अखंडध्यान — समास 3: कवित्वकळानिरुपण

कवित्व शब्दसुमनमाळा । अर्थ परिमळ आगळा । तेणें संतषट्पदकुळा । आनंद होये ॥ १ ॥

शब्दरुपी फुलांची माळा म्हणजेच काव्य. कवितेचा अर्थ म्हणजे त्या माळेंतील सुंदर फुलांचा सुगंध होय.

This poem is a garland made of this pure `word'. Its meaning has a very special fragrance and just like the bees around the flowers, it gives bliss to the Saints. (Its meaning remains when the gross objects have gone, just like the fragrance of the flowers remain even if the flowers are removed)

ऐसी माळा अंतःकरणीं । गुंफून पूजा रामचरणीं । वोंकारतंत अखंडपणीं । खंडूं च नये ॥ २ ॥

अशा शब्दरुपी फुलांची माळा अंतःकरणी गुंफावीआणि पूजा म्हणून रामचरणीं वाहावी. सर्व शब्दांचे मूळरुप म्हणजे ओंकार होय. परेपासून ( परा वाणी ) वैखरीपर्यंत त्याचा तंतु अखंड राहतो. तो तंतु तुटणार नाहीं याची काळजी घ्यावी.

When such a garland is strung together in your *antah-karana then, one is worship- ping lord ram's/Master's feet. Therefore this continuous connection with this original `word' should not be broken. *(This knowing faculty consists of knowing, the mind, intellect, thinking and ego. It is the workings of this thing we refer to as our brain)

परोपकाराकाीरणें । कवित्व अगत्य करणें । तया कवित्वाचीं लक्षणें । बोलिजेती ॥ ३ ॥

जनतेचे कल्याण व्हावे यासाठी कविता अगत्य करावी. ती कविता कशी असावी तें आतां सांगतो.

To gain that One who uplifts this `other/all' (ie. that atma purush), this poem should be carefully and lovingly made. One should therefore `speak' this poem, `I am He'.

जेणें घडे भगवद्भक्ती । जेणें घडे विरक्ती । ऐसिया कवित्वाची युक्ती । आधीं वाढवावी ॥ ४ ॥

ज्या कवितेनें भगवंताची भक्ति वाढेल आणि विरक्ति उत्पन्न होईल अशा प्रकारची कविता पुष्कळ करावी.

Due to mula maya (ie. this poem) there arises devotion to God; due to this poem, one becomes disinterested in worldly desires. Due to this poem, the `word' that is at the beginning (ie. in the beginning was the Word), is made to grow and grow (maharaj- become so big you pervade the whole world).

क्रियेवीण शब्दज्ञान । तया न मनिती सज्जन । म्हणौनी देव प्रसन्न । अनुतापें करावा ॥ ५ ॥

स्वानुभवावांचून जें नुसतें शब्दज्ञान असतें त्यास संतसज्जन किंमत देत नाहीत. म्हणून अनुतापानें देव प्रसन्न करुन घ्यावा.

Without this action of the `word' (`He does everything') one cannot accept that Reality (first be established in this `I am'). By the surrender of one's ego, one will receive this blessing from God.

देवाचेन प्रसन्नपणें । जें जें घडे बोलणें । तें तें अत्यंत श्र्लाघ्यवाणें । या नाव प्रासादिक ॥ ६ ॥

देव प्रसन्न झाल्यावर जें शब्द येतात, जें जें कांहीं वाणींतून प्रगट होते, तें सारें अतिशय चांगलें असतें. त्याला प्रासादिक असें म्हणतात.

When one receives this blessing from God (ie. purush) then, this `speech' of mula maya appears. `I am' is this inspired poem and it is the praising of that Reality.

धीट पाठा प्रसादिक । ऐसें बोलती अनेक । तरी हा त्रिविध विवेक । बोलिजेला ॥ ७ ॥

धीट, पाठ आणि प्रासादिक असें कवितेचें तीन प्रकार आहेत. हें तीन प्रकार काय आहेत तें सांगतो.

