अखंडध्यान — समास 5: हरिकथालक्षणनिश्र्चय

मागां हरिकथेचें लक्षण । श्रोतीं केला होता प्रस्न । सावध होऊन विचक्षण । परिसोत आतां ॥ १ ॥

हरिकथेंचे लश्रण कोणतें असा प्रश्र्ण पूर्वी श्रोत्यांनीं केला होता. त्याचे उत्तर जाणत्यांनीं आतां सावधपणें ऐकावें.

Previously there had been this `story' of vishnu but then, in the listener a question arose. Therefore now just be alert and listen.

हरिकथा कैसी करावी । रंगें कैसी भरावी । जेणे पाविजे पदवी । रघुनाथकृपेची ॥ २ ॥

हरिकथा कशी करावी. तिच्यांत रंग कसा भरावा. म्हणजे त्या कथेमुळें मोठी योग्यता मिळून भगवंताची कृपा संपादन होईल.

But the listener asked, "Now how should this `story' of vishnu be made? And how can this splendour overflow everywhere, so that the `seat' of lord ram will be sat upon?" (ie. Self-understanding)

सोनें आणी परिमळे । युक्षदंडा लागती फळें । गौल्य माधुर्य रसाळें । तरी ते अपूर्वता ॥ ३ ॥

समजा सोन्याला सुगंध आला किंवा उसाला गोड, मधुर फळें लागलीं तर तो मोठा अपूर्व योग होईल.

The speaker says. If there was gold with a fragrance or a sugar-cane bearing fruit then, this would be completely unprecedented, as it has never actually happened before.

तैसा हरिदास आणी विरक्त । ज्ञाता आणी प्रेमळ भक्त । वित्पन्न आणि वादरहित । तरी ते अपूर्वता ॥ ४ ॥

त्याचप्रमाणें हरिदास असून विरक्त; ज्ञानी असून प्रेमळ भक्त, आणि मोठा विद्वान असून वाद न घालणारा असा किर्तनकार असेल तर तो मोठा अपूर्व योग समजावा.

And in the same way, if one is a servant of vishnu and desireless; a Knower and loving devotee; a perfect speaker devoid of any rumours; then there will be that completely unprecedented and thoughtless Self.

रागज्ञानी ताळज्ञानी । सकळकळा ब्रह्मज्ञानी । निराभिमानें वर्ते जनीं । तरी ते अपूर्वता ॥ ५ ॥

उत्तम रागज्ञान, उत्तम तालज्ञान, सर्व कलांचें उत्तम ज्ञान असून शिवाय अंगी ब्रह्मज्ञान असणारा आणि तरीही लोकांशी वागतांना अत्यंत निरभिमान वृत्ति असणारा असा हरिदास मिळणें म्हणजे मोठा अपूर्व योग समजावा.

If one is a Knower of the affections of the mind (ie. anger, love, joy etc. arise but one remains detached from these feelings) and a Knower of this rhythm of the tal (ie. in every action to remember one's swarup); if one is a Knower of this `art of the all' and a Knower of brahman; if one exists in the people without any pride, then there will be that unprecedented and thoughtless understanding.

मछर नाहीं जयासी । जो अत्यंत प्रिये सज्जनासी । चतुरांग जाणे मानसीं । अंतरनिष्ठ ॥ ६ ॥

ज्याला द्वेष, मत्सर करणें माहीत नाहीं, संतांना जो अत्यंत आवडतो, ज्याच्या अंगीं चौफेर ज्ञान आहे आणि ज्याच्या मनांत भगवंतावर पूर्ण निष्ठा आहे, असा हरिदास खरोखर उत्तम आहे. ज्ञान, विज्ञान, कला आणि लोकसंग्रह हें चतुरांग आहे.

When mula maya is free of jealousy and that purush has great love for the Saint then, one rules over the mind and knows inner steadfastness.

