देवशोधन — समास 8: दृश्यनिर्शन

मागां श्रोतीं पुसिलें होतें । दृश्य मिथ्या तरी कां दिसतें । याचें उत्तर बोलिजेल तें । सावध ऐका ॥ १ ॥

मागच्या समसांत श्रोत्यांनें विचारले होते कीं, जर दृश्य खोटे आहे तर ते दिसते कां? याचे उत्तर आतां लक्ष देऊन ऐका.

Previously a question arose within the listener. "If this `all'/knowledge is false then, why is it seen?" Listen carefully and there will be the reply of this `speech'.

देखिलें तें सत्तचि मानावें । हें ज्ञात्याचें देखणें नव्हे । जड मूढ अज्ञान जीवें । हें सत्य मानिजे ॥ २ ॥

इंद्रियांना जें दिसतें तेंच खरें मानायचे हें ज्ञानी माणसाचे पाहाणें नव्हे. जड, मूढ, अज्ञान जीव त्यास खरें मानतात.

To believe that this perceived `all' is the Truth is not the thoughtless apperception of the gnyani. Therefore the dull and ignorant jiva who sees the inanimate objects should give regard to that thoughtless Truth.

येक्या देखिल्यासाठीं । लटिक्या कराव्या ग्रंथकोटी । संतांमहंतच्या गोष्टी । त्याहि मिथ्या मानाव्या ॥ ३ ॥

केवळ इंद्रियांना दिसते म्हणून तें खरें मानालें तर कितीतरी वेदान्तग्रंथ खोटे ठरवावे लागतील. व साधुसंतांची वचनेंसुद्धा खोटी म्हणावी लागतील.

For to perceive that oneness of the `all', this pure sattwa guna should be made (ie. forget everything and then, `I am everything, everywhere'). Yet even this `speech' of the Saint and purush should be regarded as false.

माझें दिसतें हेंचि खरें । येथें चालेना दुसरें । ऐशिया संशयाच्या भरें । भरोंचि नये ॥ ४ ॥

माझ्या इंद्रियांना जें दिसते तेच खरें. त्याच्यापुढे मी दुसरें कांहीं जाणत नाही. अशा संशयानें भरीस पडूं नये.

If you say, "Whatever I see with my eyes is true" then, this action of the `I am' `here' has not been understood. Therefore do not run eagerly after the objects of the world otherwise, you will be overwhelmed with doubts.

मृगें देखिलें मृगजळ । तेथें धावतें बरळ । जळ नव्हे मिथ्या सकळ । त्या पशूस कोणें म्हणावें ॥ ५ ॥

एखादें हरिण मृगजळ पाहाते. व तेथें खरोखर पाणी आहे या समजुतीने धावंत जाते. तेथें पाणी नाही केवळ पाण्याचा भास आहे. हे त्याला कोण समजावून सांगणार.

When a deer perceives the mirage then, `there' (ie. brahman) runs so far away. But how can anyone explain to an animal that there is actually no water and that this `all' is also false? (Body consciousness and no vivek are the signs of an animal. This `all' cannot be understood by an animal. It takes this `all' and with its intellect, divides it up into `many' things. However the human intellect has the capacity to understand, if only it cares to think carefully about this subject)

रात्रौ स्वप्न देखिलें । बहुत द्रव्य सांपडलें । बहुत जनांसी वेव्हारिलें । तें खरें कैसेनि मानावें ॥ ६ ॥

रात्री स्वप्नामध्येम पुष्कळ धन मिळाले त्याचा लोकांशी व्यवहारही केला. तरी हे सर्व खरे कसे मानायचे.

In this night of ignorance a dream is perceived and then this `all' falls down into the `many' manifestations (but if one leaves the darkness of ignorance and stops giving names and therefore forms to that which is already there ie. this `all', then that which is there will be clearly perceived in the light of knowledge). When this `all' (or `I am') gets divided among the people into so many thoughts then, how can that Truth be valued?

कुशळ चितारी विचित्र । तेणें निर्माण केलें चित्र । देखतां उठे प्रीति मात्र । परंतु तेथे मृत्तिका ॥ ७ ॥

एका कुशल चित्रकारानें सुंदर चित्र काढले. तें पाहून आवडले व प्रेम बसले. पण खरे कसे आहे ते पाहीला गेल्यावर नुसती माती हाती लागली.