There is the bold poem, the learned poem and this inspired poem. But when this `speech' is forgotten then, there will be numerous different forms in this world. Therefore these three forms of vivek should be `spoken'.

धीट म्हणिजे धीटपणें केलें । जें जें आपुल्या मनास आलें । बळेंचि कवित्व रचिलें । या नाव धीट बोलिजे ॥ ८ ॥

धीटपणानें केलेलें काव्य तें धीट कवित्व होय. आपल्या मनांत जें कांहीं येते तें काव्यांत प्रगट करणें यास धीट काव्य म्हणतात.

The bold poem gets formed when one is resolute and determined. Then no matter what comes to your mind, still you remain determined and with great effort, this `I am' poem is composed. Thus, if one is bold and throws off the `many' thoughts then, this `I am' will be `spoken' (in the beginning continuous effort is required to leave these thoughts you have created of this imagined world and perceive this `I am'; see 13.10.23).

पाठ म्हणिजे पाठांतर । बहुत पाहिलें ग्रंथांतर । तयासारिखा उतार । आपणहि केला ॥ ९ ॥

पाठ म्हणजे पाठांतर पुष्कळ ग्रंथ वाचून त्यामधील काव्यासारखी कविता आपण करणें यास पाठ कवित्व असें म्हणतात.

The learned poem means this `all' has been understood from that which one has learned and remembered within the scriptures (they tell us this world is illusory, a figment of our imagination and by the practice of neti, neti this `all' is come upon). It is a medicine similar to that Reality but it has been created by you. (Therefore these are two ways to gain this `speech' of mula maya; and then afterwards the `speech' of this inspired poem arises effortlessly from that purush and no more sadhana is required)

सीघ्रचि कवित्व जोडिलें । दृष्टी पडिलें तें चि वर्णिलें । भक्तिवांचून जें केलें । त्या नाव धीटपाठ ॥ १० ॥

तत्काळ कविता करण्याची शक्ति संपादन केली, म्हणजें मग जें दिसेल त्यावर कविता रचली जाते. जें भगवंताच्या भक्तिशिवाय केलें जाते त्यास धीट कवित्व म्हणतात.

But when a poem has been put together quickly from whatever has fallen in front of one's vision then, this `all' ceases and that Reality gets described in words. Then there is this description void of any devotion and this `I am' becomes a poem collected from the things of this world and learnt from the things of this world (you may have understood this `all' but then the mind objectifies and sees something and describes it. "Oh, there is this and that and want to have this and learn more about that" This is called a bold and learned poem).

कामिक रसिक श्रृंघारिक । वीर हास्य प्रस्ताविक । कौतुक विनोद अनेक । या नाव धीटपाठ ॥ ११ ॥

जी कविता कामिक व रंगेल आहे, जिच्यामध्यें श्रृंगार, वीर, हास्य, पश्र्चाताप, कौतुक, विनेद इत्यादि अनेक विषय असतात त्या कवितेला धीटपाठ कविता म्हणतात.

This type of poem is sensual, sentimental and passionate; and it is courageous, humorous and sad. Then there is curiosity, delight and surprise and this wonder of `I am' becomes the appreciation of the numerous different forms in this world and so this `speech' becomes a poem that is bold and learned for only the things that are illusory.

मन जालें कामाकार । तैसेचि निघती उद्गार । धीटपाठें परपार । पाविजेत नाहीं ॥ १२ ॥

कवीचें मन कामवासनेंने भरुन कामाकार झालें, म्हणजे त्यास अनुसरुन त्यांचे उद्गार निघतात. अशा धीटपाठ कवितेनें परमार्थ साधत नाहीं.

11. This type of poem is sensual, sentimental and passionate; and it is courageous, humorous and sad. Then there is curiosity, delight and surprise and this wonder of `I am' becomes the appreciation of the numerous different forms in this world and so this `speech' becomes a poem that is bold and learned for only the things that are illusory.

