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Part 1: Title: The Discipline of Satsaṅg: Control and Oneness Moment, moment, moment. This is the problem with us. First, let the singer sing; then they will sing again, and we join in. They will take a little time, and then they will sing, and again they will sing, and then you sing with them. So keep your power strong. It is very, very important. Not just once, and then you run off with them — no. The locomotive goes first, and then the carriages follow. It is a real need; we need time. There is one very nice story, a little story, a very little story. After this, I will tell you the story, but you must remind me which story it is. Okay, so first they will sing, and if you, in between, begin to sing, then I will say stop. Again we begin. So who is first here — singer and instrument? Yes, so he is the… you are a singer. Okay, so only these two are singing. Others should not sing. Only the one who is playing an instrument will do so. Others should not go like this, okay? That’s it. So this is training today. Will you follow this? Only these two, our sisters, they will sing. When they finish, they will give a little time, and again they will say, “They sing, and you sing along.” Something is better like this. So this means that we need the power. Power means, it doesn’t matter if you are the best; still you have to hold it. You can do good āsanas better than others, but now others have to demonstrate, and after that you can do it. Yes? So only these two are the singers, and then there is a five- or ten-second pause, and then they will sing and we sing along. You can sing twice, and then again they keep time, and then sing further. Mahāprabhujī kī Karatā Mahāprabhujī kī Karatā… Many, many Indians are always listening to our bhajans. But now we have to come… We should not be classical. This is a claw — claw and see and color. We don’t want this. But when it comes from the heart, then automatically it is classical, okay? So, let’s do something and remind me of the story, okay? Yeah, and what does that story mean? I cannot resist; I can’t control myself. Except, there are different things to control, but sometimes we cannot control. When we are about 80 years — 75, 78, 90, 95 — then mostly the males, they cannot control. They must have the gentleman’s room. Do you understand? That’s it. But you are all young, you can do it. Or there are some others. When the husband comes home and is very angry — he was angry at the clients — but he puts his anger on his wife. Maybe she cannot control it; she has to go to the woman’s room. Control. Very good. Everything. Everything. We have to control all our five indriyas, ten indriyas. Yes. So that’s why Patañjali said, “Atha yogānuśāsanam.” First is the control, anuśāsanam. Even if you are the best singer, now you have to control. Sometimes one cannot control it; it happens. In Olympia, Olympia’s games, competition, they choose some chapters. Others cannot run in the field. Others cannot run in the field, but sometimes we see it happen: one runs quickly, and he is good at running; others want to go around and catch him, but they can’t catch him because he is so quick. Let it, let it. So, you are controlling many things we have to control. There are two things that are very difficult to control. One is the tongue, with ice creams and sweets and this. It’s very difficult to control. So, okay, let’s go on. You sing exactly, and then they will sing, and then again you will sing with them, alright? We have a time. And always we say, “Jai Satguru, Gurudev kī Jai, Mahāprabhujī kī Jai,” etc. She is singing still, then they will make a little time, again you sing, and then they will sing. Then, you see, that is control. Listen, okay, further again. Yes, it was good. Not? Yes, the balance. So there are two things. Now, this is what we had, and we enjoyed it. And we tried to understand what this bhajan means. But some were not enjoying, about, let’s say, thirty-two percent. They did not let others enjoy. And that is not to be offended, but it is like this. There is one girl sitting here in front of me near the pillar, and beside her is sitting another girl. It’s okay. They all are sitting like this, but it’s not only one. There are many. There is someone whom I can tell by name, that that one is never angry. So, like her, there are many. And what is happening? When we sing, then you are enjoying. But what’s happening? When I’m giving a lecture, or singing day, then you, this 32%, they enjoy very much. But others, let’s say 72%, cannot enjoy. Because one cannot control, and that I can tell you: as soon