There is a very skilled artist and He has made a wondrous covering of colour and created this picture (you are this Lord of the colours).12 Seeing this before your eyes you fall in love with it but then, that brahman `there' will get turned to dust only.13 (You see your own reflection before you and therefore there is the feeling of love for this created `all'. But then, due to ignorance, this `all' is forgotten and when the `many' forms are seen in your eyes then, that One indestructible brahman is appearing as the `many' destructible objects)

नाना वनिता हस्ति घोडे । रात्रौ देखतां मन बुडे । दिवसा पाहातां कातडें । कंटाळवाणें ॥ ८ ॥

रात्रीच्यावेळी दिव्यांच्या प्रकाशांत कलाकारानें बनविलेल्या स्त्रिया, हत्ती, घोडे बघितले तर मनाला बरे वाटते. पण तेच दिवसा बघितल्यावर त्यांचेच कातडे वगैरे बघुन तें कंटाळवाणें होते.

In this night of ignorance, the `many' women, elephants and horses etc. appear and the mind is immersed in these(ie. objectification appears upon that One). But when daylight comes then, you understand that they were only ugly hides and skins (ie. when the light of understanding or knowledge comes then, this world is no longer beautiful. Good and bad, pretty and ugly etc. are all just your opinions and real beauty is in seeing oneness).

काष्टी पाषाणी पुतळ्या । नाना ठकारें निर्मिल्या । परम सुंदर वाटल्या । परंतु तेथें पाषाण ॥ ९ ॥

लाकडाच्या, दगडाच्या निरनिराळ्या सुंदर वस्तु तयार केल्या. त्या आवडल्या, सुंदर वाटल्या पण शेवटी हातीं काय लाकूड व पाषाणच.

The idols of wood and stone (ie. gross bodies) are charmingly made in the `many'. They are felt to be supremely beautiful but, then that truly beautiful `all' and that brahman `there', have been reduced to mere stone (the `many' objects have been super- imposed upon this beautiful `all' and eternal brahman; they have stolen their beauty and truth from these and when we take all this as true then, we worship idols and perform `many' sadhanas etc.).

नाना गोपुरीं पुतळ्या असती । वक्रांगें वक्रदृष्टीं पाहाती । लाघव देखतां भरे वृत्ती । परंतु तेथें त्रिभाग ॥ १० ॥

मंदिरांच्या दरवाज्यावर सुंदर पुतळ्या कोरलेल्या असतात. त्याच्यां शरिराचा बाक व डोळ्यांतील तिरपेपणा मन मोहून टाकतात. परंतु त्या कशाच्या बनलेल्या आहेत असा विचार केल्यावर समजते. वाळू, चुना व लोखंड हे तीन पदार्थ आढळतात.

Around the outside of the temple (ie. `I am') there are `many' idols with crooked bodies and cruel, envious looks. That Oneness `there' (ie. brahman) has been divided into three parts (ie. Knower, knowing and known) and then this `I am' (ie. temple) is looked at superficially and it appears full of these `many' bodies.

खेळतां नेटके दशावतारी । तेथें येती सुंदर नारी । नेत्र मोडिती कळाकुंसरी । परंतु अवघे धटिंगण ॥ ११ ॥

दशावताराचा खेळ करुन दाखविणारी स्त्री पात्रें नेत्रपल्लवी वगैरे करुन मन आकर्षून घेतात. पण वास्तविक ते रांगडे पुरुषच स्त्रीच्या भूमिकेंत असतात.

*In this play we call the world this beautiful `all' and that brahman `there' incarnates in the ten senses and appears as a woman. She glances seductively at you but then, that Reality has become this sturdy and overbearing world of `many' forms. *(Or, in the village play, the story of ram is being performed and that One appears as a beautiful woman. She glances seductively but she is a man dressed as a woman)

सृष्टी बहुरंगी असत्य । बहुरुपाचें हें कृत्य । तुज वाटे दृश्य सत्य । परी हे जाण अविद्या ॥ १२ ॥

जसा एखदा बहुरुपी निरनिराळी सोंगे दाखवितो. पण ती सर्व खोटी असतात. मूळचा तो तेवढा खरा. तसेच अनेक नावें रुपें यांनी भरलेली ही सृष्टीही खोटीच आहे. तीच्या मागे असलेले परब्रह्मरुपच तेवढे एकमेव खरे आहे.

