What is the significance of the name Prabhát Saḿgiita? From the name, apparently one would conclude that this school of music has been named after its composer, Prabhát Ranjan Sarkar. But that is not the whole truth. Rather, this school of music heralds the glorious dawn of a new era. Here, Prabhát means the new dawn, and the word Saḿgiita denotes the totality of song, instrumental music and dance. So, Prabhát Saḿgiita signifies a new awakening on the horizon of the musical and cultural world. That is why it has been named Prabhát Saḿgiita.
Optimism, not pessimism
Many songs in vogue in the world consist of verses and rhymes that convey the ordinary. In the name of modern songs there are many such pieces written in good language. Also, in the present day writings, whether in the music world or literary world, one can easily find a huge mass of literature reflecting dire pessimism, and melancholy, unfulfilled desires and broken promises.
One of the prominent features of Prabhát Saḿgiita is its distinct note of optimism reflected in its songs. Having this quality, Prabhát Saḿgiita is a marked departure from some present trends of composition. While despair and suffering are recognised, there is not an iota of pessimism that creeps into the songs. No one need be pessimistic.
Take song number 176[1] commencing with the verse:
| Jiivant́á nay theme tháká bhái Arúper páne nece cali Káṋdibár tare ásini ámará Chande o gáne kathá bali | Brother, life does not cease; We go on, dancing toward the formless. We come not to weep, But to express rhythm and song. |
The song conveys that life ceaselessly moves on and in that movement we should best express ourselves. The song also contains the two lines:
| Práńer ákúti cetanár dyuti Sab nirásháke cale dali | With vigorous zeal and radiant spirit, We go on, trampling despair beneath our feet. |
It stresses that we must move on, trampling underfoot all pessimism.
As the essence of Prabhát Saḿgiita conveys a positive new dawn rising on the skyline of world, it is rightly called Songs of the New Dawn.
Novelty in use of language, tune, rhythm and idea
There are also noticeable formal features in the songs. Prabhát Saḿgiita songs are a class of their own, with their different use of language, varied tunes, enchanting rhythms and their own superb and subtle ideas.
Language, tune, rhythm and idea – these four are the indispensable parts of a song. For musical excellence, compositions in high regard have these four qualities in them. They have novelty and excellence in bháśá (language), sura (tunes or melody), chanda (rhythm) and bháva (idea or inner spirit). In Prabhát Saḿgiita the last three are always universal in nature, only the first one is regional. Although most songs are in Bengali, there is no sentiment of regionalism or other limited ism.
Language
The language of Prabhát Saḿgiita is simple and direct, sweet and sympotic (i.e. communicates additional layers of meaning). Numerous songs are composed in the simplest language, with much use of verbs indicating movement. Some listeners of songs have a queer notion that simple and colloquial words are not good enough to be used in poetry and songs. But Prabhát Saḿgiita makes a bold departure from any such established practices.
Tune
Almost every song in Prabhát Saḿgiita has a new tune or a significant variation of a tune. Sometimes even one song has a blending of two or more tunes, making the song sweet and universalistic in appeal. This entreats the listener, even if not familiar with the language of the song.
Rhythm
According to the composer of Prabhát Saḿgiita, the ensuing generation is the generation of rhythm. Songs which are not rhythmic have less or no appeal to the people. The quest for rhythm is a trend of the age, and so we can say 95% of Prabhát Saḿgiita is rhythmic – this has deepest appeal to the psyche.
Idea
The ideas of songs should be profound and lofty in order to have impact on the mind. Prabhát Saḿgiita songs bring the mind in tune with the higher spiritual world. The inner spirit of Prabhát Saḿgiita songs is mostly mystic. The effect is that the singer has an ever conscious desire to have a close communion with the Beloved – that Supreme Consciousness (Parama Puruśa) and state of absolute perfection. The singer knows that his or her thoughts are still confined by microcosmic imperfection, but by unbounded grace found in unfathomable love of his/her dear Beloved, one day s/he will overcome all imperfections and become one with the Beloved.
As examples of expressions of such divine feelings, take songs numbers 1, 8 and 13. And there are many others.
Song number 1[2] starts:
| Bandhu he niye calo Álor oi jharńá dhárár pane | My abiding friend, take me and let’s go Toward the fountain of streaming effulgence. |
It is a simple song expressing that Parama Puruśa (the Supreme Consciousness) is the real friend, and it conveys the importance of seeking guidance to move along the spiritual path.