as the singer begins to sing, and other ones sitting there — they should be like this — then she comes here, others go to the other side, he goes like this. So this is a very Annapūrṇā. She so enjoys it like this. Another girl gave up, and she’s sitting like this. And the second is, of course, she was doing it, but she got such a place that people could look like that easily. And her name is called Ekta, Ekta. Now you know who that is. Yes, so there are many, many. Now we will sing bhajans, and please observe how we object one to head to this side and this side. Or, when we sing, they all go on this side and this side. There is one beautiful video, very beautiful. It was in the time of the Holy Gurujī in the Ashram, in Mahāprabhujī’s Ashram, Śikhā Nedargāsī. And there is a beautiful video. And there you see, Ekta was so quickly like this. Yes, the whole video is beautiful, but… It means it is in the heart, like Mīrābāī, yeah? Mīrābāī, what happened: her husband or his father gave her poison, you know, and then she drank it, and then she danced, and how she got happy. That means it is becoming oneness. And you sing once more, but the singer is singing many times, repeating. Gaṅgā rūpaṅ gaṅgā rūpaṅ… And then everybody is singing so wrong. So that’s called the dog, how to call the parliament. From one street, there are ten dogs, and more in India, or maybe in other countries. Because they are free, and it should be free. Not in the house. So in Romania, Bulgaria, everywhere, there are dogs. They are free in the street. That is the freedom of a dog. But if you have dogs, you have to pen them in. You drive, walking, okay, coming up. That’s okay. But freedom is different. So there are three streets commuting. So one is saying, “Wow, wow… how many?” Others also, “Wow, wow.” The third one, and when you see in the parliament — maybe I don’t see your parliaments, but the Indian parliament is so beautiful that when one is talking, others are standing up and saying, “No, and no,” and so it is a very nice dance. So we should not do like that. Peace and bliss are the result of satsaṅg. And in satsaṅg, there is peace, there is goodness. Ok, next bhajan, and we will see how it… If then, once you begin, you should go like this, and then you can go like… So, then it’s okay. Okay, so who is sitting there behind? Annapūrṇā, who is behind you? Māyā. Māyā. Mommy, that’s very good. Come on, please. Very good? Well, it’s very, very good. But mostly, this time, they were moving like this. Relax in oneness. That’s very important. So, there is a, what we say, control. When we talk about control, we control ourselves for others to control in a positive way or in a negative way. So this is very, very important: what shall we control? And we shall control for others. If there is something negative and people ask you something, you will not; you will control it. You will not tell someone negative things. So, there are many things to control. And with friends, to be a friend. To be a friend to friends is very important. So many, I think Gurujī was telling this story. So there was a very beautiful camel. You know the camel? It’s beautiful. And it is said that God has created all. But Shiva has created the camel. You should know, and he had five legs. So he had a problem, the camel. So it was Śiva, he took and put his one leg again in the heart. Who did not see? Who haven’t seen the camel nearby? Who did not see? And so many were there, you have seen the camel? Not on television. Yeah, did you see the camel nearby? Okay. Doesn’t matter. So the camel, how many meters height is the camel? So, the camel — how many meters in height is the camel? And the head of the camel, how high? And the head of the camel, how high? It depends. Yeah, so it is. There are small dogs, and there are big ones. Well, and then, little fox. It is small. They are good friends. So, whenever a camel goes into the forest, and something to eat. So that fox, he’s asking, talking with a friend. So he said, “Friend, you are eating there, and I’m down, and I cannot talk to you properly.” The fox is very, very clever. Among the animals, it’s the fox. And in humans, you know who? Yes, this is that. Now you know it, okay? And he has all the messages. He knows what everyone is doing. Yes? So, if you have a good barber, just be, how to say, friendly, but be away. So it is like this: once, a long time ago, it was that time when there were only black-and-white televisions. And so I was only listening to German through this. I didn’t go to this school in Vienna to learn. So there was a private school for German language, so three times I went. And