व्हावया उदरशांती । करणे लागे नरस्तुती । तेथें केली जे वित्पत्ती । त्या नाव धीटपाठ ॥ १३ ॥

पोटांतील भुकेची आग शांत करण्यासाठीं कवीला माणसांची स्तुती करावी लागते. अशी नरस्तती करण्यासाठीं केलेली कविता म्हणजे धीटपाठ कविता होय.

These are composed to flatter. These are required for the business of keeping the belly satisfied. `There' had become mula maya and when afterwards this eloquently expounds upon the shasthras then, this `I am' becomes the bold and learned poems about the empty and false (then this `I am' poem becomes the thoughts of this gross existence).

कवित्व नसावें धीटपाठ । कवित्व नसावें खटपट । कवित्व नसावें उद्धट । पाषांडमत ॥ १४ ॥

कविता धीटपाठ नसावी. कविता ओढूनताणून केलेली नसावी. कविता उद्धट किंवा पाखंड मत प्रतिपादन करणारी नसावी.

Your poem should not be such a bold and learned poem. This poem should not trouble and squabble. This poem should not be arrogant, sacrilegious opinions.

कवित्व नसावें वादांग । कवित्व नसावें रसभंग । कवित्व नसावें रंगभंग । दृष्टांतहीन ॥ १५ ॥

कवितेंत वादविवादाचें अंग असूं नये. कवितेंमध्यें रस भंग व रंगाचा बेरंग नसावा. दृष्टांतावाचून कविता असूं नये.

This poem should not be arguments. This poem should not break the essence. This poem should not break the splendour and be lacking in this `end of the visible' (ie. end of objectivity).

कवित्व नसावें पाल्हाळ । कवित्व नसावें बाष्कळ । कवित्व नसावें कुटीळ । लक्षुनियां ॥ १६ ॥

कवितेंत पाल्हाळ व पाचकळपणा नसावा. वाईट किंवा लबाड लोकांना उद्देशून कविता करुं नये.

This poem should not be rambling and this poem should not be frivolous or unrestra- ined. This poem should not be malicious and spiteful gossip (ie. the bold and learned poems are composed when one sees a gross world through the senses and the mind takes this resolutely to heart and dwells upon and remembers these objects only).

हीन कवित्व नसावें । बोलिलेंचि न बोलावें । छंदभंग न करावें । मुद्राहीन ॥ १७ ॥

हलक्या दर्जाचे कवित्व नसावें. कवितेंत तेंच तेंच पुनः पुनः सांगितलेले नसावें. काव्यशास्त्राचे नियम मोडणारें कवित्व नसावें. छंद, मात्रा, वृत्त वगैरेंचें नियम मोडूं नयेत.

Your poem should not become these inferior poems and then afterwards this `speech' even should not be `spoken' (the `word' should merge within the thoughtless). There should be no break in your fond regard for this inspired poem or any lack of attention.

वित्पत्तीहीन तर्कहीन । कळाहीन शब्दहीन । भक्तिज्ञानवैराग्यहीन । कवित्व नसावें ॥ १८ ॥

विद्याविलास, तर्क, कला, उचित शब्द, भक्ति, ज्ञान, वैराग्य यांचा अभाव असणारें कवित्व नसावें.

Poetry should not be devoid of this knowledge of the scriptures (neti, neti) nor devoid of *logic, nor this unique art of knowing. It should not be devoid of this `word' or of devotion/bhakti, knowledge/gnyan and renunciation/vairagya. *(With just a little thought we will come to understand that the things we see with our eyes cannot be the truth)

भक्तिहीन जें कवित्व । तेंचि जाणावें ठोंबें मत । आवडीहीन जें वगत्रुत्व । कंटाळवाणें ॥ १९ ॥

ज्या काव्यांत भक्ति नाहीं तें अडाणी काव्य समजावें. जें काव्य भक्तिच्या आवडी विरहीत असतें तें कंटाळवाणें होते.