The composer himself described the inner meaning of song number 1 as:
Paramapuruśa is the real friend. Oh Paramapuruśa, direct me unto the fountain of divine effulgence. I was slumbering in Cimmerian darkness, I was an ordinary atom. But now I can no longer tolerate the staticity of darkness. Oh Paramapuruśa, sing before me the song which will arouse me from my deep slumber. Sing before me that song which will show me what is what and which is which.
Song number 8[3] starts:
| Ámi jete cái tumi niye jáo Bádhár báṋdhá sab chiṋŕe dáo | I want to go; please take me away. Let all bonds and obstacles be shattered. |
It means I want to go with that Supreme Consciousness and come closer and not be disturbed by relative worldly bondages and obstacles.
The composer described the inner meaning of song number 8 as:
I have the intense desire to come to You and move along with You, Oh Paramapuruśa, but there are innumerable obstacles on the way. I want to move along with You, but in this material world, my mind is always being disturbed by various worldly bondages and obstacles. O my Lord, crush all those bondages, those walls of obstacles, and take me along with You. So many worldly waves come and go according to Your desire, so please help me, I am ready to do anything and everything for You. Take away all those obstacles so that I may easily reach Your lotus feet.
Song number 13[4] starts with the verse:
| Ámi shudhu hesechi necechi geyechi Cáṋder álor sáthe bháv karechi Jáhá kichu dekhechi shunechi peyechi Maner mańi kot́háy enke rekhechi | I have only laughed, danced, and sung; With the moonlight I have made friends. Whatever I have seen, heard, or realized I have etched in the jewel box of my mind. |
It is expressing a mystical feelings based around the moonlight.
This time, the composer described the inner meaning of song number 13 as:
I have fallen in love with the lustre of the moonlight. So I am only laughing and dancing and singing. I have established my friendship with the moonlight, not with the moon; because the moon maintains a distance, but moonlight is very close. Moonlight is my friend, mon ami[5]. Whatever I have realized, whatever I have treasured, if various obstacles or hindrances cause that to be lost, still I have lost nothing. Where there is no divine effulgence, there is no life. But, today, I have discovered the apostle of light.
Variety of songs and styles
As there are different people with diverse moods, sentiments and propensities of mind, so there must be varieties of songs. The author in keeping track of the varying psychologies and socia1 needs of the people, has composed a large variety of songs. Some categories are:
- Devotional songs (generally conveying styles of devotional sentiment);
- Mystic songs (e.g. deep experiences in dreams);
- Songs regarding stages of sadhana (meditation);
- Season songs;
- Songs of social consciousness;
- Marching songs;
- Ceremonial songs and song for social functions (e.g. birthday, marriage, baby naming, tree planting, mourning, Diipavali or light festival, New Year’s Day etc.);
- Children’s songs.
Different styles of music are also used, such as:
- Ghazal – a poetic form of music of Arabic origin, now found in many languages of the Indian sub-continent;
- Qawwali – a musical form of Sufi origin from Persia, now found also in Pakistan, Northern India and South Asia; and a variation called Broken Qawwali;
- Dhrupadii – one of the oldest classical forms of music in Northern India;
- Tappa – a semi-classical form of music, originating from folks songs of the Punjab, which became popular in Bengal areas;
- Thumri – a light classical form of devotional music from Northern Indian, with sweet melodies;
- Kheyal – a more modern form of North Indian classical music;
- Jhumur – a traditional form of music from East India;
- Kiirtana – praise songs that include hymns and mantras to express devotion.
Kiirtana songs
We can quickly mention the kiirtana variety of songs in Prabhát Saḿgiita. These are very direct in their approach and appeal. If utilised properly, kiirtana can be a powerful means of bringing spiritual renaissance to the people. But unfortunately, traditional kiirtana has lost its appeal for various reasons. Prabhát Saḿgiita makes a revival and modernisation.
One important aspect of kiirtana songs in Prabhát Saḿgiita are their dynamicity. The use of a lot of repetition is avoided in these praise songs, and instead states of mind or phases of mental expression are conveyed. In the Prabhát Saḿgiita school of kiirtana there are often three psycho-spiritual states expressed in a kiirtana composition:
- objective personal – in which the extroversial mind is withdrawn and becomes absorbed in the feeling of inner bliss;
- subjective personal – in which the now introversial mind becomes fully immersed in inner bliss;
- objective impersonal – by which the mind returns from its state of inner bliss, but the bliss still lingers around.
