Introspección – La vida en la sombra del tiempo
es un álbum conceptual doble con una duración total de una hora y cuarenta y cinco minutos.
A continuación, se presenta un breve resumen de las dieciocho canciones.
Para mejorar tu experiencia, descarga el e-book,
y reflexiona sobre las imágenes que acompañan a cada canción.
Llamada a despertar, basada en las canciones de Bhaktivinoda Ṭhākura Udila aruṇa y Jīv jāgo, retrata a Śrī Caitanya Mahāprabhu, el Avatar Dorado, recorriendo los pueblos en las primeras horas de la mañana junto a Sus seguidores. Llama a las personas dormidas a despertar—tanto física como espiritualmente—instándolas a no malgastar el invaluable regalo de la vida humana en la inacción, perdidas en el abrazo ilusorio de Māyā, la energía material personificada. En cambio, las exhorta a abrazar la práctica espiritual de cantar los santos nombres del Señor, un camino que lleva a la autorrealización y a la liberación del ciclo de nacimientos y muertes, y sus sufrimientos inherentes.
Mi historia de aflicción marca el comienzo de un ciclo de canciones introspectivas compuestas por los ācāryas vaiṣṇavas previos. En esta canción, Bhaktivinoda Ṭhākura se retrata a sí mismo como un ser humano común, contemplando la trayectoria de la vida: desde la inocencia de la niñez, pasando por las responsabilidades de la adultez, hasta el inevitable declive de la vejez. Aunque la vejez suele estar teñida de lamentos nostálgicos, Bhaktivinoda presenta una perspectiva alternativa. Él enfatiza que puede y debe servir como un catalizador para embarcarse en el camino espiritual o profundizar el compromiso de quienes ya están en él.
Arena ardiente está basada en la canción Tāṭala Saikate de Vidyāpati Ṭhākura. Vidyāpati, un reconocido poeta del siglo XIV célebre por sus canciones de amor, profundiza en la introspección en esta composición. La canción retrata vívidamente la naturaleza efímera de la vida material, comparando los placeres mundanos con una gota de agua sobre arena ardiente. Tal gota no solo no sacia la sed, sino que también se evapora rápidamente. A través de esta conmovedora metáfora, Vidyāpati Ṭhākura insta a los oyentes a refugiarse en el Señor Supremo como el único camino hacia la liberación del ciclo interminable de nacimientos y muertes.
01 - Wake-up Call
02 - My Tale of Misery
03 - Burning Hot Sand
The next song comes from another stalwart among the previous ācāryas, Narottama dāsa Ṭhākura, whose poetry holds a revered place in Vaiṣṇava circles. Śrīla Prabhupāda once likened the impact of his songs to thunderbolts and lightning—striking with such clarity and force that their meaning becomes unmistakable to all. A Wasted Birth is based on Hari, Hari! biphale, said to be Śrīla Prabhupāda’s favorite song. It vividly portrays the folly of being absorbed in mundane pursuits, likening it to willingly drinking poison that leads to unbearable heartburn.
A Cry for Help, originally titled Ṭhākura vaiṣṇava-gaṇa, is another heartfelt composition by Narottama dāsa Ṭhākura. In this song, he depicts himself as a desperate, conditioned soul pleading with a spiritual teacher to deliver him from saṁsāra—the boundless, oceanlike cycle of material existence. He likens his plight to that of a blind man, aimlessly wandering in darkness and falling prey to the enemies of the soul, like lust, anger, pride, and illusion.
The next song, A Sad Story, is based on Durlabha manava janma by Bhaktivinoda Ṭhākura. In thirteen stanzas, he portrays his sense of entrapment in this world, likening it to a carnival of shadows—a realm of fleeting illusions akin to a magic lantern’s display, where what appears real is nothing more than dancing phantoms. Reflecting on the impermanence of worldly existence, he vividly describes the grim destiny of his physical body, destined to become a feast for crows, vultures, jackals, and worms. Though the theme is undeniably dark, it serves as a potent catalyst, inspiring one to come to a firm resolve for taking to the path of self-realization.04 - A Wasted Birth
05 - A Cry for Help
06 - A Sad Story
The Ocean of Nescience (Anādi karama phale) is another powerful composition by Bhaktivinoda Ṭhākura. He vividly depicts the soul’s precarious plight, adrift in the ocean of material existence. He compares sensual cravings to turbulent waves that mercilessly toss the helpless living entity, plunging it into a state of perpetual anxiety. In his desperation, Bhaktivinoda cries out to the Lord, imploring Him for rescue. As described in the Bhagavad-gītā, Kṛṣṇa is the swift deliverer for those who take shelter of His lotus feet, carrying them across the vast ocean of birth and death to the transcendental atmosphere of Vaikuṇṭha, the place where there is no more anxiety and fear.
