शिकवण — समास 1: लेखनक्रिया निरुपण

ब्राह्मणें बाळबोध अक्षर । घडसुनी करावें सुंदर । जें देखतांचि चतुर । समाधान पावती ॥ १ ॥

ब्राह्मणानें बाळबोध अक्षर घोटून घोटून सुंदर करावें. तें अक्षर पाहून चतुरांना समाधान वाटावें.

The brahmin should make this beautiful knowledge that is like that of a new born child, into that indestructible swarup. Then while in this body, this wise thought of mula maya will become that thoughtless complete contentment of Reality.

वाटोळें सरळें मोकळें । वोतलें मसीचें काळें । कुळकुळीत वळी चालिल्या ढाळें । मुक्तमाळा जैशा ॥ २ ॥

अक्षर वाटोळें, मोकळें, सरळ असावें. तें काळ्या शाईनें लिहिलेले असावें. काळें कुळकुळीत दिसावें. ओळी जणूं मोत्यांच्या माळेप्रमाणें दिसाव्यात.

mula maya is a point only (maharaj- knowledge is said to be a point. It means nothing is there). It flows easily and freely, just like the ink from a pen. And wherever this continuous line flows, it sheds a light that forms a `garland of liberation' (then wherever you go and whatever you see is knowledge).

अक्षरमात्र तितुकें नीट । नेमस्त पैस काने नीट । आडव्या मात्रा त्या हि नीट । आर्कुलीं वेलांड्या ॥ ३ ॥

प्रत्येक अक्षर नीट लिहिलेले असावें. प्रत्येक शब्दांत सारखें अंतर असावें. काने व आडव्या मात्रासुद्धा नीट असाव्यात. त्याचप्रमाणें रफार व वेलांट्या नीट हव्यात.

On account of this well formed line (ie. the single thought `I am knowing') there is that indestructible swarup. It is so open and *empty and the secret meaning of the scriptures. But contrary to this perfectly formed line there are the `many' crooked lines (ie. the `many' thoughts) that create these objects of the senses. *(maharaj- be empty inside)

पहिलें अक्षर जें काढिलें । ग्रंथ संपेतों पाहात गेलें । येका टांकेंचि लिहिलें । ऐसें वाटे ॥ ४ ॥

ग्रंथ आरंभ करतांना पहिल्या अक्षराचे जे वळण आहे, तेच वळण ग्रंथ संपेपर्यंत असावें. ग्रंथ एक टाकी लिहिलेला आहे असें वाटलें पाहिजे.

Originally there had only been that indestructible Self and then, there was the writing of this story of mula maya. And the writing of this scripture will be concluded only when the understanding of that indestructible Self dawns. Therefore you should feel that this writing has come from this one never changing point (maharaj- how can you be that which is changing every moment?). 1 siddharameshwar maharaj. the only true brahmin is the knower of brahman

अक्षराचें काळेपण । टांकाचें ठोसरपण । तैसेंचि वळण वांकाण । सारिखेंचि ॥ ५ ॥

ग्रंथांतील अक्षरांचा काळेपणा, टाकाचा टणकपणा आणि अक्षरांची वळणें व वांकणें हीं आरंभापासून अखेरपर्यंत एकसारखीं असावी.

When this `writing' made by that indestructible Self is the thickness of this *point then, any form or fault of the mind becomes this point only (there is only yourself in the world). *(maharaj- what is the volume of knowledge? It cannot be said. Wherever you put it, there it will go. If you make it big, it becomes big. If you make it small then it is small)

वोळीस वोळी लागेना । आर्कुली मात्र भेदीना । खालिले वोळीस स्पर्शेना । अथवा लंबाक्षर ॥ ६ ॥

ओळीला ओळ लागूं नये. रफारानें मात्रेचा घेद करुं नये. अक्षरांच्या खालच्या ओळीला स्पर्श होऊं नये. तसेंच अक्षर लांबट असूं नये.

This thought `I am knowing' does not meet with any other thoughts nor can the crooked tendencies of the mind penetrate this thought. Inferior thoughts cannot touch this thought `I am knowing'; so how can they touch that everlasting indestructible Self?

पान शिषानें रेखाटावें । त्यावरी नेमकचि ल्याहावें । दुरी जवळी न व्हावें । अंतर वोळीचें ॥ ७ ॥

शिशानें पानावर रेघा आखाव्या. त्यावर ठरलेली शब्दसंख्याच प्रत्येक ओळींत लिहावी. सर्व ओळींच्यामधील अंतर अगदी सारखें असावें. ओळी दूर व जवळ नसाव्यात.