Take, for example, song number 147[6] which is a kiirtana melody. The song conveys the mind being taken away to an inner journey, experiencing inner ambrosia, and returning expressing the same in the world. First, the mind becomes attracted and absorbed by something sweet:
| Álo jhalamala madhura nishiithe Tumi esechile mor mane | At sweet, glimmering midnight, You came into my mind. |
Secondly, the mind is immersed and overjoyed by bliss:
| Ańu paramáńu mor halo je vibhor go Prati aunga lági aunga káṋde je mor go | All my atoms and molecules are enraptured. Every part of me weeps for every part of You. |
Lastly, the feeling lingers in the expression of life:
| Práńer sakal bháv bhese jáy tár pane Hiyára chanda sab chot́e je táhár táne | Every expression of my life drifts toward You. Every beat of my heart races with Your music … |
Also, in our school of kiirtana, there is only the devotee and the Beloved (Supreme Consciousness). No third entity or intermediary is invoked. The existence of such a third factor is not there. It has been a philosophical mistake in the past to include it. Prabhát Saḿgiita conveys a one-to-one relationship between the devotee and the Beloved.
Neohumanism
In Prabhát Saḿgiita, the tunes, rhythms and ideas are universal, making the overall style attuned to the spirit and ideas of Neohumanism. Neohumanism is a philosophy elaborated by Prabhát Ranjan Sarkar, the composer of Prabhát Saḿgiita, that extends the underlying spirit of humanism to everything, animate and inanimate, in this universe so that the welfare of all entities is considered and lovingly taken care of.
In this universalistic spirit the Prabhát Gharana (style or school of music) has masterly harmonised dozens of occidental tunes and rhythms within it, which originate from or are popular in Europe, the Americas, Africa and the Middle East. Of course, there are also many oriental tunes. As Prabhát Saḿgiita is the musical expression of Neohumanism – both in spirit and form, each and every basic concept of Neohumanism is beautifully reflected and echoed in the tunes, rhythms and ideas of Prabhát Saḿgiita.
Song number 3[7], has been termed Navya Manavatavad Giita (Song of Neo-Humanism). It commences:
| Áṋdhára sheśe álora deshe Aruń bhorer kathá | At the end of darkness, in the realm of light, Behold, the crimson dawn … |
The song ends with:
| Sabuj cháyáy mrger máyáy Nácche nútan abhiśeke | In its green shade all creatures are nurtured. They dance anew, abluted / afresh. |
The song conveys the optimism of a new era with its themes of the crimson dawn and freshness.
The inner meaning of song number 3 is described in its entirety by the composer as:
Darkness has come to an end, crossing the threshold at the edge of light. Now is the proper time to call all and announce that the crimson dawn has come. The beautiful sky is studded with so many stars, the air is sweetly scented. The atmosphere, lithosphere, hydrosphere everything is closely related to me. All the flora and fauna I must preserve; I must save them from premature extinction, because I love everything of this earth. I am a neo-humanist. I call one and all to come and create a new rhythm.
Need for social progress and security
We see that our Prabhát Saḿgiita is not merely an aesthetic expression of creativity to give us listening pleasure; but it also carries a clarion call to well–meaning people to rebuild society in a progressive way, knowing that this also involves a process of clash and cohesion to achieve social progress. That social progress is a collective effort.
The message in song number 49[8] asks us to get to know each other and come together. It starts like this:
| (Ámi) D́ák diye jái jái jái | I send out a clarion call. |
and goes on to say:
| Táder ashru járá mucháite cáy Táháder jene nite cái | Those who want to wipe away humanity’s tears – I want to know them. |
It also signifies there is no time to wait and see. Hence, the clarion call.
The Neohumanists must know that millions are living a life that is shattered and battered by social ills. Their eyes are full of tears, their social conditions are dull, the light ahead seems dim, and apparently aimless, but they yearn for social acceptance and social equality. Prabhát Saḿgiita has strongly reminded us of these facts.
Accordingly, song number 46[9] commences:
| (Erá) Kánnáy bháuṋgá rudhirete ráuṋá | Downtrodden [literally, red with blood; figuratively, suppressed and oppressed] they have broken into tears. |
Here we see layers of meaning regarding the conditions of people’s lives. In this way the song creates sympathy in our hearts.
