गुणरूप — समास 6: गुणरुपनिरुपण

आकाश जैसें निराकार । तैसा ब्रह्माचा विचार । तेथें वायोचा विकार । तैसी मूळमाया ॥ १ ॥

ब्रह्मस्वरुप आकाशासारखें आहे. आकाशास आकार नाही तसा ब्रह्मास आकार नाही. निराकार व निर्विकार आकाशामध्यें वायूची लहर येते. त्याच प्रमाणें निर्विकार परब्रह्मामध्यें मूळमाया उदय पावते.

When this great element space is that formless swarup then, there is the thoughtles- sness of brahman. And when that thoughtless `there' is like the wind then, there is mula maya. (This is the subtle relationship of prakruti and purush. But when there is no wind/prakruti then, that space/purush is not ie. witnessing is not, and there is the thoughtless Self. And when the wind is then, thoughtlessness is not and there is witnessing and the `I am' feeling)

हें दासबोधीं असें बोलिलें । ज्ञानदशकीं प्राजंळ केलें । मूळमायेंत दाखविलें । पंचभूतिक ॥ २ ॥

दासबोधांत सातव्या दशकांत हें सांगितले. नंतर ज्ञानदशकांत म्हणजे आठव्या दशकांत हें स्पष्ट केले. मूळमाया आपल्या पोटांत पंचमहाभूतें घेऊन असते हेहीं तेथें दाखविलें.

That thoughtlessness and this `speech' are within these words of the dasbodh. But these have been made into this knowledge of the ten senses and there has appeared the sense objects (ie. body consciousness). The dasbodh has been shown that within this `speech' of mula maya, there is that thoughtless Self and these objects made of the five elements.

तेथें जाणीव तो सत्वगुण । मध्य तो रजोगुण । नेणीव तमोगुण । जाणिजे श्रोतीं ॥ ३ ॥

मूळमायेमध्यें त्रिगुण सुप्त असतात. तेथें जाणीव तो सत्वगुण होय. तो ज्ञानमय असतो. थोडी जाणीव व थोडी नेणीव असें मिश्रण असलेला रजोगुण होय. रजोगुण ज्ञान व अज्ञान यांचे मिश्रण असते. आणि नेणीव तो तमोगुण होय. तमोगुण अज्ञानमय असतो असे श्रोत्यांनी समजावें.

When `there' is knowing then, there is that brahman and the sattwa guna. And in the middle, there is that brahman and rago guna. And when there is no knowing then, there is that brahman and tamo guna. Therefore the good listener should know that brahman.

म्हणाल तेथें कैंची जाणीव । तरी ऐका याचा अभिप्राव । पिंडीं माहांकारण देहीं सर्व--। साक्षिणी अवस्था ॥ ४ ॥

मूळमायेमध्यें जाणीव कोठून आली असा प्रश्र्ण पडल्यास त्याचें उत्तर समजावून सांगतो. पिंडाचे चार देह असतात. त्यापैकीं महाकारण हा चौथा. सर्वसाक्षिणी तुर्या अवस्था हें त्या देहाचे लक्षण होय.

If it is asked, "What is this knowing that has appeared upon the brahman?" Then just listen and you will come to learn the importance of this `speech'. This `speech' or knowing that is within the pinda is called the supra-causal/maha-karana. In this supra-causal body there is this `all' and therefore there is this state of witnessing (this `all' is the witnessed).

तैसी मूळप्रकृती ब्रह्मांडींचें । देह माहाकारण साचें । म्हणोन तेथें जाणीवेचें । अधिष्ठान आलें ॥ ५ ॥

ब्रह्मांडाचे देखील चार देह आहेत. त्यापैकी मूळप्रकृति हा महाकारण देह आहे. तो ज्ञानमय असल्यानें तेथें शुद्ध जाणीवेचें अधिष्ठान असतें.

And this maha-karana body within the pinda is truly the mula prakruti/maya of the brahmanda and in this way, there is this state of witnessing (ie. the One Witness is seeing the brahmanda and the pinda within it). Therefore that brahman `there' has become this substratum `here' (ie. purush/prakruti) from which knowing takes place.11

असो मूळमायेभीतरीं । गुप्त त्रिगुण वास करी । पष्ट होती संधी चतुरीं । जाणावी गुणक्षोभिणी ॥ ६ ॥

मूळमायेच्या पोटांत सत्व, रज व तम हें तीन गुण गुप्तपणें वास करतात. गुणमाया प्रगट झाली कीं, या तीन गुणांची साम्यावस्था भंगते. मग ते व्यक्त दशेंत येतात. म्हणून गुनक्षोभिणी तीन गुणांना व्यक्त दशेंत आणणारी संधि आहे असें शहाण्यांनी ओळखावें.