In the false splendour of the `many' forms there is this gross world and then that thoughtless swarup becomes the actions of these `many' forms. And when `you' feel that this visible is true then, know that that thoughtless Self has become an ignorant jiva of avidya maya ("I am a body").

मिथ्या साचा सारिखें देखिलें । परि तें पाहिजे विचारिलें । दृष्टी तरळतां भासलें । तें साच कैसें मानावें ॥ १३ ॥

खोटें जेव्हां खर्‍यासारखे दिसते तेव्हां तें खरे आहे कां असा विचार केला पाहिजे. आपल्या सदोष दृष्टीला जें दिसते तेंच खरें हे मानणे बरोबर नाही.

Then the unreal is perceived as real and so that *Reality needs to make proper vivek. For how can you consider this appearance that just wanders into your eye, as the Truth? *(You are that Reality but you have not understood this)

वरी पाहातां पालथें आकाश । उदकीं पाहातां उताणें आकाश । मध्यें चांदिण्या हि प्रकाश । परी तें अवघें मिथ्या ॥ १४ ॥

वर पाहिले तर आकाश पालथें दिसते. तेच आकाश पाण्यांत पाहिले तर उताणें दिसते. या दोन्हींमधें चांदण्या चमकतात. पण हे सगळे मिथ्या आहे. कारण डोळ्यांना जें दिसते तें खरे नसते.

When you look up, the space appears to be bent downwards in all directions (ie. the formless space takes on an appearance) and if you look in the water then, this space lies down flat and in its centre, stars are seen twinkling; but then that Reality has become the `many' false reflected things (the mind of each individual takes this space, that is likened to that Reality, and imagines so `many' things).

नृपतीनें चितारी आणिले । ज्याचे त्या ऐसे पुतळे केले । पाहातां तेचि ऐसे गमले । परी अवघे माईक ॥ १५ ॥

एका राजाने शिल्पकार बोलाविले. त्यांच्याकडून कांही पुतळे हुबेहुब बनवुन घेतले. पुतळा बघितल्यावर तो खरा आहे असेच वाटे. पण शेवटी ते पुतळेंच.

The King (paramatma) brings a skilful artist and that purush makes a image (ie. prakruti) that is felt to be like the King. And when you understand that this which has appeared is a reflection of that Reality then, it is most pleasing. But due to the `many' things of the mind, that understanding has been lost. (Complete contentment/samad- han comes when the purush understands this created image is not Myself but a re- flection of Myself; when it is understood that this `all' is a false appearance then, there is nothing but that One Reality).

नेत्रीं कांहीं बाहोलि नसे । जेव्हां जें पाहावें तेव्हां तें भासे । डोळां प्रतिबिंब दिसे । तें साच कैसेनी ॥ १६ ॥

डोळ्यामध्यें बाहुली नसते. परंतु आपण पाहतो तेव्हां ती दिसते. कारण आपण पाहतो त्याचे प्रतिबिंब आपल्या डोळ्यांत पडते. ते खरे मानणे योग्य नाही.

In the pupils of the eyes this `all' cannot be seen (seeing with vivek is required) but if this mula maya can be understood then, there can be that Reality. However when the eyes see, then one is seeing a reflection of a reflected image and how can that Truth be understood? (ie. when there is only sensory perception then there are the `many' gross bodies and objects reflected in this reflected `all').

जितुके बुडबुडे उठती । तितुक्यांमध्यें रुपें दिसती । क्षणामध्यें फुटोन जाती । रुपें मिथ्या ॥ १७ ॥

पाण्यावर बुडबुडे उठतात. प्रत्येक बुडबुड्यांत प्रतिबिंबे दिसतात. बुडबुडे लगेच फुटतात. ती रुपें देखिल फुटुन जातात. म्हणुन ती रुपें मिथ्या असतात.

Wherever there arises a bubble then, in that much only, many forms are seen. But in a fraction of a moment the bubble bursts and disappears and the forms become false (body consciousness is the bubble appearing in this ocean of knowledge). (maharaj the bubble bursts and the ocean laughs)

लघुदर्पणें दोनि च्यारी हातीं । तितुकीं मुखें प्रतिबिंबती । परी तें मिथ्या आदिअंतीं । येकचि मुख ॥ १८ ॥

आपल्या हातांत दोन चार आरसे घेतल्वावर त्यांत तोंडाची प्रतिबिंबे दिसतात. परंतु ती सर्व खोटी असतात. आपलें तोंड एकच असते.