The inner meaning of song number 46 is described by the composer as:
Those downtrodden people, whose lives are filled with weeping, who have no aspirations, whose existences have no charm of vitality – let us guide them on the path of light. Let us educate them. Let us fulfil their demands and their needs. Let us restore their lost dignity. With our hearts overflowing with love, let the sufferings of each be shared by all, for this world belongs to us all.
To survive people need the security of their basic needs. Neohumanism accepts this fact unequivocally. So Prabhát Saḿgiita also teaches us to sing and think about people’s social security, and act accordingly. Again, in song number 46 it goes on to say:
| (Eder) Calo niye jái áloka snánete Basáiyá dii saphala mánete Sab apúrti dúr kare dii Mamatár d́áke hrdi bhará | Come, let us bring them to bathe in light; Let us restore their confidence; Let us abolish all their deprivations – With heartful, loving embrace. |
Elevate ourselves and others
But who can shoulder this Himalayan task? The persons who dare to fight against all exploitations and establish the spirit of Neohumanism in the society must be bold enough, clear-hearted and optimistic. Such sadvipras (spiritual moralists) are to shoulder this responsibility. Why? Because their psychology is different.
Displaying courage, yet simplicity, they will say as in song number 50[10]:
| (Ámi) Raktim kishalay Sojá pathe cali ámi Báṋká pathe kabhu kabhu nay | I am a reddish tender leaf. I walk a straight path, Never a crooked path. |
and:
| Uṋcu shire cali ámi Niicu shire kabhu kabhu nay | I walk with head held high, Never with a bowed head. |
and:
| Ámár báhute áche vajrera bal Ámár ánkhite áche drśt́i vimal | In my arms is the power of thunder. In my eyes is unclouded vision. |
Also, they will sing as in song number 74[11]:
| Cal cal cal cal gán geye cal Áshár álokshikhá ati ujjval | March on, march on – singing songs, march on. The lustrous flame of hope is extremely bright. |
and:
| Avaniike kare tuli muktáiṋcal Cal cal ghare ghare gán geye cal | Let us elevate the world to a liberated zone – March on from home to home – singing songs, march on. |
Neohumanists believe in universalism and they do not accept any other narrower ‘ism’ based on geo–sentiment, socio–sentiment or pseudo–humano–sentiment. One simple way to explain these various sentiments is in a diagram as follows:
| Geo-sentiment territorial attachment (city, state, country), nationalism |
| Socio-sentiment attachment to social grouping (community, religion, caste, tribe, race), communalism |
| Pseudo-humanism attachment to own species, speciesism, general humanism |
| Neohumanism love and respect for all entities – animate and inanimate – in the world and universe, universalism |
To a Neohumanist the whole universe is their homeland. Every place and every island is dear to them, no matter how seemingly small. Everything and every place is surrounded and decorated by the sea of Cosmic Grace. This universal spiritual feeling is nicely reflected in the English song number 68[12] (apparently first written when Prabhát Ranjan Sarkar was 8 years old), containing the lines:
| I love this tiny green island Surrounded by the sea. Touched by the sea, Decorated by the sea. Am I a secluded figure, In the vast, a little, a meagre? No, no, no, no I’m not alone. Great is with me. The Great is with me. |
No scope for dogma
Some philosophies teach that everything is an illusion. But Ananda Marga philosophy does not say that life is an illusion, or that the world or universe is also an illusion. Such ideas are limiting because they tend to create indifference to the world, and as they are impractical can be classed as dogma. Neohumanists reject these type of ideas. They believe, instead, this created universe is a relative truth (neither absolute truth nor untruth).
In this regard, Prabhát Saḿgiita teaches in song number 71[13]:
| Jagatt́á nay mithye máyá Mithye rauṋer khelá Liilámayer liilá e bhái Liilár mohan melá | This world is not an illusion, A play of false colours. It is a sweetly playful dalliance, A charming exhibition of sport. |
In Neohumanism there is no room for dogma. Mind must be illuminated by study and rationalistic approach, and this movement towards spirituality must be for the welfare of all. This is called the proto-psycho-spiritual process, i.e. psychic movement towards spirituality, and will link a person with the Supreme Consciousness – the goal, as well as the guide and divine friend.
Song number 28[14] of Prabhát Saḿgiita recognises the need for enlightened thinking and the psycho-spiritual movement of mind, and expresses it as:
| Bandhu tomáy kii balibo Timirer ghum bháuṋgáye diyecho Álor pathei calibo Calibo calibo calibo | My Beloved, what shall I say to You – You who have shattered my dark slumber? The path of light alone I will tread – I will tread, I will tread, I will tread. |
It stresses to follow the path of light or expansion of mind.