When this mula maya has become these poems void of any devotion then, you should know that that Reality has become just like these foolish thoughts. When eloquent speech is lacking in love then, it is merely tiresome and mind-numbing.

भक्तिविण जो अनुवाद । तोचि जाणावा विनोद । प्रीतीविण संवाद । घडे केवी ॥ २० ॥

भक्तिशिवाय केलेली काव्यरचना हें मनोरंजनच समजावें. भगवंताच्या प्रेमाखेरीज त्याच्याशी खरा वार्तालाप होत नाहीं.

When lacking in devotion/bhakti then, there is parrot-like repetition and that should be known as only amusement. How can there be a silent dialogue between the guru and disciple when there is no love?

असो धीट पाठ तें ऐसें । नाथिलें अहंतेचे पिसें । आतां प्रासादिक तें कैसें । सांगिजेल ॥ २१ ॥

असो. धीटपाठ कविता ही अशी असते, मिथ्या असलेल्या अहंकाराला लागलेलें तें एक प्रकारचे वेडच आहे. प्रासादिक कविता कशी असते तें आतां सांगतो.

So be it, such is the case when that Reality becomes the bold and learned poems. It is the madness of the non-existent ego. Now be present and just listen to how this inspired poem becomes that thoughtless Self.

वैभव कांता कांचन । जयास वाटे हें वमन । अंतरीं लागलें ध्यान । सर्वोत्तमाचें ॥ २२ ॥

ज्याला वैभव, पैसा आणि कामवासना तिन्ही वांतीसारखीं वाटतात, ज्याच्या हृदयांत भगवंताचे ध्यान अखंड चालूं असतें.

When that mula maya (ie. this poem `I am') feels that the glories of woman and gold are like vomit, then in this inner space there is the meditation of that purush.

जयास घडीनें घडी । लागे भगवंतीं आवडी । चढती वाढती गोडी । भगवद्भजनाची ॥ २३ ॥

क्षणाक्षणाला ज्यास भगवंताचें स्मरण होतें आणि त्यामुळें त्याला असलेली भगवंताची आवड वाढत जातें, ज्याची भगवंताची भक्ति आणि भक्तिची गोडी अधिकाधिक वाढत जाते,

Then that purush is each and every moment lovingly attached to God and His bhajans rise higher and grow deeper (He is in Himself).

जो भगवद्भजनेंवीण । जाऊं नेदी येक क्षण । सर्वकाळ अंतःकरण । भक्तिरंगें रंगलें ॥ २४ ॥

भगवंताच्या भजनावांचून एक क्षणदेखिल तो वाया जाऊं देत नाहीं, ज्याचें अंतःकरण सदैव भगवंताच्या प्रेमांत रंगलें आहे,

That purush does not allow a moment to pass without the bhajan of God and in this `time of the all' His antah-karana delights in the splendour of no-otherness.

जया अंतरीं भगवंत । अचळ राहिला निवांत । तो स्वभावें जें बोलत । तें ब्रह्मनिरुपण ॥ २५ ॥

आणि ज्याच्या अंतर्यामी भगवंत अचल आणि स्थिर असतो, असा एकच पुरुष जें सहज बोलतों तें ब्रह्मनिरुपण होय.

Then this mula maya is that God (ie. mula purush) within this inner space and stays steady and silent. When that purush knows this natural `speech' then, there will be that discourse of brahman.

अंतरीं बैसला गोविंद । तेणें लागला भक्तिछंद । भक्तीविण अनुवाद । आणीक नाहीं ॥ २६ ॥

अंतःकरणामध्यें भगवंतानें ठाण मांडल्यानें अशा पुरुषाला भक्तिचा छंद लागतो. त्यामुळें तो भक्तवांचून दुसरें कांहींच बोलत नाही.

When you understand that govinda Himself dwells within you then, there is a longing for His devotion. Without this devotion there is nothing more than mere repetition (maharaj- you get up, you eat, you go to work, you come back, you eat and then you sleep; and in the morning you get up and do it all over again. Don't you ever get tired of it?).