जयंत्यादिकें नाना पर्वें । तीर्थे क्षेत्रें जें अपूर्वें । जेथें वसिजे देवाधिदेवें । सामर्थ्यरुपें ॥ ७ ॥

देवाची जयंती, संताची पुण्यतिथि या व अश्या अनेक पर्वण्या, परमात्मा जेथें वास करतो अशी तीर्थें व क्षेत्रें,

In the mind there are `many' auspicious occasions like the birth celebrations of the Saints and there are `many' pilgrimage places and `many' different bodies. Yet in the mind also there is this mula maya and that unprecedented mula purush. Therefore `here' with His form (ie. this `all' of mula maya), that God of all gods should reside (ie. understand and with inner steadfastness remain as the witnessing purush of this creation).

तया तीर्थातें जे न मानिती । शब्दज्ञानें मिथ्या म्हणती । तया पामरां श्रीपती । जोडेल कैंचा ॥ ८ ॥

त्यांना जो मानीत नाहीं, शब्दपांडित्याच्या अभिमानानें " त्यांत कांहीं अर्थ नाहीं " असे जो म्हणतो, त्या पामराला भगवंताची प्राप्ती होत नाहीं.

But if that purush has no regard for `there' or this pilgrimage place of mula maya `here', then He will say that, this knowledge of the `word' is false. Then that Reality is taking Himself to be a lowly jiva and vishnu (ie. knowledge) can never be meet.

निर्गुण नेलें संदेहानें । सगुण नेलें ब्रह्मज्ञानें । दोहिकडे अभिमानें । वोस केलें ॥ ९ ॥

एकीकडे निर्गुण आहें किंवा नाहीं या संशयानें निर्गुण हातचे गेलें. दुसरीकडे ब्रह्मस्वरुपाच्या शब्दज्ञानानें सगुण खरें नाहीं असें वाटूं लागलें. अशा रीतीनें देहाभिमानामुळें सगुण व निर्गुण दोहींकडे नागावल्याप्रमाणें होते.

On account of the sagun body, that nirgun is not known and on account of that nirgun, this sagun is not known. And if one takes pride in the gross body then, that nirgun purush along with this sagun prakruti are both lost.

पुढें असतां सगुणमूर्ती । निर्गुणकथा जे करिती । प्रतिपादून उछेदिती । तेचि पढतमूर्ख ॥ १० ॥

सगुणमूर्तीपुढें कथा करीत असतां " निर्गुणच खरें, सगुण खरें नाहीं " असें सांगून जे सगुणाचा उच्छेद करतात, असें हरिदास पढतमूर्ख समजावेत.

Though being always in front of this image of sagun (ie. knowledge/`I am eve- rywhere' is always there), if one declares that it is the nirgun, then there is merely intellectual knowledge and both sagun and nirgun are demolished and one has become a learned fool (ie. there is the understanding of neither, see 2.10).

ऐसी न कीजे हरिकथा । अतंर पडे उभये पंथा । परिस लक्षणें आतां । हरिकथेचीं ॥ ११ ॥

अशी हरिकथा कधीं करुं नये. त्यामुळें सगुण व निर्गुण दोन्ही हातचे सुटतात. म्हणून हरिकथा कशी असावी त्याची लक्षणें सांगतो तीं ऐकावी.

When this `story' of vishnu has not been understood then, this inner space of both these paths has been pulled down (this inner space is sagun and without understanding it, that nirgun can never be attained. Then though one thinks that one is walking on the path of paramarth still, prapanch remains and body consciousness persists). Therefore now listen with this attention that is the `story' of vishnu (ie. forget everything and remain in this ever present `now').

सगुणमूर्तीपुढें भावें । करुणाकीर्तन करावें । नाना ध्यानें वर्णावें । प्रतापकीर्तीते ॥ १२ ॥

सगुण मूर्तीपुढें मोठ्या श्रद्धेनें व प्रेमानें कीर्तन करावें. त्यामध्यें करुणेनें भगवंताला आळवावे. भगवंताची अनेक रुपें व त्याचे अनेक प्रकार वर्णन करावेत. त्याची कीर्ति गावी.