When you have some small mirrors in your hand then, many reflections of your own face can be seen. In the same way, when you have the gunas in your possession then, many reflections of your form is seen. But then that One appears as so many and from beginning to end, that Reality is lost (where is a beginning and an end in that timeless Reality?).

नदीतीरें भार जातां । दुसरा भार दिसे पालथा । कां पदसादाचा अवचिता । गजर उठे ॥ १९ ॥

नदीतीरावरुन होडी ओझे घेऊन चालली कीं तिचें प्रतिबिंब पालथें दिसते. किंवा आपल्या आवाजाचा तेवढाचा मोठा प्रतिध्वनी उठतो.

Then this is all illusion like a herd of animals passing by on the river bank and another herd seen upside down in the water. Or, like the distant echo of a sound produced.

वापीसरोवरांचे तीर । तेथें पशु पक्षी नर वानर । नाना पात्रें वृक्षविस्तार । दिसे दोहि सवा ॥ २० ॥

विहीरीच्या व तळ्याच्याकाठीं पशु, पक्षी, माणसें, वानरें इतर वस्तु, मोठमोठी झाडें यांची प्रतिबिंबे दिसतात. त्यांची ती प्रतिबिंबे खरी नसतात.

When you stand on the shore of a lake or pond then, that brahman `there' appears as these reflections of animals, birds, men and monkeys (when that Self becomes a gross body then, that One sees Itself as `many'; then that One sees animals and man etc. and it cannot see the water upon which the forms appear). Or when that One looks on the surface of the water in the `many' pots then, only the reflections of many trees are seen and that brahman has been divided into so many forms (body consciousness imagines multiplicity where there is singularity. You pervade like space, inside and outside of the `many' pots but due to superficial looking and no vivek, you see only the reflections on the surface of the water).

येक शस्त्र झाडूं जातां । दोनि दिसती तत्वता । नाना तंतु टणत्कारितां । द्विधा भासती ॥ २१ ॥

एखादें शस्त्र जोरानें हालवले तर दोन शस्त्रे दिसतात. एखादा दोरा ताणून वाजविल्यास तो दोन असल्याप्रमाणें दिसतो.

When there is the power of learning and the `many' arts etc. then, that One gets sweep away in this mirage of maya. But truly, it is that One purush within this prakruti who is seeing (ie. witnessing). However when these `many' connections are agitated then, `many' disagreements appear (taking yourself to be one of the `many' brings `many' duties, dreams, wants, ways and means, confrontations, likes and dislikes etc. etc.).

कां ते दर्पणाचे मंदिरीं । बैसले सभा दिसे दुसरी । बहुत दीपांचि हारीं । बहुत छ्याया दिसती ॥ २२ ॥

समजा आरसेमहालांत सभा भरली तर आरश्यांमुळे आणखी सभा भरल्यासारखे वाटते. त्याचप्रमाणें पुष्कळ दिव्यांची माळ पेटविली तर एकाच वस्तुच्या अनेक प्रतिमा दिसतात.

Why is it that that Reality sits down in this palace of mirrors and then sees another (ie. `all', this palace where it sees Its own reflection)? And then this `all' gets removed by a small lamp flame and only the shadows of this `all' are seen? (ie. then this source of light ie. `I am' becomes a small flame "I am an individual mind" and only shadows of yourself are cast)

ऐसें हें बहुविध असे । साचासारिखेंचि दिसे । परे हें सत्य म्हणोनि कैसें । विश्र्वासावें ॥ २३ ॥

अशा रीतीनें हे अनेक प्रकार खरें नसून खर्‍याप्रमाणें वाटतात. त्यांच्यावर विश्र्वास कसा ठेवता येईल?

In this way, that thoughtless Self has become the ways of the `many' and then, though seen through the eyes of flesh still, they appear as true because that Truth is their base. But Truth is thoughtless, therefore where should your faith be placed? (ie. will you continue to be confined by thoughts when you know you are thoughtless?)