The disciple's mind should be like a blank sheet of paper and on that, he should write this story of God very carefully. This line should not be broken by the divisions of near and far, dear ones or strangers (ie. stay with the people but do not care for the people; maharaj- arjuna had to kill his relations. But how to kill them? Understand they are not my relatives; they are relatives of the body. Then they are dead or not?).

कोठें शोधासी आडेना । चुकी पाहातां सांपडेना । गरज केली हें घडेना । लेखकापासुनी ॥ ८ ॥

कोठें शोध घालायचा असेल तर अडचण पडूं नये. लिहिण्यामधें शोधूनही चूक सापडूं नये. लिहिण्यामधें लेखकानें हेळसांड केली असें कधीं वाटूं नये.

Whenever you search out this `story' then, where will any obstruction remain? Whe- never you understand then, this mistake called ignorance cannot be found. But if the writer needs to keep `writing' then, that thoughtless Self will not be accomplished (ie. this `I am' thought should be absorbed in thoughtlessness).

ज्याचें वय आहे नूतन । त्यानें ल्याहावें जपोन । जनासी पडे मोहन । ऐसें करावें ॥ ९ ॥

ज्याचे वय लहान आहे त्यानें फार जपून लिहावें. आपण लिहिलेले लोकांना पाहाण्याचा मोह होईल असें लिहावें.

The life of that purush (ie. the writer/witness) is fresh and always new. He should repeat this writing continuously and even while in the `people', this silence should not be broken.

बहु बारिक तरुणपणीं । कामा नये म्हातारपणीं । मध्यस्त लिहिण्याची करणी केली पाहिजे ॥ १० ॥

तरुणपणीं फार बारीकअक्षर लिहिलेले चालेल. पण म्हातारपणीं तें उपयोगी पडत नाहीं. म्हणून मध्यम आकाराचें अक्षर काढण्याची सवय करावी.

When one is too young and in the `many' thoughts then, this `I am' remains hidden and it should not be wanted only when one grows old ("Oh! The Saints were right; I should have listened to them"). Therefore between these two, this wonderful writing should be made (maharaj- at this moment you are He).

भोंवलें स्थळ सोडून द्यावें । मधेंचि चमचमित ल्याहावें । कागद झडतांहि झडावें । नलगेचि अक्षर ॥ ११ ॥

आपण जें लिहितो त्याच्याभोवतीं मोकळी जागा सोडावी. मध्यें छान, स्पष्ट व ठसठशीत लिहावें. कालांतरानें कागद झडला तरी अक्षरें सुरक्षित राहावीत.

This whirling, confusing place should be left aside and there should be this writing within and then this place of abundance will be formed (ie. when nothing is there, then everything is there). Then this feeble mind should be let go, for it is not needed by that indestructible Self (no-mind).

ऐसा ग्रंथ जपोनी ल्याहावा । प्राणीमात्रास उपजे हेवा । ऐसा पुरुष तो पहावा । म्हणती लोक ॥ १२ ॥

अशारीतीनें ग्रंथ अगदी जपून लिहुन काढावा. लोकांनात्याचा हेवा वाटला पाहिजे. इतका सुंदर ग्रंथ लिहुन काढणारा कोण पुरुष आहे, त्याला एकदा पाहावा असें लोकांना वाटले पाहिजे.

There should arise a longing within the prana to write this story `I am'. If this longing is there then, this scripture can be written and cared for. Then that purush will understand this, that the people call, the world.

काया बहुत कष्टवावी । उत्कट कीर्ति उरवावी । चटक लाउनी सोडावी । कांहीं येक ॥ १३ ॥

अशा प्रकारे ग्रंथ लिहून देण्यामधें आपले शरीर खूप झिझवावे. आपल्या मागें आपली उत्तम कीर्ति उरेल असें वागावें. लोकांना आपल्याबद्दल उत्कंठा लागेल असेंच आपण करावें.

This body of the `all' should take much trouble and then only its pervasiveness effectively remains (ie. let whatever is going to come anyway, let it come. Why should I be affected). Fondness and craving should be left aside by that One within this `thing' (ie. everything that comes is my choice now).

घट्य कागद आणावे । जपोन नेमस्त खळावे । लिहिण्याचे सामे असावे । नानापरी ॥ १४ ॥

चांगला घट्ट कागद असावा. तो काळजीपूर्वक नीट खळावा. त्याच्यावर लिहिण्यासाठीं लागणारें नाना प्रकारचे सामान जवळ असावें.