Before our very eyes there is this sagun image but the ignorant jiva cannot see it (ie. the jiva resides within this sagun `experience'; heaven is there but if we try to see it with these eyes then it is as if not there). Therefore this compassionate and forgiving kirtana should be sung (ie. when you understand this knowledge of `I am' then, compassion and forgiveness are your nature; for then you see yourself everywhere). Therefore the mind should meditate and praise this power, glory and pervasiveness of sagun (first sagun must be acquired).

ऐसें गातां स्वभावें । रसाळ कथा वोढावे । सर्वांतरीं हेलावे । प्रेमसुख ॥ १३ ॥

अशा रीतीनें भगवंताचे गुण गायिले असतां किर्तनांत मोठा रसाळपणा उत्पन्न होतो. तें ऐकून सर्व श्रोत्यांच्या मनांत भगवंताचे प्रेम उचंबळून येते. सर्वांना आनंद होतो.

This sweet `story' is like a spontaneous song and it should be made to spread and grow. Then love and joy will play in this inner space of the `all'.

कथा रचायाची खूण । सगुणीं नाणावें निर्गुण । न बोलावे दोष गुण । पुढिलांचे कदा ॥ १४ ॥

उत्तम कीर्तन करण्याची युक्ति अशीं की, सगुणाच्या प्रतिपादनामध्यें निर्गुण आणूं नये. त्याचप्रमाणें समोर बसलेल्या श्रोत्याचें गुणदोषावर बोलूं नये.

There is the making of this `story' and there is that nirgun understanding. But that nirgun cannot be known in this sagun. Afterwards when this nirgun is understood, then this `fault' of the pure sattwa guna should never be `spoken' (ie. knowing is the original sin and if this is not `spoken' then, the nirgun understanding, I do not exist, will be established).

देवाचें वर्णाावें वैभव । नाना प्रकारें महत्व । सगुणीं ठेउनियां भाव । हरिकथा करावी ॥ १५ ॥

देवाच्या वैभवाचे वर्णन करावें. अनेक प्रकारे देवाचे महत्व सांगून तें पटवून द्यावें. सगुणाच्या ठिकाणीं पूर्ण भाव ठेवून कीर्तन करावें.

The ways of the `many' should praise this glory of God and extol His greatness (ie. forget the `many' ways and be sagun). When this sagun understanding has been established then, this is the `story' of vishnu.

लाज सांडून जनाची । आस्था सांडून धनाची । नीच नवी कीर्तनाची । आवडी धरावी ॥ १६ ॥

लोकांची लाज सोडावी. पैशाची आशा सोडावी. कीर्तनाची नित्य नवी आवड उत्पन्न करावी. इतर गोष्टी मनानें बाजूस सारुन शुद्ध कीर्तनाची गोडी वाढावावी.

One should leave aside the shame of the people. One should leave aside any hope and expectation of wealth. Then, if this understanding is lovingly maintained, there will be the ever `newness' of kirtana.

नम्र होऊन राजांगणीं । निःशंक जावें लोटांगणीं । करताळिका नृत्य वाणी । नामघोषें गर्जावें ॥ १७ ॥

देवासमोरच्या देवळाच्या अंगणाांत कीर्तनास उभे राहिल्यावर अत्यंत नम्र व्हावें. अगदी निःशंक मनानें देवास साष्टांग नमस्कार घालावा. टाळ्या वाजवत नृत्यही करावें. आणि भगवंताच्या नावाचा घोष करावा.

One should be humble (ie. without the ego of the body) when in this palace (`I am') of the King and then fearlessly one should prostrate oneself fully (surrender all eight bodies to sadguru).6 Therefore every action should be His worship and His dance and His `name' should be continuous roared (maharaj roar like a lion and everyone will run away).

येकांची कीर्ति येकापुढें । वर्णितां साहित्य न पडे । म्हणोनियां निवाडे । जेथील तेथें ॥ १८ ॥

ज्या देवासमोर कीर्तन असेल त्याची कीर्ति वर्णावी. एका देवासमोर दुसर्‍या देवाची कीर्ति वर्णन केल्यानें कथेला रंग चढत नाहीं.