माया मिथ्या बाजीगरी । दिसे साचाचिये परी । परी हे जाणत्यानें खरी । मानूंचि नये कीं ॥ २४ ॥

माया जादुगिरी करते व खर्‍यासारख्या दिसणार्‍या खोट्यावस्तु निर्माण करते. जाणत्या माणसानें त्या खर्‍या कधीहीं मानूं नयेत.

maya is false, she is an illusionist yet she appears as the Truth. But that thoughtless Knower should not regard her as true.

लटिकें साचाऐसें भावावें । तरी पारखी कासया असावें । येवं ये अविद्येचे यावे । ऐसेचि असती ॥ २५ ॥

जें खरें नाही तें खरेंपणानें मानलें तर तर मग असे ठरविणर्‍या जाणत्यांची गरजच नाही. परंतु अविद्या आली कीं तिच्या प्रभावानें असें प्रकार घडतात.

If the unreal is imagined to be real then, how can you be a wise examiner? Due to the power of *avidya/ ignorance, that essence (I do not exist) has become like avi- dya/ignorance only. *(avidya maya- to take yourself to be a body; vidya maya- to take yourself to be knowledge)

मनुष्यांची बाजीगरी । बहुत जनास वाटे खरी । सेवट पाहातां निर्धारीं । मिथ्या होये ॥ २६ ॥

जादुगारानें निर्माण केलेल्या सर्व वस्तु खर्‍या वाटतात. पण जादुचा खेळ संपल्यावर पाहिलें तर त्या खोट्या होत्या हें निश्र्चयानें कळते.

The magic of man (imagination, rajo guna ie. avidya) has caused this `all' world to appear as a gross objective world and the people feel that it is true. In the end however, one understands that these were both false appearances within that supportless Reality (both vidya and avidya are maya).

तैसीच माव राक्षेसांची । देवांसहि वाटे साची । पंचवटिकेसि मृगाची । पाठी घेतली रामें ॥ २७ ॥

राक्षससुद्धा अशीच माया रचतात व ती देवांनासुद्धा खरी वाटते. पंचवटीमध्यें असतांना श्रीरामाने भुलुन खोत्या सुवर्णमृगाचा पाठलाग केला.

Like this also is the deceit of this demon called ignorance. Due to it, the true God feels that this world is true. Even ram had wanted the skin of the deer made of the five elements. (When ram forgot Himself, He became ravana. Such is the power of ignorance. Then he wanted the skin/support of an `animal that sees a mirage' ie. jiva and having been deceived by ignorance, He took Himself as a body made up of the five elements. You are ram and you have forgotten Yourself, due to ignorance)

पूर्व काया पालटिती । येकाचेचि बहुत होती । रक्तबिंदीच जन्मती । रजनीचर ॥ २८ ॥

राक्षस मायेने आपलें शरीर बदलतात. एकाचे पुष्कळ होतात. युद्धामध्यें रक्ताच्या एका थेंबांतून पुन्हा जन्म घेतात.

This demon moves around in the night of ignorance when it turns away from its previous body (ie. supra-causal or light of knowledge). Out of that One (atma) this `all' has come and then this `all' takes a birth from out of a few drops of *blood (due to gross body identification). *(maharaj semen is the essence of blood)

नाना पदार्थ फळेंचि जाले । द्वारकेमधें प्रवेशले । कृष्णें दैत्य किती वधिले । कपटरुपी ॥ २९ ॥

अनेक वस्तु व फळें यांची रुपें घेऊन राक्षस द्वारकेंत शिरले. पण कृष्णाने अशा कित्येक कपटी राक्षसांना ठार मारलें.

According to legend, the devils entered into the city of *dwarka appearing as `many' fruits and objects.And it is said that krishna killed these devils who had taken `many' forms made of deceit and ignorance (due to ignorance, `many' names and therefore `many' forms have appeared upon this `I am'; only krishna knew how to kill them). *(dwarka was krishna's city; this `I am')

कैसे कपट रावणाचें । सिर केलें मावेचे । काळनेमीच्या आश्रमाचें । अपूर्व कैसें ॥ ३० ॥

रावणाने कपटीपणाने रामाचे खोटे शिर सीतेला दाखविले. तर काळनेमीनें ऋषीचे रुप घेऊन व आश्रम निर्माण करुन मारुतीला फसविले.