Both that hidden purush (Witness) and these three gunas (as potential for mani- festation) are staying within this mula maya. And when this space/sandhi is clearly perceived within the other four elements then, it should be known as the `agitation of the gunas'/guna-kshobini (In mula maya the awakening of the gunas has not taken place and so we say that there is potential for manifestation. Here there is witnessing or effortless knowing and `I see myself everywhere'. When there is the slight `agitation of the gunas' or guna maya then there is sattwa guna or knowing and there is the appearance of something outside of myself. Then that imperceptible space becomes the object)

जैसा तृणाचा पोटराकळा । पुढें उकलोन होये मोकळा । तैसी मूळमाया अवलीळा । गुणा प्रसवली ॥ ७ ॥

धान्याचें कणीस प्रथम बंद असतें. कणीस पिकलें कीं त्यांतले दाणे मोकळे होतात. त्याप्रमाणें मूळमाया आधीं तीन गुणांना पोटांत घेऊन असते. मग गुणमाया प्रगट होते व अगदी सहजपणें तिन्ही गुण व्यक्त दशेला येतात.

Then just like a closed grain that starts to split and open out, so too, mula maya naturally expands into the gunas.

मूळमाया वायोस्वरुप । ऐक गुणक्षोभिणीचें रुप । गुणविकार होतांचि अल्प । गुणक्षोभिणी बोलिजे ॥ ८ ॥

मूळमाया वायुस्वरुप म्हणजे शक्तीरुप असते. आतां गुणक्षोभिणीचे रुप सांगतो. मूळमायेमध्यें थोडासा गुणांचा विकार आढळला कीं, तिला गुणक्षोभिणी म्हणतात.

mula maya is this wind element along with that hidden purush. Listen (forget the objective world and just let that which is coming, come) and let there be this knowing form of guna-kshobini. In this way, mula maya has become the slightest of disturbances in the gunas.

पुढें जाणीव मध्यस्त नेणीव । मिश्रित चालिला स्वभाव । तेथें मातृकास ठाव । शब्द जाला ॥ ९ ॥

नंतर तिच्यामध्यें सत्व, रज, तम यांच्या मिश्रणानें विश्र्व निर्माण होण्याची क्रिया सहजपणें चालते. त्यामधें प्रथम साडेतीन मात्रांचा ओंकार प्रगट झाला.

Afterwards there is the spontaneous mixing together of this knowing/sattwa, not knowing/tama and this combination is called rajo guna. But when that brahman is this place of prakruti then, there is this `word'.

तो शब्दगुण आकाशींचा । ऐसा अभिप्राव येथीचा । शब्देंचि वेदशास्त्रांचा । आकार जाला ॥ १० ॥

शब्द हा आकाशाचा गुण आहे. असा यामध्यें गर्भितार्थ आहे. वेद व शास्त्रें शब्दाच्या द्वाराच प्रगट होतात.

When that brahman is this `word' or pure sattwa guna then, there is the importance of space/akash `here'. Afterwards due to this `word', the vedas and shasthras (and the `many' words) were formed.

पंचभूतें त्रिगुणकार । अवघा वायोचा विकार । जाणीवनेणीवेचा विचार । वायोचि करितां ॥ ११ ॥

पांच भूतें व तीन गुण मिळून आठ होतात. हीच अष्टधा प्रकृति होय. ही मूळमायेचाच विकार आहे. तिचेंच एक कनिष्ठ रुप आहे. ज्ञान व अज्ञान यांचा विचार करण्याची वेळ मूळमायेमुळेंच येते.

As explained before, the five great elements dwell within these three gunas and therefore everything created is a modification of this wind (iee. mula maya). For on account of this wind, that pure thoughtless Self appears as this play of knowing/not knowing (ie. rago guna and objectification)

वायो नस्तां कैंची जाणीव । जाणीव नस्तां कैंची नेणीव । जाणीवनेणीवेस ठाव । वायोगुणें ॥ १२ ॥

जर मूळमाया नसती तर परब्रह्माला स्वतःची ज्ञानरुप जाणीव झाली नसती. जाणीव निर्माण झाली कीं नेणीव स्वाभाविकपणें पुढें येते. म्हणून जाणीव व नेणीव, किंवा ज्ञान व अज्ञान या जोडीला मूळमायेखेरीज स्थान नाहीं.