The pervasiveness of this sagun cannot be praised before the nirgun, for He knows nothing to pervade. Therefore a settlement should be reached that establishes the unity of `there' within `here' (of nirgun brahman within sagun maya). (ie. then He uses His knowledge to stay in the world)

मूर्ती नस्तां सगुण । श्रवणीं बैसले साधुजन । तरी अद्वैतनिरुपण । अवश्य करावें ॥ १९ ॥

समजा समोर सगुण मूर्ति नाहीं आणि साधुसंत श्रवणास बसलें आहेत, अशावेळीं अद्वैताचे प्रतिपादन कीर्तनांत अवश्य करावें.

The sadhu destroys the sagun image that was established in shravan and then His 5 ranjit maharaj- When space is there fear is sure to come...you are in a dark forest at night but nothing is there and you think, oh! Something is there. 6 siddharameshwar maharaj- There should be complete surrender to sadguru. Your father and mother involve you in this material life, but the son of the guru who surrenders to the guru is freed from worldly life. A true disciple serves with the understanding "I belong to sadguru" and maintains the conviction that "The guru is my mother, father, family, friends, wealth, etc. everything I possess." Giving up the pride of the body, only that son of the guru who comes in total surrender, rises to the state of brahman. "I, is a servant of the servant of the guru." The one who has such unwavering faith is the only devotee to the Ultimate Accomplishment. Only in the field of devotion/bhakti to the guru will there be a harvest of knowledge. Otherwise, if you say, I am somebody, my wife is mine, I have a family life etc., then the ego remains, and there is no way to be rescued. discourse is non-dual.

नाहीं मूर्ती नाहीं सज्जन । श्रवणीं बैसले भाविक जन । तरी करावें कीर्तन । प्रस्ताविक वैराग्य ॥ २० ॥

समजा समोर सगुण मूर्ति नाही व साधुसंतही नाहींत केवळ भाविक लोक श्रवणास आहेत अशावेळीं प्रपंचाबद्दल अनुताप व वैराग्य यांचें प्रतिपादन करावें.

Then there is no image and there is no Saint. Therefore the faithful mind should be established in shravan. This is kirtana and afterwards the renouncement/vairagya of this also should begin (ie. I do not want to know even, for nothing is there).

श्रुंघारिक नवरसिक । यामधें सांडावें येक । स्त्रियादिकांचें कौतुक । वर्णूं नये कीं ॥ २१ ॥

कीर्तनांत शृंगार, वीर, करुण, हास्य, अद्भुत, भयानक, बीभत्स, रौद्र व शांत हे नऊ रस अवश्य असावेत. परंतु स्त्रीयांचें हावभाव, लीला, कौतुक यांचे वर्णन करुं नये.

But if the bridegroom thinks of his sexual union with his bride then, that One (ie. purush) within this `speech' has been let slip. And even the wonder of His woman (ie. prakruti) and her wealth and beauty should not be described (ie. do not be enamoured by this wonder of sagun even. It also has to be renounced).

लावण्य स्त्रियांचें वर्णितां । विकार बाधिजे तत्वता । धारिष्टापासून श्रोता । चळी तत्काळ ॥ २२ ॥

कीर्तनामध्यें स्त्रियांच्या सौंदर्याचें वर्णन केल्यानें श्रोत्यांच्या मनांत कामवासनेचा विकार निर्माण होतो. त्यामुळें श्रोत्यांच्या मनाचा संयम तत्काळ सुटतो.

When the beauty of this woman/prakruti is praised then, definitely an obstruction is created in the mind. And at that time, the listener's forbearance will be broken.

म्हणउन तें तजावें । जें बाधक साधकां स्वभावें । घेतां अंतरीं ठसावें । ध्यान स्त्रियांचें ॥ २३ ॥

म्हणून साधकाला जें बाधतें तें कीर्तनामध्यें टाळावें. नाहींतर स्त्रियांच्या वर्णनानें साधकाच्या मनामध्यें स्त्रियांचे ध्यान घट्टपणानें बसतें.

