed to be poet also, among the twenty-six qualification. So all of us writing, glorifying Kṛṣṇa. Poetry or prose doesn't matter. Anything sublime is called poetry, not that it has to be written in meter. Everything sublime is called poetry.

1969 Conversations and Morning Walks

Room Conversation with Allen Ginsberg -- May 14, 1969, Columbus, Ohio:

Allen Ginsberg: Do you use Gāyatrī mantra also?

Prabhupāda: Yes.

Allen Ginsberg: I know some of it. Oṁ bhur...

Prabhupāda: Yes. Oṁ bhur bhuvaḥ svaḥ tat savitur varenyam bhargo devasya dhimahi dhiyo yo naḥ pracodayāt. This Gāyatrī, this is called.

Allen Ginsberg: In Bhagavad-gītā Kṛṣṇa says, "Among poetic meters, I am Gāyatrī."

Prabhupāda: Yes. Gāyatrī is the origin of Vedic knowledge. Without Gāyatrī, nobody is accepted as competent to study. That is the beginning, spiritual master, dvija, second birth. First birth by the father and mother, second birth by the spiritual master, father, and mother, Gāyatrī.

Allen Ginsberg: Do you teach Gāyatrī mantra to your disciples also?

Prabhupāda: Yes. Not in the beginning. When they are little advanced.

1972 Conversations and Morning Walks

Room Conversation -- June 14, 1972, Los Angeles:

Prabhupāda: You can give him loan, he's anxious. You can give him these small ones. You take this.

John Fahey: Thank you. (sound of karatālas) (laughter)

Prabhupāda: I'll show you how to do it. Like this. (loud playing of karatālas) One, two, three-one, two, three. (showing how to play karatālas) It is not difficult. You are musician. Just play on meter: one, two, three-one, two, three.

John Fahey: Thank you.

Prabhupāda: For everything you have to learn from a guru. (laughter) Even for how to play. (more laughing) Yes: one, two, three. (more playing of karatālas)

1976 Conversations and Morning Walks

Morning Walk and Room Conversation -- August 9, 1976, Tehran:

Parivrājakācārya: If you go out here, there is big desert.

Prabhupāda: That means there was water.

Parivrājakācārya: Yes, and under the desert always. I took a trip a few weeks ago, all over Iran, to the deserts, to villages, and always just forty feet, forty meters under the desert, lots of water. They would bring the water up and then there would be green, they would grow vegetables. So even here there's water.

Prabhupāda: The water, sea, as it becomes solidified, the outer surface, by sunshine, they become, it is called sodium silicate. Salt is sodium chloride. So from sodium chloride, the sodium silicate. So cover(?) of the sea they can solidify by the sodium silicate. But underneath there is water. Just like our, this skin, bone, coming from where? We are eating liquid and or some vegetables or some whatever, they are becoming liquidified. And first transformation is blood. Blood is liquid, and from blood everything is coming. The muscle is coming, the bone is coming. The more the liquid portion becomes solidified by air, gas, then these things coming. The formation of this body beginning the liquid semina, liquid ovum, mix together. From liquid. Then they form pealike solid thing, from that liquid. And then the body forms. Wherefrom the solid body forms? The man injects liquid. Liquid inject, everything is coming. So wherefrom the solid molecules? By chemical composition the body forms, from liquid to solid. So as soon as you see some solid thing, you must know that it has come from liquid.

1969 Correspondence

Letter to Jayapataka -- Los Angeles 30 January, 1969:

Regarding your question about the Brahma Samhita, there is no contradiction with the Bhagavad-gita. If "direction" is not specifically mentioned in Bhagavad-gita it does not mean that Brahma Samhita is not authorized. Regarding the singing meter used by Narada Muni, anyone can utter it. You have asked about the specialness of the month of Karatieya, and the answer is that is is a special inducement for persons who are not in Krishna Consciousness to perform some devotional service. For persons who are doing nothing in Krishna Consciousness, it is an indirect inducement to take to devotional service in earnest seriousness, every moment is Karatieya. In this connection, there is a good example that sometimes a store gives special concession to attract new customers. But for those who are already customers there is no need of a special sale. They will purchase at any cost if they know the import and value of the goods. Similarly, those who are pure devotees do not aspire for any concession, and out of spontaneous love try to engage themselves in devotional service 24 hours each day, 365 days every year, without any stoppage.

Letter to Jayapataka -- Los Angeles 14 February, 1969:

About the shell which you are presently keeping in the temple, because it is not a conchshell, it should be considered as impure, and therefore it may not be placed upon the altar. Regarding the meter sung by Narada Muni, it is not necessary for us to practice this. For your final question, you are correct in your idea that leaflets which are destined to be thrown upon the ground should not contain pictures of Krishna, Jagannatha, etc. Such leaflets may only be hung up for people to see.

1972 Correspondence

Letter to Jayapataka -- Jaipur 21 January, 1972:

I beg to acknowledge receipt of your letter undated, and I have noted the contents carefully. So far the printing of Gitar Gan for which you have sent quotation, you may take other quotations also, and I am flying to Africa tomorrow but I shall return first week in February, so when I return I shall send you the manuscript which I think is now finished by Mr. Cakravarti in Bombay. Of the paper samples, the heavier stock of map litho at 80 grams per square meter is preferred by me, and the cover paper is all right. We have estimated 100 pages, so I suppose the price will be proportionately lesser or greater if we have more or less pages?