Song 8 in this collection, Bhuliyā tomāre by Bhaktivinoda Ṭhākura, is presented here as Forgotten. This poignant composition draws inspiration from Kapiladeva’s teachings on the conditioned soul’s journey from womb to grave. Bhaktivinoda vividly portrays the various stages and circumstances of life that ensnare and bewilder the living entity, diverting them from life’s true purpose. He illustrates how Māyā, the illusory energy, casts its veil over the soul’s pure consciousness, leading to complete forgetfulness of its eternal spiritual nature.
My Life, originally titled Āmara jīvana by Bhaktivinoda Ṭhākura, is another favorite song of Śrīla Prabhupāda and, apparently, of his spiritual master, Śrīla Bhaktisiddhanta Sarasvatī Ṭhākura as well. Shortly before his departure from this world, Śrīla Bhaktisiddhanta quoted and elaborated on this song, telling the disciples, who had gathered around him, that it perfectly encapsulates the life of a proud and envious materialist. He emphasized how it serves as a poignant reminder of the need to overcome all obstacles on the path of devotional service by cultivating humility and transcending vanity.
07 - The Ocean of Nescience
08 - Forgotten
09 - My Life
The Learned Ass, by Bhaktivinoda Ṭhākura, has as its main theme the pursuit of material knowledge. As the original title Vidyāra vilāse (the pastime of learning) indicates, a person fond of study and accumulating knowledge spends his time of learning like a pastime, in the hope to find enlightenment and inner fulfillment. Bhaktivinoda Ṭhākura not only concludes that such hopes are ultimately false but even asserts that the so-called learned scholar is, in reality, as foolish as an ass. Despite working tirelessly, fully dedicating himself to studies and research—often at the expense of meals and sleep—such a scholar remains ignorant of his true self and entirely unaware of the spiritual dimension of life.
Narottama dāsa Ṭhākura addresses Śrī Caitanya Mahāprabhu in Gaurāṅga karuṇa koro (presented here as Your Merciful Glance), pleading with the Lord to empower him to resist the allurements of Māyā. This recurring theme in the songs of the Vaiṣṇava ācāryas reflects a profound realization: without spiritual strength granted by the supremely powerful Personality of Godhead, the conditioned soul stands no chance of overcoming the bewildering influence of the illusory potency.
Jewels on Rags, another song by Narottama dāsa Ṭhākura, originally titled Hari hari ki mora karama abhāga, addresses the futility of superficial, pseudo-spiritual practices. These are described as devoid of real value and likened to the absurd act of adorning a beggar’s rags with precious jewels. In this song, as in others, Narottama dāsa Ṭhākura laments having missed various opportunities for spiritual advancement due to poor choices. He reminds us that while divine mercy is essential, one’s own decisions and actions play an equally crucial role.10 - The Learned Ass
11 - Your Merciful Glance
12 - Jewels on Rags
O Mind, Listen to Me is based on Locana dāsa Ṭhākura’s song Avatāra-sāra. The mind plays a pivotal role in meditation, as the state of mind at the time of death determines our future. When leaving the body, the subtle body—dominated by the mind—carries the soul to its next destination. In this song, Locana dāsa Ṭhākura directly addresses his mind, highlighting various poor choices and attitudes that not only fail to yield the desired outcomes but also hinder spiritual progress. He earnestly pleads with his mind to heed the soul’s guidance and embark on the path of liberation by worshiping Gaura, the essence of all avatāras.
Bird of My Heart, originally titled Kena Hare Kṛṣṇa, is a song by Bhaktivinoda Ṭhākura in which he addresses his soul, situated within his heart, metaphorically envisioning it as a bird. This imagery is inspired by the Upaniṣads, where the individual soul and the Supersoul are likened to two birds perched on a peepal tree, with the tree symbolizing the body. The central theme of the song is the profound disappointment over the soul’s hesitation to chant the holy name of the Lord. Bhaktivinoda warns that once the body perishes and the tongue is consumed by the funeral pyre, the opportunity to chant will be lost.