If there is no wind then, how can there be knowing? And if knowing is not then, how can there be `not knowing'? Therefore this place of `knowingknowing' (this waking state of names and forms) is also due to this pure sattwa guna of the wind.

जेथें मुळींच नाहीं चळण । तेथें कैचें जाणीवलक्षण । म्हणोनि वायोचा गुण । नेमस्त जाणावा ॥ १३ ॥

जेथें मूळींच हालचाल नाहीं तेथें जाणीवेचे अस्तित्व आहे असे म्हणतां येत नाही. म्हणून जाणीव हा वायुचा गुण निश्चित समजावा.

If `here' at the root, there is absolutely no movement then, how can this attention of knowing be `there'? (Without movement there is no thing to know). Therefore, one should know this calm pure sattwa guna of the wind.

येकापासून येक जालें । हें येक उगेंचि दिसोन आलें । स्वरुप मुळींच भासलें । त्रिगुणभूतांचें ॥ १४ ॥

एकापासून एक कसें झालें असेम सांगितल्यावाचून विश्व कसेम निर्माण झालें तें आपल्याला बोलतां येत नाहीं. खरें म्हणजें तीन गुण व पंचभूतें मूळमायेमध्यें एकमेकांत मिसळलेलीच आहेत.

From that One brahman, another has appeared and then that One still and silent Self started to see. Afterwards that One swarup at the root appeared as the three gunas and the great elements. (From One came the two; from the two came the three; from the three came the five and from the five came the `many')

ऐसा हा मुळींचा कर्दमु । पुढें पष्टतेचा अनुक्रमु । सांगतां येकापासून येक उगमु । हें हि खरें ॥ १५ ॥

मूळमायेमध्यें पंचभूतें व तीन गुण सूक्ष्म व एकरुप असतात. पुढें एकपणाचा अनेकपणा होऊं लागला म्हणजे पांच भूतें व तीन गुण वेगळेपणानें अनुभवास येतात. अनेकपणाचा क्रम सांगतांना एकापासून दुसरें निर्माण झालें असें म्हणणें योग्य व बरोबर असते.

In this way, there is that thoughtless Self and this *mix of mula maya at the root and afterwards there is the process of it becoming manifest. And when this process is reversed then, this mula maya returns to that One and there is only thoughtlessness. *(mula purush mixed and apparently inseparable from His mula maya )

वायोचा कर्दम बोलिला । तयापासून अग्नि जाला । तोहि पाहातां देखिला । कर्दमुचि ॥ १६ ॥

आतांपर्यंत वायूमध्यें असणारें मिश्रण सांगितलें. वायूमधून तेज निघतें. अग्नि निर्माण होतो. अग्नीमध्यें देखील वायूप्रमाणेंच मिश्रण असतें.

This mix of the wind is this `speech' and from this there comes the fire element (ie. something is there outside of myself). But when you examine this fire element, you understand that it is also this mix of prakruti/purush.

अग्नीपासून जालें आप । तेंहि कर्दमस्वरुप । आपापासून पृथ्वीचें रुप । तेंहि कर्दमरुपी ॥ १७ ॥

अग्नीपासून पाणी निर्माण झालें. त्यांत मिश्रण असतें. पाण्यापासून पृथ्वी झालीं. तिच्यांत देखील मिश्रण असतें.

From the fire the water element appeared. But this is also this mix along with that thoughtless swarup. From the water the earth form has come and therefore, this is also within this mixed-form. (The original mix becomes more objective but everything has come from that One thoughtless swarup only. Then there is this mix of prakruti/purush, then the gunas, then the elements and then the objects)

येथे आशंका उठिली । भूतांस जाणीव कोठें देखिली । तरी भूतांत जाणीव हे ऐकिली । नाहीं वार्ता ॥ १८ ॥

या ठिकाणीं एक शंका येतें ती अशी कीं, पांच भूतें दिसायला तर अचेतन दिसतात. त्यांच्यामध्यें जाणीव कोठें आढळत नाहीं. पंचभूतांमध्यें जाणीव असते, ही गोष्ट कधीं ऐकलेली नाही.