they said something means this one, this, and this. I said, “I know more than this. Do you?” It’s my weakness, okay? I want to see the learned German, and of course, I could talk only how. Then, there was Mātājī, the mother, in Vienna, and she was an English professor, and she is, of course, Austrian. And when I said, “You are also Austrian,” she said, “I am not Austrian.” Then, who are you? These beautiful mountains, what are called the Tirol. She said, “I am from Tirol.” Well, everyone loves their birthplace. But now we don’t know where our birthplace is. Now, our birthplace is in a hospital. You are born in a hospital? Yes. So she said, “You should learn German.” I said, “You teaching me is enough.” So there are mothers, like mothers, they are clever. Yesterday evening, late evening, this little girl, three and a half years old, and she liked to see my telephone. Always sitting and looking at all these little animals and things like this. Then Umāpurī brought a little toy in the form of a little bird. And when you touch like this, it makes it like this. So, she gave up the telephone here, and she was playing with that. Part 2: The Camel and the Fox: Control through the Five Mantras Swamiji shared a story to illustrate how we can learn control. It began when he was learning German. He had asked for driving lessons, and an English-speaking instructor was provided; but unable to understand anything, he requested a German one. Māta ji then told him he would have to learn, so she would teach him in short sessions of three minutes, after which he would do his mālā. One afternoon, he watched a television program for children—a film about cowboys. The cowboys were very tricky, but through these stories he picked up a little German. He recounted that this is how many things come. There is a camel, a very humble animal, big and eating a great deal, and a fox who eats little. They were friends. One day the fox said to the camel, "About ten or twelve kilometers away there is a dry river, and on the other side a big corn farm with many farmers. We can eat there at midnight." The camel agreed, and they went very silently. Camels have long legs, so the camel stepped over the fence, while the fox slipped under it. Then the fox spoke: "My dear brother, when I eat until my stomach is full, I have one weakness: I start screaming. Then the farmers will come and beat us." The camel asked him to wait until he too had eaten, since his stomach was much bigger. So the fox sat on the camel’s back, and they entered the field. The camel began to eat. The fox ate only three or four guguruts, and then said, "My friend, I can’t wait, I must scream." The camel pleaded, "Wait, my dear, I am still eating." But the fox cried, "No, no, I must!" and he screamed. Five farmers came with bamboo lathis and beat the camel. The fox slipped under the fence and ran away. The camel tried to leap over the fence, but his hindquarters were so large that the farmers caught and beat him there. After two kilometers, the fox said, "My friend, I am so sorry. I will never do it again." The camel said, "Okay." Yet a few more times the fox would eat first and then scream, saying, "I cannot control it." One day, while they were eating in the farm, a heavy rain fell and water filled the river to about two meters. Now they had to cross the water. The fox said, "Please, can I sit on your back to cross?" The camel answered, "Of course, you are my friend." So the fox climbed onto the camel’s back. In the middle of the river, the camel said, "Fox, I have a peculiar urge that I cannot control. I have to sit down in the water and roll, even though it is two meters deep." The fox begged, "Please, just sit, don’t roll! I will do my best to stay on." But the camel insisted, sat down, and rolled. The fox, who could not swim, fell into the water and somehow struggled to the bank. The camel slowly got up and began to walk away. Shivering, the fox called out, "My friend, stop! Stop, I’m cold! I’m so sorry." The camel replied, "You know how many times I took the bamboo beatings on my buttocks? I said ‘Okay, okay’ many times. But how many times did you say ‘Oh, I cannot control’? So I also could not control." Then the fox stood before the camel and pleaded, "Please, this time I will not scream. I will sit on your back and watch for farmers. When you are full, then we will leave." So, when there is a friend, one must learn control. And how to teach control? I gave you the lesson through this camel and this fox. Control means many things. People say a thousand times, "I will never drink again," but in the evening they drink or take drugs. Or they