Therefore that Reality should abandon mula maya, for this spontaneous `all' is an obstruction for the sadhak. When this `all' is formed in the inner space then, this should be considered as meditating on this woman.

लावण्य स्त्रियांचें ध्यान । कामाकार जालें मन । कैचें आठवेल ध्यान । ईश्र्वराचें ॥ २४ ॥

सुंदर स्त्रियांचे ध्यान ठसल्यावर संपूर्ण मन कामविकारानें भरुन जातें. असें झाल्यावर ईश्र्वराचे ध्यान लागणें अशक्य होतें.

When there is the meditation on the beauty of this woman then, the mind becomes that desired form. Then how will the meditation of ishwara be remembered (ie. when knowledge is your meditation then, how will it be renounced)?

स्त्री वर्णिता सुखावला । लावण्याचे भरीं भरला । तो स्वयें जाणावा चेवला । ईश्र्वरापासुनी ॥ २५ ॥

स्त्रीचें वर्णन ऐकतां ऐकतां साधकाच्या मनाला बरें वाटते, नंतर तिच्या सौंदर्याच्या चिंतनानें त्याचे मन भरुन जाते. असा साधक आपणहून ईश्र्वरापासून दूर गेला असें समजावें.

When pleasure arises from the praising of this woman then, one is filled completely with her beauty (ie. ananda of sagun worship). One should know that then that ishwara has stepped out from Himself (He is so compliant; He will go wherever you place Him).

हरिकथेसी भावबळें । गेला रंग तो तुंबळे । निमिष्य येक जरी आकळे । ध्यानी परमात्मा ॥ २६ ॥

समजा कीर्तनांत ईश्र्वराच्या रंगाचा भंग झाला. पण नंतर जरी एक क्षणभर जरी भगवंताचें ध्यान बरोबर जमलें तरी त्या प्रेमाच्या बळानें भंगलेला रंग पुन्हां उचंबळून येतो.

But if one has unrelenting faith in this `story' of vishnu then, this `story' will go off, of its own accord, and then there will be the brilliance of thoughtlessness. And at that moment, in meditation, that One paramatma is comprehended.

ध्यानीं गुंतलें मन । कैंचे आठवेल जन । निशंक निर्ल्लज कीर्तन । करितां रंग माजे ॥ २७ ॥

मन एकदा कां भगवंताच्या ध्यानांत गुंतले म्हणजे माणसाला लोकांचे स्मरण उरत नाहीं. मग निःशंक व निर्लज्य होऊन कथा चालू केली कीं रंग तुडूंब भरतो.

When the mind is engaged in that meditation then, how will a world be remembe- red?7 He is absorbed in the joy of His own brilliance and fearlessly and shamelessly He sings kirtana.

रागज्ञान ताळज्ञान । स्वरज्ञानेंसी वित्पन्न । अर्थान्वयाचें कीर्तन । करुं जाणे ॥ २८ ॥

चांगल्या हरिदासाला उत्तम रागज्ञन, तालज्ञान आणि स्वरज्ञान असतें. तो विद्वान असून विषयांचें अत्यंत तर्कशुद्ध प्रतिपादन कसें करावें, अर्थ व अन्वय बरोबर कसा सांगावा हें जाणतो.

Either there is the knowledge of emotions and sentiments (ie. knowledge of this world) or there is the knowledge of the rhythm of tal (ie. knowledge of one's swarup. But two swords cannot fit in one sheath). Those who fully understand the scriptures have knowledge of this space (neti, neti) and due to this knowing, there is kirtana.

छपन्न भाषा नाना कळा । कंठमाधुर्य कोकिळा । परी तो भक्तिमार्ग वेगळा । भक्त जाणती ॥ २९ ॥

कीर्तनामध्यें अजून एक विशेष असा आहे कीं, पुष्कळ भाषा आहेत, पुष्कळ कला आहेत, कोकिळेस कंठमाधुर्य आहे. या सार्‍या गोष्टी हरिदासापाशीं असाव्यात. परंतु भक्तिमार्ग म्हणून कांहीं वेगळाच आहे. तो फक्त भक्तच जाणतात.