This song by Govinda dāsa Kavirāja is another heartfelt appeal to the mind, urging it to worship the lotus feet of the Supreme Lord. In Bhajahū re mana, presented in this collection as Free From Fear, he emphasizes that Kṛṣṇa’s lotus feet possess a unique power to liberate their worshiper from all fear (abhaya-caraṇāravinda). Highlighting the uncertain and turbulent nature of material existence, along with its inevitable hardships, Govinda dāsa implores his mind to embrace the ninefold processes of devotional service. By doing so, not only can one achieve fearlessness, but also attain the ultimate spiritual goal of life.13 - O Mind, Listen to Me
14 - Bird of My Heart
15 - Free From Fear
The Treasure of Love, by Narottama dāsa Ṭhākura, is a deeply introspective song addressed to Gorā Pahū, Śrī Caitanya Mahāprabhu. The original title, Akṣepa (Regret), reflects the inner turmoil a devotee experiences upon realizing that the precious opportunity to attain the treasure of love (prema-dhana) has slipped away. Narottama reflects on his life, lamenting his failure to seek the association of saintly souls and, instead, chasing after the fleeting shadows of material objects. He concludes that his pursuits have been in vain, and in the final stanza, he cries out in sorrow, questioning how he can continue living under such circumstances.
Bhaktivinoda Ṭhākura’s song Manasa, deha, geha, presented here as Mind, Body, and Home, depicts the ultimate state of surrender, ātma-nivedana—the complete surrender of all one’s possessions, including the self, or the soul, at the lotus feet of the Lord. Bhaktivinoda Ṭhākura goes so far as to express that he would not mind being born as an ant, provided that he takes birth in the home of a pure devotee and is granted the opportunity to engage in devotional service.
The final song, once again by Bhaktivinoda Ṭhākura, brings the cycle to a close, transitioning from the often somber moods of introspection to the radiant realms of spiritual life. The Ocean of Bliss, originally titled Ātma-nivedana, testifies to the exquisite fruit of unreserved surrender in pure devotional service, which immerses the devotee in an ever-expanding ocean of nectar. At this stage, there is no longer any anxiety or fear; the mind is enlivened, and the devotee feels liberated from all yearning and sorrow.16 - The Treasure of Love
17 - Mind, Body, and Home
18 - The Ocean of Bliss
Introspection – Life in the Shadow of Time
is a double concept album with a total running time of one hour and forty-five minutes.
Here is a brief overview of all eighteen songs. To enhance your experience,
download the e-book and reflect on the pictures that accompany each one.
Wake-up Call, based on Bhaktivinoda Ṭhākura’s songs Udila Aruṇa and Jīva Jāgo, depicts Śrī Caitanya Mahāprabhu, the Golden Avatar, as He traverses villages in the early morning hours with His followers. He calls on the sleeping people to awaken—both physically and spiritually—by exhorting them not to waste the invaluable gift of human life in idleness, dreaming on the lap of Māyā, the personified material energy. Instead, He urges them to embrace the spiritual practice of chanting the Lord’s holy names, a path that leads to self-realization and ultimately to liberation from the cycle of birth and death, along with its attendant sufferings.
01 - Wake-up Call
My Tale of Misery opens the cycle of introspective songs by previous Vaiṣṇava ācāryas. In this song, Bhaktivinoda Ṭhākura portrays himself as an ordinary human being reflecting on the trajectory of life—moving from childhood to adulthood and eventually facing the inevitable decline of old age. While old age is often accompanied by nostalgic lamentation, Bhaktivinoda offers a different perspective. He emphasizes that it can, and should, become a catalyst for embarking on the path of spiritual life, or deepening one’s commitment for those already practicing.