आवडी लागली अंतरीं । तैसीच वदे वैखरी । भावें करुणाकीर्तन करी । प्रेमभरें नाचतु ॥ २७ ॥

अंतर्यामीं ज्याची आवड लागलेली असते, त्याला अनुसरुन त्याची वाणी बोलूं लागते. मोठ्या प्रेमानें व श्रद्धेनें तोकरुणारसानें भरलेलें किर्तन करतो. कीर्तनामध्यें प्रेम अनिवार होऊन तों नाचतो.

When in this inner space there is that fondness for His devotion then, this will be expressed in your outer speech. Then one `sings' kirtana with understanding and with overflowing love one dances (when the whole world is myself then, the `all' is myself dancing in delight).

भगवंतीं लागलें मन । तेणें नाठवे देहभान । शंका लज्जा पळोन । दुरी ठेली ॥ २८ ॥

त्याचे मन भगवंताला चिकटल्यानें त्याला देहभान राहात नाहीम. शंका व लाज त्याच्यापासून दूर पळून जातात.

When the mind is merged in God then, body consciousness is not remembered and all doubts and shame run far away.

तो प्रेमरंगें रंगला । तो भक्तिमदें मातला । तेणें अहंभाव घातला । पायांतळीं ॥ २९ ॥

प्रेमच्या रंगानें रंगलेला आणि भक्तीच्या कैफानें मस्त झालेला असा तो स्वतःचा अहंभाव आपल्या पायाखालीं तुडवितो.

Then that purush is immersed in this ocean of love. Then that purush is intoxicated by the wine of devotion and due to this, the ego feeling is knocked off its feet.

गात नाचत निशंक । तयास कैचे दिसती लोक । दृष्टीं त्रैलोक्यनायेक । वसोन ठेला ॥ ३० ॥

तो अगदी निःशंक मनानें गातो व नाचतो. अजूबाजूच्या लोकांचे अस्तित्व त्याला भासत नाहीं. कारण त्याच्या नजरेमध्यें त्रैलोक्यनायक भगवंत भरुन राहतो.

He `sings and dances' throughout this world without fear and without doubt. How can that purush see a visible world when He is established as the Master of all the three worlds?

ऐसा भगवंतीं रंगला । आणीक कांहीं नलगे त्याला । स्वइच्छा वर्णूं लागला । ध्यान कीर्ती प्रताप ॥ ३१ ॥

अशा रीतीनें जो भगवंताच्या ठिकाणी रंगून जातो त्याला कशाचीही वासना शिल्लक उरत नाहीं. मग तो स्वछंदपणें भगवंताची ध्यान मूर्ती, त्याची कीर्ति आणि त्याचा प्रताप यांचें वर्णन करुं लागतो.

Such is His delight in God that, that purush does not even need this `thing'. His `wish' is His praise of God and His meditation is His own fame and glory.

नाना ध्यानें नाना मूर्ती । नाना प्रताप नाना कीर्ती । तयापुढें नरस्तुती । त्रुणतुल्य वाटे ॥ ३२ ॥

भगवमताच्या नाना प्रकारच्या ध्यानमूर्ति, सगुण मूर्ति, कीर्ति आणि पराक्रम वर्णन करण्यापुढें माणसाची स्तुति करणें त्याला अगदीं कःपदार्थ वाटतें.

Then the `many' poems and there is God's form `I am' ; there are the `many' poems and there is God's sacred image, `I am everywhere'. There are the `many' poems and His glory and there are the `many' poems and His pervasiveness. But before that purush, the praise of man is as about as much worth as a piece of straw.

असो ऐसा भगवद्भक्त । जो ये संसारीं विरक्त । तयास मानिती मुक्त । साधुजन ॥ ३३ ॥

सार्‍या संसारापासून विरक्त असणारा असा तो वर वर्णन केलेला भगवद्भक्त असतो. त्याला संतमंडळीं मुक्त पुरुष मानतात.