There are the fifty-six languages and the `many' arts and there is this sweet *voice of that song-bird. But the path of no-otherness is quite different and That only the devotee knows. *(Its sweet song is `I am' and it does not squawk like a parrot)

भक्तांस देवाचें ध्यान । देवावांचून नेणे अन्न । कळावंतांचें जें मन । तें कळाकार जालें ॥ ३० ॥

मनांत केवळ एक देवाचेंच ध्यान लागलेलें असतें. देवांवाचून इतर कांहीं तें जाणतच नाहींत. कलावंताचें मन जसें कलेनें संपूर्ण भरुन जातें, तसें भक्ताचे मन संपूर्णपणें भगवंतानें भरुन जातें.

If the devotee's meditation is on God then, even his `food' (`I am') is not known without Him (a devotee means `no-otherness'; then God and His power are not sepa- rate). But when the mind becomes the possessor of this `art' (ie. this `art' of knowing that is in the possession of the purush) then, that Reality becomes a `dweller within this art' (ie. a jiva; when the mind says, "I know" then, there is the ego of a jiva and not that egoless purush knowing)

श्रीहरिवीण जे कळा । तेचि जाणावी अवकळा । देवास सांडून वेगळा । प्रत्यक्ष पडिला ॥ ३१ ॥

भगवंतावांचून जीं कला तीं कला नव्हे, ती प्रत्यक्ष अवकळाच होय. कलेमुळें कलावंत भगवंताला सोडतो व त्याहून वेगळा पडतो, हें प्रत्यक्ष दिसते.

And when this `art' of vishnu is not there then, that should be known as a false art (ie. dance, music, languages, painting etc.). For leaving aside God, one has descended down into the separate experiences of sensory perception.

सर्पी वेढिलें चंदनासी । निधानाआड विवसी । नाना कळा देवासी । आड तैस्या ॥ ३२ ॥

चंदनाच्या झाडाला साप वेटाळून बसतात, पुरुन ठेवलेले धनाजवळ हडळ बसलेली असतें. सापांच्यामुळें चंदन मिळत नाहीं. हडळीमुळें धन हातीं येत नाहीं. त्याचप्रमाणें निरनिराळ्या कला भगवमताच्या प्राप्तीच्या आड येतात.

Just as there are snakes surrounding and embracing the sandalwood tree and just as there is a curse of misfortune sitting upon the hidden treasure (ie. the ego sits upon the Self), so too, the `many' arts are an obstruction to God.

सांडून देव सर्वज्ञ । नादानध्यें व्हावें मग्न । तें प्रत्यक्ष विघ्न । आडवें आलें ॥ ३३ ॥

कीर्तन करीत असतां सर्वज्ञ भगवंताला बाजूला सारुन जो गायनांत तल्लीन होतो त्याला देव प्राप्ती साधत नाहीं. नादामध्यें तल्लीन होणें हें भगवंताच्या आड येणारें प्रत्यक्ष विघ्न आहें.

For then, leaving God the Knower of this `all' aside, one gets absorbed in desires and then the hindrance of sensory perception comes in the way of that Reality.

येक मन गुंतलें स्वरीं । कोणें चिंतावा श्रीहरी । बळेंचि धरुनियां चोरीं । शिश्रूषा घेतली ॥ ३४ ॥

एक चोर होता त्यानें बळजबरीनें एका माणसाला धरुन ठेवलेम.आणि त्याच्याकडून सेवा करुन घेतली. त्याचप्रमाणें मन एकदा स्वरांमध्यें गुंतून गेल्यावर त्यास भगवंताचें चिंतन करता येत नाहीं. तें स्वरांचे गुलाम बनते.

Then that One is a mind entangled within this space (this space is zero; forget everything and there is just this knowing) and who can think of vishnu? It is like having full faith that a bunch of thieves will take care of your needs.