02 - My Tale of Misery
Burning Hot Sand is based on Vidyāpati Ṭhākura’s song Tāṭala Saikate. Vidyāpati, a renowned 14th-century poet celebrated for his love songs, takes an introspective turn in this composition. The song vividly illustrates the fleeting nature of material life, likening worldly joys to a drop of water on burning hot sand. Such a drop not only fails to quench thirst but also evaporates almost instantly. Through this poignant metaphor, Vidyāpati Ṭhākura urges listeners to take shelter of the Supreme Lord as the only means of liberation from the perpetual transmigration of the soul.03 - Burning Hot Sand
The next song comes from another stalwart among the previous ācāryas, Narottama dāsa Ṭhākura, whose poetry holds a revered place in Vaiṣṇava circles. Śrīla Prabhupāda once likened the impact of his songs to thunderbolts and lightning—striking with such clarity and force that their meaning becomes unmistakable to all. A Wasted Birth is based on Hari, Hari! biphale, said to be Śrīla Prabhupāda’s favorite song. It vividly portrays the folly of being absorbed in mundane pursuits, likening it to willingly drinking poison that leads to unbearable heartburn.04 - A Wasted Birth
A Cry for Help, originally titled Ṭhākura vaiṣṇava-gaṇa, is another heartfelt composition by Narottama dāsa Ṭhākura. In this song, he depicts himself as a desperate, conditioned soul pleading with a spiritual teacher to deliver him from saṁsāra—the boundless, oceanlike cycle of material existence. He likens his plight to that of a blind man, aimlessly wandering in darkness and falling prey to the enemies of the soul, like lust, anger, pride, and illusion.05 - A Cry for Help
The next song, A Sad Story, is based on Durlabha manava janma by Bhaktivinoda Ṭhākura. In thirteen stanzas, he portrays his sense of entrapment in this world, likening it to a carnival of shadows—a realm of fleeting illusions akin to a magic lantern’s display, where what appears real is nothing more than dancing phantoms. Reflecting on the impermanence of worldly existence, he vividly describes the grim destiny of his physical body, destined to become a feast for crows, vultures, jackals, and worms. Though the theme is undeniably dark, it serves as a potent catalyst, inspiring one to come to a firm resolve for taking to the path of self-realization.06 - A Sad Story
The Ocean of Nescience (Anādi karama phale) is another powerful composition by Bhaktivinoda Ṭhākura. He vividly depicts the soul’s precarious plight, adrift in the ocean of material existence. He compares sensual cravings to turbulent waves that mercilessly toss the helpless living entity, plunging it into a state of perpetual anxiety. In his desperation, Bhaktivinoda cries out to the Lord, imploring Him for rescue. As described in the Bhagavad-gītā, Kṛṣṇa is the swift deliverer for those who take shelter of His lotus feet, carrying them across the vast ocean of birth and death to the transcendental atmosphere of Vaikuṇṭha, the place where there is no more anxiety and fear.07 - The Ocean of Nescience
Song 8 in this collection, Bhuliyā tomāre by Bhaktivinoda Ṭhākura, is presented here as Forgotten. This poignant composition draws inspiration from Kapiladeva’s teachings on the conditioned soul’s journey from womb to grave. Bhaktivinoda vividly portrays the various stages and circumstances of life that ensnare and bewilder the living entity, diverting them from life’s true purpose. He illustrates how Māyā, the illusory energy, casts its veil over the soul’s pure consciousness, leading to complete forgetfulness of its eternal spiritual nature.08 - Forgotten
My Life, originally titled Āmara jīvana by Bhaktivinoda Ṭhākura, is another favorite song of Śrīla Prabhupāda and, apparently, of his spiritual master, Śrīla Bhaktisiddhanta Sarasvatī Ṭhākura as well. Shortly before his departure from this world, Śrīla Bhaktisiddhanta quoted and elaborated on this song, telling the disciples, who had gathered around him, that it perfectly encapsulates the life of a proud and envious materialist. He emphasized how it serves as a poignant reminder of the need to overcome all obstacles on the path of devotional service by cultivating humility and transcending vanity.09 - My Life
The Learned Ass, by Bhaktivinoda Ṭhākura, has as its main theme the pursuit of material knowledge. As the original title Vidyāra vilāse (the pastime of learning) indicates, a person fond of study and accumulating knowledge spends his time of learning like a pastime, in the hope to find enlightenment and inner fulfillment. Bhaktivinoda Ṭhākura not only concludes that such hopes are ultimately false but even asserts that the so-called learned scholar is, in reality, as foolish as an ass. Despite working tirelessly, fully dedicating himself to studies and research—often at the expense of meals and sleep—such a scholar remains ignorant of his true self and entirely unaware of the spiritual dimension of life.10 - The Learned Ass