So be it! Like this is the devotee of God. When that purush is this desireless thoughtlessness within samsar, then He is the liberated sadhu.

त्याचे भक्तीचें कौतुक । तया नाव प्रसादिक । सहज बोलतां विवेक । प्रगट होय ॥ ३४ ॥

अशा पुरुषाची भक्ति जेव्हां शब्दरुप घेऊन प्रगट होते, तेव्हां तिला प्रासादिक म्हणतात, त्याच्या सहज बोलण्यांत आत्मानात्मविवेक प्रगट होतो.

When this wonder of devotion comes to that purush then, there is this inspired poem. When there is this natural `speech' then, that is vivek.

ऐका कवित्वलक्षण । केलेंच करुं निरुपण । जेणे निवे अंतःकर्ण । श्रोतयांचें ॥ ३५ ॥

आतां उत्तम कवितेचे लक्षण ऐका. मागें सांगून झालें आहें तेंच पुनः सांगतों. तें सांगितल्यानें श्रोत्यांचें अंतःकरण तृप्त होईल.

Listen with the attention of this poem. Listen, for then there is that discourse with brahman and due to this, the antah-karana of the listener becomes still.

कवित्व असावें निर्मळ । कवित्व असावें सरळ । कवित्व असावें प्रांजळ । अन्वयाचें ॥ ३६ ॥

उत्तम कविता निर्मल, सरळ आणि मागचा पुढचा संदर्भ स्पष्ट करणारी असावी.

This poem should be pure. This poem should be easy and simple. This poem should have the clarity of this `I am' connection.

कवित्व असावें भक्तिबळें । कवित्व असावें अर्थागळें । कवित्व असावें वेगळें । अहंतेसी ॥ ३७ ॥

कविता भक्तीच्या भरांतून आलेली असावी. ती मोठ्या आशयानें भरलेलीं असावी. तिच्यामध्यें अहंकाराचा मागमूस नसावा.

This poem should have the power of no-otherness. This poem should be full of the meaning (maharaj words are empty, the meaning is paramatma). This poem should be void of body consciousness.

कवित्व असावें कीर्तिवाड । कवित्व असावें रम्य गोड । कवित्व असावें जाड । प्रतापविषीं ॥ ३८ ॥

कवितेंत भगवंताची भरपूर कीर्ति, स्तुती असावी. कविता मन प्रसन्न करणारी व गोड असावी. कवितेमध्यें देवाचे पराक्रम काठोकाठ भरलेला असावा.

This poem should increase ones pervasiveness. This poem is auspicious and beau- tiful. This poem should be overflowing with His glory and splendour.

कवित्व असावें सोपे । कवित्व असावें अल्परुपें । कवित्व असावें सुल्लपें । चरणबंद ॥ ३९ ॥

कविता समजायला सोपी असावी. तशीच ती लहान असावी. कविता क्लिष्ट नसावी. कवितेचे चरण नियमाप्रमाणें बांधलेलें असावें.

This poem is the most simple of poems. This poem is the subtlest of forms. This poem is the easily attained binding to His feet.

मृदु मंजुळ कोमळ । भव्य अद्भुत विशाळ । गौल्य माधुर्य रसाळ । भक्तिरसें ॥ ४० ॥

कवितेमध्यें मुख्य भक्तिरस असावा. त्या भक्तिरसानें कविता मृदु, मंजुळ, कोमल, तशीच भव्य, अद्भुत, विशाळ आणि व्यवस्थित रचलेली, मधुर आणि रसानें भरलेली अशी असावी.

This poem should be soft, pleasant to hear and delicate. It should be this expansive, splendid existence, beyond this world. It should have the loving sweet taste that has been dipped in the sweet juice of devotion.