Principle of Social Equality
For Neohumanism to find its way into ebb and life of society we must become established in the spirit of Sama-samája Tattva – the Principle of Social Equality. One shou1d feel for the other and all should move together sharing their pain and pleasure, gain and loss; free from all inequalities, with every one of the human race moving in unison – this is called Sama-samája Tattva.
A similar spirit of moving together is reflected in our Prabhát Saḿgiita – again in song number 46[15] in the verse:
| (Eder) calo niye jái áloka snánete Basáiyá dii saphala mánete Sab apúrti dúr kare dii Mamatár d́áke hrdi bhará | Come, let us bring them to bathe in light; Let us restore their confidence; Let us abolish all their deprivations – With heartful, loving embrace. |
One of the basic tenets of Neohumanism is Cosmic fraternity. Not only for our fel1ow human beings but for plants and animals also – we will maintain a feeling of love and fraternity in the core of our hearts for these entities and their creations as well. Similarly, Cosmic fraternity is deeply expressed in Prabhát Saḿgiita.
This sense of fraternity with all entities is seen in song number 128[16], a New Year’s Day song, which contains the verse:
| Vrkśa latárá sabuje bharuk Vanya pashurá nirápad hok Pákhiirá kant́he amiya bhariyá Uŕiyá beŕák dike dike | Let the trees and creepers be plushly green. Let the wild animals be secure. Let the birds fill their throats with nectar, And in all directions let them take wing. |
Spirituality in practice
Love for all living entities, and even non-living manifestations in the ecosystems of the Earth, is a very high state of mental achievement. It is full of devotion. This is One Love for All. This devotion is the central point – the nucleus of spiritual existence, and Neohumanism is the circle of thought around that nucleus. Devotional love (bhakti) is the key point, the paramount factor in the whole philosophy of Neohumanism. It is the costliest and brightest jewel in the human heart. It will have to be preserved, developed and enriched. For this, one must expand one’s mind to infinity through spiritual practices, overcoming all other narrow sentiments: geo- socio- or pseudo-humano- sentiments.
In this process we will walk through three stages:
- spirituality as a cult;
- spirituality in essence (i.e. as a principle); and
- spirituality as a mission.
Here the word ‘cult’ refers to ‘cultivation’ or ‘culture’, a source of inspiration for spirituality, from the Latin word ‘cultus’, which was the conventional meaning until recently when the media began to use it differently. Also, the word ‘essence’ refers to intrinsic psychic thought processes, that due to universalistic outlook, take a new turn towards spirituality as it becomes a principle of one’s life. Lastly, the word ‘mission’ refers to being fulfilled in and overflowing with spirituality in one’s life or existential being.
Thus, one will achieve the inner goal of Neohumanism through development in all these three stages, this is the self-realisation that one’s individual existential nucleus coincides with the Cosmic Existential Nucleus. The three Neohumanist approaches of devotional spirituality are also reflected in various verses in the Prabhát Saḿgiita songs. Here are some examples.