Narottama dāsa Ṭhākura addresses Śrī Caitanya Mahāprabhu in Gaurāṅga karuṇa koro (presented here as Your Merciful Glance), pleading with the Lord to empower him to resist the allurements of Māyā. This recurring theme in the songs of the Vaiṣṇava ācāryas reflects a profound realization: without spiritual strength granted by the supremely powerful Personality of Godhead, the conditioned soul stands no chance of overcoming the bewildering influence of the illusory potency.11 - Your Merciful Glance
Jewels on Rags, another song by Narottama dāsa Ṭhākura, originally titled Hari hari ki mora karama abhāga, addresses the futility of superficial, pseudo-spiritual practices. These are described as devoid of real value and likened to the absurd act of adorning a beggar’s rags with precious jewels. In this song, as in others, Narottama dāsa Ṭhākura laments having missed various opportunities for spiritual advancement due to poor choices. He reminds us that while divine mercy is essential, one’s own decisions and actions play an equally crucial role.12 - Jewels on Rags
O Mind, Listen to Me is based on Locana dāsa Ṭhākura’s song Avatāra-sāra. The mind plays a pivotal role in meditation, as the state of mind at the time of death determines our future. When leaving the body, the subtle body—dominated by the mind—carries the soul to its next destination. In this song, Locana dāsa Ṭhākura directly addresses his mind, highlighting various poor choices and attitudes that not only fail to yield the desired outcomes but also hinder spiritual progress. He earnestly pleads with his mind to heed the soul’s guidance and embark on the path of liberation by worshiping Gaura, the essence of all avatāras.13 - O Mind, Listen to Me
Bird of My Heart, originally titled Kena Hare Kṛṣṇa, is a song by Bhaktivinoda Ṭhākura in which he addresses his soul, situated within his heart, metaphorically envisioning it as a bird. This imagery is inspired by the Upaniṣads, where the individual soul and the Supersoul are likened to two birds perched on a peepal tree, with the tree symbolizing the body. The central theme of the song is the profound disappointment over the soul’s hesitation to chant the holy name of the Lord. Bhaktivinoda warns that once the body perishes and the tongue is consumed by the funeral pyre, the opportunity to chant will be lost.14 - Bird of My Heart
This song by Govinda dāsa Kavirāja is another heartfelt appeal to the mind, urging it to worship the lotus feet of the Supreme Lord. In Bhajahū re mana, presented in this collection as Free From Fear, he emphasizes that Kṛṣṇa’s lotus feet possess a unique power to liberate their worshiper from all fear (abhaya-caraṇāravinda). Highlighting the uncertain and turbulent nature of material existence, along with its inevitable hardships, Govinda dāsa implores his mind to embrace the ninefold processes of devotional service. By doing so, not only can one achieve fearlessness, but also attain the ultimate spiritual goal of life.15 - Free From Fear
The Treasure of Love, by Narottama dāsa Ṭhākura, is a deeply introspective song addressed to Gorā Pahū, Śrī Caitanya Mahāprabhu. The original title, Akṣepa (Regret), reflects the inner turmoil a devotee experiences upon realizing that the precious opportunity to attain the treasure of love (prema-dhana) has slipped away. Narottama reflects on his life, lamenting his failure to seek the association of saintly souls and, instead, chasing after the fleeting shadows of material objects. He concludes that his pursuits have been in vain, and in the final stanza, he cries out in sorrow, questioning how he can continue living under such circumstances.16 - The Treasure of Love
Bhaktivinoda Ṭhākura’s song Manasa, deha, geha, presented here as Mind, Body, and Home, depicts the ultimate state of surrender, ātma-nivedana—the complete surrender of all one’s possessions, including the self, or the soul, at the lotus feet of the Lord. Bhaktivinoda Ṭhākura goes so far as to express that he would not mind being born as an ant, provided that he takes birth in the home of a pure devotee and is granted the opportunity to engage in devotional service.17 - Mind, Body, and Home
The final song, once again by Bhaktivinoda Ṭhākura, brings the cycle to a close, transitioning from the often somber moods of introspection to the radiant realms of spiritual life. The Ocean of Bliss, originally titled Ātma-nivedana, testifies to the exquisite fruit of unreserved surrender in pure devotional service, which immerses the devotee in an ever-expanding ocean of nectar. At this stage, there is no longer any anxiety or fear; the mind is enlivened, and the devotee feels liberated from all yearning and sorrow.18 - The Ocean of Bliss