How great was the deceit of ravana, he even made an enchanting head of *ram. He even made an place of rest/ashram for the demon kalanema.14 But how could this be that `which has never been seen before' (ie. atma). *(maharaj: ram and ravana are yourself only)

नाना दैत्य कपटमती । जे देवांसहि नाटोपती । मग निर्माण होऊन शक्ती । संव्हार केला ॥ ३१ ॥

कपटबुद्धि असलेले पुष्कळ राक्षस देवांनाही आटोपत नसत. मगभगवंताच्या शक्तीनें अवतार घेऊन त्यांचा संहार केला.

These devils of the `many' are so cunning and skilled in magic (ie. this is a man, this is a woman and this is a cup etc. etc.) but God created this shakti and destroyed them (`I am' or shakti has power over all objects and it destroys avidya and objectification). Still understand this shakti has no control over God (ie. shiva, the Knower of this `I am'). (maharaj- a thought is just like a mosquito: one slap and it is dead)

ऐसी राक्षेसांची माव । जाणों न सकती देव । कपटविद्येचें लाघव । अघटितज्यांचें ॥ ३२ ॥

अशी ही राक्षसांची माया देवांनासुद्धा कळत नसे. राक्षसांचे कपटविद्येंतील प्राविण्य कल्पनेपलीकडील होते.

It is not possible for God to know the deceit of this demon called ignorance (ie. for He knows only His shakti/knowledge). Its skill in the art of deception has been acquired from this wonder of mula maya (from the original illusion ie. mula maya/shakti there manifests the gunas and from tamo guna there comes the five elements and from the five elements there comes `many' objects; see 8.4).

मनुष्यांची बाजीगरी । राक्षसांची वोडंबरी । भगवंताची नाना परी । विचित्र माया ॥ ३३ ॥

माणुस जें खोटे निर्माण करतो त्यास जादुगीरी, राक्षस जें खोटे निर्माण करतात त्यला वोडंबरी किंवा इंद्रजाल म्हणतात. तर भगवंतापासून जें खोटे निर्माण होतेत्यास माया म्हणतात. ही माया विचित्र आहे. ती अनेक प्रकार निर्माण करते.

Man performs the worthless trickery of imagination ("There is this and that"); the demon performs an empty show of magic and makes you forget yourself (only you are there, but this you have forgotten ie. ignorance). But these `many' variegated forms are the maya of God and she has no power over God.

हे साचासारिखीच दिसे । विचारितांच नसे । मिथ्याची आभासे । निरंतर पाहातां ॥ ३४ ॥

ही माया अगदी खर्‍याप्रमाणें दिसते. विचार केला तर नाहीशी होते. सारखी दिसत असल्यानें खोटी असूनही खर्‍याप्रमाणें भासते.

When that thoughtless Self is seen it appears as the `all' and is felt to be true (because its base is true). But when thoughtlessness is understood then, this world of the `all' is known to be untrue. That `one beyond the inner space'/parabrahman understands that it is false even though it appears (ie. then it is just like a dream).

साच म्हणावी तरी हे नासे । मिथ्या म्हणावी तरी हे दिसे । दोहीं पदार्थीं अविश्र्वासे। सांगतां मन ॥ ३५ ॥

खरी मानावी तरी ही नाश पावते. खोटी म्हणावी तर प्रत्यक्ष दिसते. म्हणून मन ती खरी म्हटली तरी विश्र्वास ठेवत नाही व खोटी म्हटली तरी विश्र्वास ठेवत नाही.

If it is said to be true, still it is destroyed and if it is said to be false, still it is seen. And if such a mind has no faith in that purush then, it will create many objects within this prakruti/purush. (Mind cannot understand that Reality, it sees only Reality's reflection ie. knowledge (purush/prakruti). But it has no faith in this either and it then creates many names and forms thinking it will gain happiness there)

परंतु हे नव्हे साचार । मायेचा मिथ्या विचार । दिसतें हें स्वप्नाकार । जाण बापा ॥ ३६ ॥

परंतु हें कांहीं खरें नाहीं मायेचा विचार म्हणजे खोट्याचा विचार आहे. हें सगळें दृश्य केवळ स्वप्नासारखें आहे. हें समजुन राहा.

But then that thoughtless Truth is not and there are the illusory thoughts of maya. Then that thoughtless Self becomes a `dweller in a dream' who sees many forms. Know this my dear man.