करितां देवाचें दर्शन । आडवें आलें रागज्ञान । तेणें धरुनियां मन । स्वरामागें नेलें ॥ ३५ ॥

कीर्तनाकार भगवंताच्या दर्शनास निघाला व त्यासाठीं कीर्तन करुं लागला. त्यांत संगीताचें ज्ञान आडवें आलें. त्यानें मनाला धरलें व स्वरांच्या मागें नेलें. त्यामुळें हरिदास भगवंताला अंतरला.

You may have had this `vision' of God but then these emotional songs (ie. anger, love, passion, joy etc.) obstructed your `vision'. If the mind holds these then, that Reality will be lead to this world behind this space (behind this space lies the objective world).

भेटों जातां राजद्वारीं । बळेंचि धरिला बेगारी । कळावंतां तैसी परी । कळेंनें केली ॥ ३६ ॥

एक माणूस राजाला भेटण्यासाठीं राजवाड्याकडे निघाला . वाटेमध्यें त्याला बेगारी म्हणून धरला. कलावंताच्या बाबतींत कला असाच प्रकार घडवून आणते.

Then that one who was going to the King's court gets press-ganged into a life of slavery. In this way, due to these `many' arts, the possessor (ie. purush) of this `art' of knowing, gets bound and confined to a body.

मन ठेऊन ईश्ररीं । जो कोणी हरिकथा करी । तोचि ये संसारीं । धन्य जाणा ॥ ३७ ॥

जो हरिदास भगवंताच्या ठिकाणी मन ठेवून हरिकथा करतो, तोच या जगांत धन्य समजावा.

And when ishwara has stepped into the mind then, how can that purush make this story of vishnu (then this world is taken as true then, how can the thoughts cease?). Then know that that blessed purush has become a samsari only.

जयास हरिकथेची गोडी । उठे नीत नवी आवडी । तयास जोडली जोडी । सर्वोत्तमाची ॥ ३८ ॥

ज्याला हरिकथेची गोडी असते आणि भगवंताची कथा ऐकण्याची आवड नवेपणानें वाढत जातें त्यानें भगवंताला आपलासा करुन घेतला असें निश्र्चितपणें समजावें.

But if one has fondness for vishnu's `story' then, there arises love for this that is ever new. Then finally, one will attain union with the treasure that is the best of the `all' (see V.32; one attains one's own Self).

हरिकथा मांडली जेथें । सर्व सांडून धावे तेथें । आलस्य नीद्रा दवडून स्वार्थे । हरिकथेसी सादर ॥ ३९ ॥

ज्या ठिकाणी हरिकथा सुरु असेल त्या ठिकाणी खरा साधक सगळीं कामें सोडून धांवत जातो. आळस, झोप, व बाकीचा स्वार्थ सोडून तो हरिकथा ऐकतो.

When this `story' of vishnu is established `here' then, the `all' is set free and runs `there'. By earnestly telling this `story' of vishnu, one destroys laziness and sleep and finally gains one's own wealth.

हरिभक्तांचिये घरीं । नीच कृत्य अंगीकारीं । साहेभूत सर्वांपरीं । साक्षपें होये ॥ ४० ॥

जे भगवंताचे भक्त असतात त्यांच्या घरीं वख त्यांच्या घरचें हलके काम देखील तो मनापासून करतो. सर्व दृष्टीनें तो अगदी प्रयत्नपूर्वक मदत करतो.

When in this house (ie. body), if you have devotion to vishnu then, you are the acceptor of this continuous `action' (you are this action of the `all' ie. `He is doing everything'). Then one's companionship is with this `all' and this is called earnest intent. (maharaj- an acceptor is required)

या नाव हरिदास । जयासि नामीं विश्र्वास । येथून हा समास । संपूर्ण जाला ॥ ४१ ॥

भगवंताच्या नावावर ज्याचा विश्र्वास असतो, त्याला हरिदास हेम नांव शोभते. येथें हा समास पूर्ण झाला.

The servant of vishnu is the one who becomes this `speech' and if this mula maya places its faith in this knowing then, from this collection of words ahead comes that complete and perfect thoughtless understanding. .