Spirituality as a cult – in song number 163[17], which refers to the practice of meditation and morality that goes with it, containing the verse:
| Manke kona chot́a kájei nábte dobo ná Ná ná ná nábte dobo ná Dhyáner áloy basiye dobo Karbo natun dhará racaná | I will not let my mind be soiled by any mean action. No, no, no, I won’t allow anything mean. I will seat my mind in the effulgence of meditation, I will construct a new world order. |
Spirituality in essence – song number 156[18], referring to enlightened psychic outlook and universal thoughts, containing the verse:
| Deshe deshe jáo bháiyer matan Sabákár vyáthá kariyá smarań Vishvamánav parivár áj Tomáke d́ákiche áṋkhi chalochal | Treat those in different countries as brothers and sisters. Remember all in pain, and care for them. Today, the universal humanity is your family – It calls out to you with tearful eyes. |
Spirituality as a mission – song number 143[19], a more complex song portraying spiritual fulfilment by being immersed in spirituality and spreading spiritual vibrations, containing the verse:
| Ámi táhári álora aruńa rágete Rauṋge rauṋge táre ráuṋgáibo Tár madhura námt́i madhura bhávete Sakala vishve chaŕáiba Chaŕáye deva go Madhur nám madhur bháve Chaŕáye deva go Tár madhura námt́i madhura bhávete Sakala vishve chaŕáiba | With the crimson colours of His light, I will paint Him. With His colours I will paint Him. His sweet name, how pleasing it is! Throughout the universe I will spread it. Yes, I will spread it. How sweet, the sweetest name! Yes, I will spread it – His sweet name, how pleasing it is! Throughout the universe I will spread it. |
Concluding words
Prabhát Saḿgiita comprises a vast amount of devotional songs, expressed in a wide variety of ways, which will help every spiritual aspirant to be one with Parama Puruśa – that Supreme Consciousness, which is found in one’s inner self through spiritual practices. That same Parama Puruśa pervades every aspect of existence and everything in the universe is an expression of that one Supreme Consciousness. Prabhát Saḿgiita conveys to us that through spiritual practices the microcosmic point comes into close proximity with the Macrocosmic Nucleus – this arises through spiritual ideation. Then there can no longer remain two points. They merge into one – the unit consciousness will merge with the Supreme Consciousness. In the end there is no dualism.[20]
Prabhát Saḿgiita also recognises and emphasises the necessity to serve others in society and to help create a congenial social environment and security for all living beings (humans, animals and plants), as well as the environmental as a whole. Everything is dear to us, has value, and deserves respect; and all people should live according to the Principle of Social Equality, under which inequalities and disparities are eradicated, so that progress for everyone is possible and continual. In this way there is consistency between the internal and external rhythms of life.
We can simply conclude, that there are hundreds of Prabhát Saḿgiita songs which are encouraging our devotional feeling in various ways. Also, lines and verses of Prabhát Saḿgiita are throbbing with the spirit of Neohumanism. Hence, we can rightly conclude that Prabhát Saḿgiita is the musical expression of Neohumanism.
Edited and compiled by Dharmadeva (Australia) from various materials including Notes on Spiritual and Social Philosophy for Second Phase Seminar June, 1983 (edited by Ácárya Vijayánanda Avadhúta and Ácárya Jagadiishvaránanda Avadhúta). Extensive content was added by Dharmadeva.
Sincere thanks also to the creators of the websites:
http://sarkarverse.org/wiki/Prabhata_Samgiita
and
http://prabhatasamgiita.net/1-5018.htm.
The total number of Prabhát Saḿgiita songs composed as at 20 May 1983 was 530. The final total came to 5018.
Footnotes
[1] http://sarkarverse.org/wiki/Jiivanta_nay_theme_thaka_bhai
[2] http://sarkarverse.org/wiki/Bandhu_he_niye_calo
[3] http://sarkarverse.org/wiki/Ami_jete_cai_tumi_niye_jao
[4] http://sarkarverse.org/wiki/Ami_shudhu_hesechi_necechi_geyechi
[5] French for ‘my friend’.
[6] http://sarkarverse.org/wiki/Alo_jhalamala_madhura_nishiithe
[7] http://sarkarverse.org/wiki/Andhara_sheshe_alora_deshe
[8] http://sarkarverse.org/wiki/Dak_diye_jai_jai_jai
[9] http://sarkarverse.org/wiki/Era_kannay_bhaunga_rudhirete_rauna
[10] http://sarkarverse.org/wiki/Raktim_kishalay
[11] http://sarkarverse.org/wiki/Cal_cal_cal_cal_gan_geye_cal
[12] http://sarkarverse.org/wiki/I_love_this_tiny_green_island
[13] http://sarkarverse.org/wiki/Jagatta_nay_mithye_maya
[14] http://sarkarverse.org/wiki/Bandhu_tomay_kii_balibo
[15] http://sarkarverse.org/wiki/Era_kannay_bhaunga_rudhirete_rauna
[16] http://sarkarverse.org/wiki/Vatsar_nava_vatsar_tumi
[17] http://sarkarverse.org/wiki/Manke_kona_chota_kajei_nabte_dobo_na
[18] http://sarkarverse.org/wiki/Egiye_calo_egiye_calo
[19] http://sarkarverse.org/wiki/Aha_kii_shunilam
[20] Shrii Shrii Anandamurti, ‘Vraja Krśńa and Dvaetaváda’(Discourse 17 of 14 December 1980) in Namámi Krśńasundaram, Ananda Marga Publications, Calcutta.
https://open.substack.com/pub/macropsychic/p/prabhat-samgiita-some-salient-features