तथापी असो तुजला । भासचि सत्य वाटला । तरी येथें चुका पडिला । ऐक बापा ॥ ३७ ॥

हा दृश्य पसारा खरा नाहीं. तो भास आहे. असे समजावून सांगितलें तरी तुला तो भासच खरा वाटतो. असे कां होते तें तुला सांगतो.

If still you feel that this appearance is true, then that brahman `there' is committing a terrible mistake. Therefore listen, my dear man (for this is the only sadhana).

दृश्यभास अविद्यात्मक । तुझाहि देहो तदात्मक । म्हणौनि हा अविवेक । तेथें संचारला ॥ ३८ ॥

दृश्याचा पसारा अविद्येने भरलेला आहे. तसाच आपला देहसुद्धां अविद्येंतच जन्मतो. त्यामुळें खोटे असणारे दृश्य खरें आहे. असा अविवेक आपल्यांत संचरतो.

This visible appearance is full of ignorance/avidya (gross objectivity) and your body is also of the nature of ignorance/avidya and so that thoughtless understanding `there' has been completely covered over by non-discrimination/avivek.

दृष्टीनें दृश्य देखिलें । मन भासावरी बैसलें । तरी तें लिंगदेह जालें । अविद्यात्मक ॥ ३९ ॥

आपण डोळ्यांनी जी वस्तु पाहातो आपले मन त्या वस्तुचे रुप घेते. सूक्ष्म देहांत प्रतिमा तयार होते. अविद्येनें निर्माण केलेल्या वस्तुला धारण करणारा सूक्ष्म देहसुद्धा अविद्यामयच असतो.

The seer perceives this visible `all' but, when the mind dwells upon this appearance and takes pleasure in this then, that Reality appears as a *subtle body that is full of avidya (ie. gross objectivity). *(ie. made up of mind, buddhi, chitta, ego, prana, ten senses etc.)

अविद्येनें अविद्या देखिली । म्हणोनि गोष्टि विश्र्वासली । तुझी काया अवघी संचली । अविद्येची ॥ ४० ॥

पाहणारा दृष्टा अविद्यामय व पाहिलेलें दृश्यसुद्धा अविद्यामय असते. म्हणून द्रष्ट्याचा दृश्याच्या खरेपणावर विश्र्वास बसतो. आपला संपूर्ण देह आंतून बाहेरुन अविद्येने भरलेला आहे.

Then there is avidya being seen by avidya and this `I am' believes that this is real and then your gross body and `many' things of avidya are created. (maharaj- when knowledge is happy just to know itself then that is vidya maya....when it becomes a little more objective then the elements appear ..... that is avidya maya)

तेचि काया मी आपण । हें देहबुद्धीचें लक्षण । येणें करितां जालें प्रमाण । दृश्य आवघें ॥ ४१ ॥

तो देहच मी आहे असे समजणें हें देहबुद्धीचें लक्षण होय. या दृढ भावनेनें दृश्य बघितले म्हणजे तें खरें वाटते.

Then that Reality says, "I am a body" and that attentionless, thoughtless Self acquires an attention that brings body consciousness. And on account of this, that nirgun Knower appears as the many visible objects.

इकडे सत्य मानिला देहो । तिकडे दृश्य सत्य हा निर्वाहो । दोहींमधें माहां संदेहो । पैसावला बळें ॥ ४२ ॥

देह खरा मानला. दृश्य खरें मानलें. यामुळें दोन्हीमध्यें वेगळेपणा निर्माण होऊन दृश्याबद्दल द्रष्ट्याच्या मनांत संशय जबरदस्तीने पसरतो.

Whether there is a gross body of only this much or there is this visible `all', still both are regarded as the Truth because their base is the Truth (even if the gross body is left aside on account of its falsity, still that Truth gets superimposed upon this `all' body). Originally in prakruti/purush, there had been this great doubt of `I am' and this had then expanded into the `many' doubts that come with the thought, "I am a body".

देहबुद्धि केली बळकट । आणी ब्रह्म पाहों गेला धीट । तों दृश्यानें रुधिली वाट । परब्रह्माची ॥ ४३ ॥

आपली देहबुद्धी न सोडता आणखी बळकट करुन परब्रह्म पाहाण्याचा प्रयत्न केला तर असे आढळतें कीं परब्रह्माची वाट दृश्यानें अडविली आहे.