अक्षरबंद पदबंद । नाना चातुर्य प्रबंद । नाना कौशल्यता छंदबंद । धाटी मुद्रा अनेक ॥ ४१ ॥

उत्तम कवितेमध्यें, पुढील अनेक गोष्टी असाव्यात. अक्षरबंध, पदबंध, म्हणजे चित्रकाव्य, नाना चतुर रचना, चातुर्यानें रचलेलें निरनिराळें छंद, बंध, धाटी, मुद्रा,

But when that Eternal and Absolute is bound then, there are the `many' acquired wisdoms. Then there are `many' skills and the bindings of longing and then there are `many' different attentions and different shapes.

नाना युक्ती नाना बुद्धी । नाना कळा नाना सिद्धी । नाना अन्वये साधी । नाना कवित्व ॥ ४२ ॥

अनेक प्रकारचे उचित उपाय, चांगलें विचार, सुंदर कलाप्रकार, लहानमोठ्या सिद्धी, नाना कार्यकारण भावा, वेगवेगळे छंद,

Then there are the `many' tricks and the `many' buddhi; there are the `many' arts and the `many' accomplishments; then there are the `many' connections and the `many' poems.

नाना साहित्य दृष्टांत । नाना तर्क धात मात । नाना संमती सिद्धांत । पूर्वपक्षेंसीं ॥ ४३ ॥

नाना तर्हेची माहिती, निरनिराळे दृष्टांत, तर्कप्रकार, कथा व कहाण्या अनेक आधारवचनें, पूर्वपक्षासगट सिद्धांत,

Then there are the `many' suitable examples and the `many' achievements of logic and understanding. This original hypothesis (`I am') is the `many' opinions and it is the establishment of siddhant (I do not exist).

नाना गती नाना वित्पत्ती । नाना मती नाना स्फूर्ति । नाना धारणा नाना धृती । या नाव कवित्व ॥ ४४ ॥

अनेक प्रकारच्या अवस्थांचें वर्णन, भिन्न भिन्न क्षेत्रांतील विद्वता, कल्पना व स्फूर्ति यांचे निरनिराळे प्रकार, अनेक तर्‍हेच्या धारणा, आणि धैर्याचे प्रकार या व असल्या गोष्टींचें सुंदर वर्णन ज्यांत आढळते ती उत्तम कविता होय.

There are the `many' states and the `many' utterances of knowledge; there are the `many' understanding and the `many' inspirations; there are the `many' imaginings and the `many' determinations and there is this poetry `I am He'.

शंका आशंका प्रत्योत्तरें । नाना काव्यें शास्त्राधारें । तुटे संशये निर्धारें । निर्धारितां ॥ ४५ ॥

उत्तम कवितेमध्यें शंका कुशंका, व आशंका मांडून प्रत्युत्तरानीं त्यांचें निरसन केलेलें असावें. अनेक काव्यसंग्रह व शास्त्रग्रंथ यांच्या वचनांचा आधार देऊन निश्र्चित निर्णय करावा. आणि अशारीतीनें संशय मोडून टाकावेत.

This poem is the reply to the doubts and fears and then, the `many' poems are this beautiful poem that supports the scriptures (neti, neti). Due to this poem, this doubt of the `all' will surely be removed by thoughtlessness.

नाना प्रसंग नाना विचार । नाना योग नाना विवर । नाना तत्वचर्चासार । या नाव कवित्व ॥ ४६ ॥

पुढील गोष्टी ज्या साहित्यामध्यें आढळतात त्यास खरें उत्तम काव्य म्हणतां येते. उत्तम कवितेमध्यें अनेक प्रसंग,विचार, योग, स्पष्टीकरणें , तत्वांबद्दल चर्चेचा सारांश,

There are the `many' occasions and there are the `many' thoughts; there are the `many' yogas and there are the `many' investigations; there are the `many' essences of philosophical discussion and there is this poem, `I am'.

नाना साधनें पुरश्र्चरणें । नाना तपें तीर्थाटणें । नाना संदेह फेडणें । या नाव कवित्व ॥ ४७ ॥

साधनें, पुरश्र्चरणें, तपश्र्चर्येचें प्रकार, तीर्थाटनें आणि अनेक शंकांचें निरसन असावें.