say, "Today I will not meditate because I am tired." Excuses are of two kinds: when we do something wrong, we tell a friend, "I’m sorry, excuse me"; but we also must learn the lesson. For that control, we need a mantra. And how many mantras? Five mantra trainings. What are these five? First is likhna, writing the mantra. Did you write your mantra many times? At least 8,000 pages, because it is an 8-mālā. Next comes pronunciation—so we can say Rāma, Rāma. But before writing, what is Rāma? Write, write, write. So first writing, then pronouncing, then pronouncing only with the lips—no sound, yet we are singing. This is the way of Hanumānjī, Bhagavān Hanumān and God Rāma. Hanumānjī is a great devotee of Rāma; day and night he chants Rāma, Rāma, Rāma. He becomes so absorbed that when he is gaining momentum, you cannot say "Rām, Rām, Rām" with him—you would lose the thread. There is a difference, you see. When Hanumānjī was doing like this, "Rām, Rām…" it was still Rām, Rām, yet Rām was there. This is called Lagī Lagana, this bhajan. Through manas, buddhi, citta—in all these—we should pronounce our mantras. Then you will see how much power, energy is in you. That is Hanumanjī doing mantra. In each and every cell of Hanumān, the voice of Rāma vibrated: "Rām, Rām… Rām." One day, they were sitting in satsaṅg. Sītā was there, God Rāma was there. Behind them were Hanumān and Lakṣmaṇ, and near the holy feet of God Rāma, Hanumān sat. Hanumān always remained absorbed like this, and God Rāma, half the time, looked at him. After about forty minutes, Sītā felt a little offended and thought, "Why does my Lord Rāma not look at me? He looks all the time at this monkey. He loves the monkey, not me." Bhagavān Rāma understood what Sītā was thinking. He leaned forward, plucked one tiny hair from behind Hanumān’s head, took it in his left hand, and brought it near Sītā’s ear. What happened? Sītā heard the resonance in that little hair: "Rām Rām…" Every cell and every hair of Hanumān’s body carried the voice of Rāma within him. That is why Rāma was completely present in him too. So, like this, when we perfect our mantras—write, write, write your mantra. Write your mantra, write, write. Therefore, God has only two letters: Rāma, Rāma. Rām, Rām. And we have a very large Om, So’ham, Śrīguru, Brahma, Śrī, Purī, Pura, Nārāyaṇa, Namaha. No, it doesn’t matter; we have the complete. So, likhit mantra, then pronouncing mantra, then inner vocal cords mantra (upāṃśu), then mental—only mental, no movement, no tongue—and then comes the fifth one. That fifth means you don’t need to chant; you should chant, you should worship, but in each and every cell of your body, that name of God is present. You can change it to Jesus, Jesus, whatever; your Guru, your God, whatever. But not one day this, the next day that, and two months something else. That means we lose our life. You are born once; your mother will not put you back into the womb and give you birth again. You are born only once from your mother. And now, mother gave you birth and said, "Now grow and go." Continue in the same way. Only the guru, only the master, that mantra—then the siddhi is there. Not once this woman, once that man, nothing—it is a loss. Then you lose your nest, nowhere. Then God will ask, "Where are you? What have you done?" That cannot be; go back. It is a reality. Therefore, Likita Mantra, then the Singing Mantra, then Silent Mantra, Upāṃśu Mantra, Mental Mantra, and the Fifth Mantra. These are the five mantras: with writing—what we call likhit, bekārī, upāṃśu, mānasik—and then you will be good, my dear. But in between, what happens with us? We are the fox. We jump here and wait there. Nothing. There was always something to me—that is when we want to do it. It’s okay. I don’t say only me or you. Any god, Hanumānjī, even we are worshipping the dog. Yes, that dog is very, very important. There is a guard called Hanumān, Berūjī, and Berū had with him a dog. It is a big story, many big stories. So we have to learn that. Do you practice your mantra? Do you recite your mantra? How many mālās have you made? Many people say, "No, no, we don’t need a mālā; I only want to sit and meditate." Gurujī said, "Yes, you are lost in nothing." You are doing mantra, the mālā is gone, and the mantra is also gone. Only somewhere, lost, lost. There is a song: "And I lost my dear something…" Yes, something. So sing the mantra again, come back to what I am telling you many times. Did you write your mantras? Yes, every day, five times means write down the mantra eleven times, yes, twenty-one, twenty-five, thirty-one, thirty-five, elevens—proper number, that’s it.