Why Only the Bhajans of Acharyas and Mahatmas Should Be Sung: Part 2

Why Only Songs by Acharyas and Mahatmas Should Be Sung in Bhajans

The practice of singing only those bhajans composed by spiritually realised souls has its roots in both scriptural injunction and the experiential wisdom of the mahatmas. Bhajan, in the Hindu tradition, is not mere music or entertainment; it is a form of nama-sankirtana, a sacred spiritual act that purifies the mind and heart and draws one nearer to the Divine.

1. Authority of the Bhakta’s Word:

The Bhagavad Gita (10.9) states:

"mach-chittā mad-gata-prāṇā bodhayantaḥ parasparam

kathayantaśh cha māṁ nityaṁ tuṣhyanti cha ramanti cha"

“With their minds fixed on Me and their lives surrendered to Me, My devotees remain ever content in Me. They derive great satisfaction and bliss in enlightening one another about Me and in conversing about My glories.”

The Gita repeatedly praises those who have realised God—not those who speak or write merely out of poetic inspiration. Songs composed by such realised beings carry the power of their realisation and devotion, and are therefore shuddha bhakti—pure devotion.

2. Srimad Bhagavatam’s Caution:

The Bhagavata Purana (1.5.10–11), when Narada Muni speaks to Vyasa, makes an important distinction:

na yad vacaś citra-padaṁ harer yaśo

jagat-pavitraṁ pragṛṇīta karhicit

“Literature or speech which does not describe the glories of the Lord—even if adorned with beautiful words—cannot purify the heart.”

Thus, even melodious or beautifully composed songs are not considered spiritually beneficial unless they are infused with genuine devotion and focus solely on the Lord’s glories.

3. The Naradiya Bhakti Sutras (Sutras 4 and 5):

Yallabdhva puman siddho bhavati, amrito

bhavati, tripto bhavati

Yatprapya na Kinchid-vanchati na sochati na

dveshti na ramate notsahi bhavati

“True devotion is exclusive and free of all that is contrary to it.”

Devotion (bhakti) must be unmixed with worldly emotion or aestheticism. Songs from films or written by non-spiritual persons may express sentiment, but they are often infused with worldly (or rasa-based) elements that are contrary to the spirit of bhakti.

4. The Importance of Vak-shuddhi (Purity of Speech):

Many agamas and shastras (such as the Yajurveda and Manusmriti) emphasise shuddhi or purity in all religious offerings—including speech. The Manusmriti (2.160) states:

“An impure word, impure act, or impure thought destroys the merit of even the noblest offering.”

If the author of a song has not lived a life of spiritual purity, their words—however seemingly devotional—may not be considered fit for sacred offering.

5. Tradition and Guruparampara:

Within the guru-shishya tradition, saints such as Tulsidas, Tyagaraja, Mirabai, Narayana Tirtha, Sri Ramanujacharya, and the Alvars composed bhajans and hymns which are sung to this day not merely for their poetic beauty, but because they arose from profound devotion and realisation. Their authority stems from anubhava (spiritual experience), anugraha (divine grace), and sadhana (discipline).

Conclusion

In light of these scriptural and traditional considerations, it is clear why mahatmas have advised that film songs and compositions by those lacking spiritual realisation not be included in bhajan sessions. To do so would be to dilute the sanctity of the spiritual gathering, and perhaps even introduce ashuddha bhava—impure emotion—into what should be an offering of the highest devotion.