There are there the `many' sadhanas and their destruction; there are the `many' penances and pilgrimages and their destruction; there are the `many' doubts and their destruction due to this poem, `I am'.

जेणें अनुताप उपजे । जेणें लोकिक लाजे । जेणें ज्ञान उमजे । या नाव कवित्व ॥ ४८ ॥

ज्या कवितेच्या योगानें अनुताप उत्पन्न होतो, लौकिक जीवनाची म्हणजे देहबुद्धीच्या स्वार्थी जीवनाची लाज वाटते, आत्मज्ञान काय हें बरोबर ध्यानांत येते,

Due to mula maya, repentance/surrender arises. Due to mula maya, shame for the worldly arises. Due to mula maya, there is the understanding of knowledge and this is the poem `I am'.

जेणें ज्ञान हें प्रबळे । जेणे वृत्ती हे मावळे । जेणें भक्तिमार्ग कळे । या नाव कवित्व ॥ ४९ ॥

ज्ञानाचा उत्कर्ष होतो. वृत्ति मावळतात, भक्तोमार्ग आकलन होऊं लागतो,

Due to mula maya, there is an abundance of knowledge. Due to mula maya this knowing vritti gets dissolved in thoughtlessness. Due to mula maya, the path of devotion is understood and this is the inspired poem.

जेणे देहबुद्धी तु्टे । जेणे भवसिंधु आटे । जेणें भगवंत प्रगटे । या नाव कवित्व ॥ ५० ॥

देहबुद्धी नाश पावते, दृश्यभवसागर आटतो, भगवंत प्रगट होतो,

Due to mula maya, body intellect is severed and due to mula maya, the ocean of mundane worldly existence is dried up. Due to mula maya, there is the manifestation of God and this is the inspired poem.

जेणें सद्बुद्धि लागे । जेणें पाषांड भंगे । जेणें विवेक जागे । या नाव कवित्व ॥ ५१ ॥

सद्बुद्धी अंगी जडते,आत्मज्ञानविरोधी मते भंग पावतात. आत्मानात्मविवेक जागा होतो,

Due to mula maya, there is the establishment of a pure buddhi. Due to mula maya, the atheist thoughts are broken and due to mula maya, vivek is aroused and there is the inspired poem.

जेणें सद्वस्तु भासे । जेणें भास हा निरसे । जेणें भिन्नत्व नासे । या नाव कवित्व ॥ ५२ ॥

सद्वस्तु, परब्रह्म प्रचितीत येते, मिथ्या दृश्य भास नाहींसा होतो. भेद सगळा नाहींसा होतो,

Due to this inspired poem that pure Self appears as this `I am. And due to this in- spired poem, this appearance `I am' is dissolved in thoughtlessness. Due to this inspired poem separateness is forever destroyed.

जेणें होये समाधान । जेणें तुटे संसारबंधन । जया मानिती सज्जन । तया नाव कवित्व ॥ ५३ ॥

जीवाचें समाधान होतेम, संसाराचें बंधन तुटते, आणि ज्या कवितेला संत मान्यता देतात ती कविता उत्तम होय.

Due to this inspired poem there is complete contentment and due to this inspired poem, the bondage of samsar is broken. This is why this inspired poem is honoured by the Saints.

ऐसें कवित्वलक्षण । सांगतां तें असाधारण । परंतु कांहींयेक निरुपण । बुझावया केलें ॥ ५४ ॥

उत्तम कवितेचें लक्षण खरोखर सांगणें कठिण आहे. कारण तें फारच विलक्षण आहे. पण तिचें स्वरुप कांहींसे लक्षांत यावें म्हणून येथें थोडेसें वर्णन केलें.

When there is the attention of this poem then, that thoughtless nirgun can be told. But this discourse of the One who is within everyone has been covered over by the `many' bold and learned poems. .