If you hold fast to the notion that you are this `all' body and audaciously try to see brahman then, due to this visible `all' the path of parabrahman is obstructed.

तेथें साच मानी दृश्याला । निश्र्चयचि बाणोनि गेला । पाहा हो केवढा चुका पडिला । अकस्मात ॥ ४४ ॥

आपण दृश्याला खरें मानून आत्मज्ञानाच्या क्षेत्रांत प्रवेश करण्याचा प्रयत्न करतो. हा केवढा घोटाळा झाला पाहा.

Actually it is that brahman who is regarding this visible `all' as the Truth and therefore, how then can the conviction of that One Reality be imbibed? Understand how great the error is that has been suddenly committed.16

आतां असो हें बोलणें । ब्रह्म न पाविजे मीपणें । देहबुद्धीचीं लक्षणें । दृश्य भाविती ॥ ४५ ॥

देहबुद्धीनेम, मीपणाने ब्रह्मप्राप्ती होईल हें शक्य नाही. परंतु हें बोलणें आतां पुरे. दृश्यावर खरेपणाचा विश्र्वास असणें हेंच देहबुद्धीचें लक्षण आहे.

For now that thoughtless Self is this `I am' and brahman cannot be achieved by such `I'-ness. Still this attention that had been placed upon the gross body is now being placed upon this visible `all' (ie. `I'-ness needs a body, either the gross or this `all', but some body is required).

अस्तिचा देहीं मांषाचा डोळा । पाहेन म्हणे ब्रह्माचा गोळा । तो ज्ञाता नव्हे आंधळा । केवळ मूर्ख ॥ ४६ ॥

आपला देह हाडांचा सापळा आहे. त्यामधें मांसाचा डोळा आहे. त्यानेम जो मी ब्रह्म पाहिन असें म्हणतो तो ज्ञानी नव्हे तर आंधळा व मूर्ख आहे.

If in a body of bones and eyes of flesh, you say, "I will understand the totality of brahman," then, really you are not a Knower and that pure knowledge has become a blind fool.

दृष्टीसि दिसे मनासि भासे । तितुकें काळांतरी नासे । म्हणोनि दृश्यातीत असे । परब्रह्म तें ॥ ४७ ॥

दृष्टीला जेम दिसते व मनास जें भावते ते सर्व कांहीं काळाने नष्ट होणारे आहे. म्हणून परब्रह्म हे दृष्यापलीकडील आहे.

Whatever is seen and whatever is perceived by mind, that much is destroyed at the end of `time'. Therefore understand; that which is beyond this visible `all' is pa- rabrahman.

परब्रह्म तें शाश्वत । माया तेचि अशाश्वत । ऐसा बोलिला निश्र्चितार्थ । नाना शास्त्री ॥ ४८ ॥

परब्रह्म हें शाश्वत आहे तर मायाही अशाश्वत आहे. असा निश्र्चित निर्णय नाना शास्त्रांनी सांगितला आहे.

That parabrahman is eternal and maya is when That appears as non-eternal. She is this steady `speech' within the `many' shasthras.

आतां पुढें निरुपण । देहबुद्धीचें लक्षण । चुका पडिला तो मी कोण । बोलिलें असे ॥ ४९ ॥

आतां पुढिल समासांत देहबुद्धीच्या लश्रणांचे निरुपण आहे. ज्याच्याबद्दल भ्रम निर्माण होऊन घोटाळा निर्माण झाला. तो मी कोण हें सांगितलें आहे.

Now, if ahead this sagun discourse becomes the attention of gross body consciousness then, that atma will ask "Who am I?" and this `speech' will surely be missed. (Body consciousness asks "Who am I?"; while that sagun discourse knows `I am')

मी कोण हें जाणावें । मीपण त्यागूनि अनन्य व्हावें । मग समाधान तें स्वभावें । आंगीं बाणें ॥ ५० ॥

मी कोण आहे हें जाणून घ्यावें. मगदेहाच्या मीपणाचा त्याग करुन खर्‍या मीशी एकरुप, अनन्य व्हावें. हें जर जमले तर समाधान लाभते.

"What is this I?" This you should known. Then by renouncing this `I'-ness there should be no-otherness and that samadhan that is within this bliss of the `all' body will be naturally imbibed. (Bliss is the pleasure that comes when this created `I am' is understood. samadhan is the natural uncreated pleasure of the One without a second) .