The writing and this blank paper (ie. inner space) should be known and then the repetitions of the `many' thoughts will surely stop. For the ways of the `many' will be pacified by this writing.

सुर्‍या कातर्‍या जागाईत । खळी घोंटाळें तागाईत । नाना सुरंग मिश्रित । जाणोनि घ्यावें ॥ १५ ॥

सुर्‍या, कातर्‍या, समास, फळ्या, खळ, घोटा, खळ लावण्याचा ब्रश,चाकूला व सुरीला धार लावण्याचे सुरेख रंगाचे दगड, यावस्तु चांगल्या नीट पाहून घ्याव्या.

The frightened watchman should be given a sword (ie. the sword of knowledge) until this confusion and bewilderment is brought to an end. Then this beautiful state that has been mixed with the `many' other states should be known and accepted (as soon as you leave everything, this `I am' is knowing; but an acceptor is required).

नाना देसीचे बरु आणावे । घटी बातिक सरळे घ्यावे । नाना रंगाचे आणावे । नाना जिनसी ॥ १६ ॥

निरनिराळ्या देशांतून बोरु मागवावे. त्यापैकी जे घट्ट, टणक, बारीक व सरळ असतील ते वापरायला घ्यावे.अनेक रंगाचें अनेक प्रकारचे बोरु जवळ असावेत.

The `many' bodies from the `many' places should be all brought together (by the eyes of knowledge) and that hidden purush and this easy `thing', within these created things, should be accepted. In this way, this splendour of `I am' should be brought into the `many' objects.

नाना जिनसी टांकतोडणी । नाना प्रकारें रेखाटणी । चित्रविचित्र करणी । सिसेंलोळ्या ॥ १७ ॥

बोरुची टोकें तोडण्यासाठीं अनेक प्रकारच्या टांक तोडणी असाव्या. अनेक प्रकारच्या ओळी आखण्यासाठीं पट्ट्या किंवा रुळ असावेत. अनेल प्रकारची चित्रें ग्रंथामधें काढावी. वजनासाठीं शिश्याच्या गोळ्या जवळ ठेवाव्या.

In the `many' objects there is the breaking of this writing. In the `many' forms there is the drying up of this line. This marvellous wonder will only appear in the mind that is tranquil and free of any greed.

हिंगुळ संग्रहीं असावे । वाळले आळिते पाहोन घ्यावे । सोपें भिजऊनी वाळवावे । संग्रह मसीचे ॥ १८ ॥

हिंगुळ आपल्याजवळ ठेवावा. वाळलेला अळता म्हणजे कापसाचा वाळलेला रंगीतबोळा पाहून जवळ ठेवावा. निरनिराळ्या शाईचे सोपे भिजवून वाळवावे. व जवळ ठेवावे.

That which is your own, should be stored up. That which has been dried up and become gross should be understood and accepted (ie. this free flowing knowledge is your nature. But an acceptor is required). And that which is empty and flourishing due to these waters of objectification should be dried up and this thought `I am knowing' stored there.

तगटी इतिश्र्या कराव्या । बंदरी फळ्या घोटाव्या । नाना चित्रीं चिताराव्या । उंच चित्रें ॥ १९ ॥

ग्रंथ लिहून पूर्ण झाला कीं शेवटी " इतिश्री " असें लिहावें. बंदरावरुन अणलेल्या उत्तम प्रतीच्या सागवान घोटीव फळ्यांवर सुंदर चित्रें काढावीत.

All that has been imagined should be completely destroyed. All that has come from outside should be endured (let whatever comes, come). Then the `many' mirages will be covered over by the light of the vast paramatma.

नाना गोप नाना बासनें । मेणकापडें सिंदुरवर्णे । पेट्या कुलपें जपणें । पुस्तकाकारणें ॥ २० ॥

ग्रंथ लिहून झाल्यावर तो गोफ, रेशमाचे विणलेले दोर, ग्रंथ बांधण्यासाठीं अनेक वस्त्रें, मेणकापड वगैरे जवळ असावें. ग्रंथ ठेवण्यासाठीं पेट्या, कुलुपें जवळ असावी.

There are the `many' plays and the `many' desires wrapped up in this disgusting old worn wax-cloth (ie. a body). Its authority has been secured and preserved due to the repetition of so many thoughts (ie. from many books and not this scripture). .