Here, a doubt arises. "Where is this knowing that perceives these elements? If this knowing is within the elements then, I have not heard this mentioned before."

जाणीव म्हणिजे जाणतें चळण । तेंचि वायोचें लक्षण । वायोआंगीं सकळ गुण । मागां निरोपिलें ॥ १९ ॥

शंकेचें उत्तर असें कीं, हेतुपूर्वक होणारी जी हालचाल ती जाणीव होय. वायूचें लक्षण हेंच आहे. वायूमध्यें सगळें गुण असतातहें नुकतेंच सांगितलें आहे.

Knowing means `to know a movement' and then that Reality has become like this wind (ie. Knower, knowing and known). Therefore as was explained previously, in the body of this wind (ie. one moving form) there is this `all' guna of pure sattwa (ie. `All is myself'. And when you take a little step out of yourself then, there appears an object outside of myself ie. sattwa guna).

म्हणोन जाणीवनेणीवमिश्रित । अवघें चालिलें पंचभूत । म्हणोनियां भूतांत । जाणीव असे ॥ २० ॥

म्हणून जाणीव व नेणीव यांच्या मिश्रणानें पांच भूतांचा सगळा खटाटोप चालत असतो. यावरुन महाभूतांमध्यें जाणीव असते, यांत संशय घेण्याचे कारण नाही.

Therefore because of this knowing sattwa guna there can be the mixing of knowing and not-knowing and then there can be the functioning of the five great elements and then everything can appear. Therefore your question is answered; within the elements there is this knowing.

कोठें दिसे कोठें न दिसे । परी ते भूतीं व्यापून असे । तिक्षण बुद्धि करितां भासे । स्थूळ सूक्ष्म ॥ २१ ॥

जाणीव पांचही भूतांना व्यापून असते हें खरें. परंतु कोठे ती प्रगटपणें दिसते कोठे ती दिसत नाही. इतकाच फरक आहे. तीव्र बुद्धीनें विचार केला तर जाणिवेचें स्थूल व सूक्ष्म रुप बरोबर कळेल.

In some places it sees and in some places it does not see but this knowing is within and pervades these elements.13 And when your buddhi is sharp like a sword then, you can make these gross appearances into that subtle brahman by means of this knowing (the buddhi decides if it is real or false. If he decides the gross is false then, he will not care for it and then naturally knowing sees and while remaining in this knowing, this also will go off, of its own accord).

पंचभूतें आकारलीं । भूतीं भूतें कालवलीं । तरी पाहातां भासलीं । येक स्थूळ येक सूक्ष्में ॥ २२ ॥

पांच भूतें जेव्हां आकाराला आलीं तेव्हां दिसायला ती वेगळी दिसूं लागली. पण ती एकमेकांत मिसळलेली किंवा कालवलेली असतात. त्यांच्याकडे पाहिले तर एक स्थूल दिसते आणि दुसरें सूक्ष्म दिसतें.

These five great elements have become the many different forms due to the *mixing of each element with the other elements. And so that One subtle brahman has appeared as a gross body/jiva. *(See 8.4; When each element contains one eighth of each other element and half of its own when it becomes gross) 13 siddharameshwar maharaj- In man and other animate beings, this living principle is very clearly evident but in inanimate objects, its nature is not clearly seen. This is not the effect or fault of this living principle; this is the effect and fault of the limiting concept. Observe the water that rises out of a fountain. The water gushing out from the fountain is vibrant and active. This is the effect of the limiting concept/form of the fountain. And in a tank, the still water appears dense and calm. This is the effect of the limiting concept of the tank. In reality, water is neither only moving nor only still. In the same way, this one form of the living principle pervades the whole living and non-living creation. This living principle, due to the limiting knowing faculty (ie. brain), is the cause of sentience in man but in other objects because there is no existence of the limiting knowing faculty, there is insentience.

निरोधवायो न भासे । तैसी जाणीव न दिसे । न दिसे परी ते असे । भूतरुपें ॥ २३ ॥

वायू जेव्हां वाहात नाहीं तेव्हां तो आहे असें वाटत नाहीं. त्याचप्रमाणें जाणीव जेव्हां गुप्त असते तेव्हां ती दिसत नाहीं. परंतु ती दिसली नाहीं तरी भूतांच्या अंतरीं सूक्ष्मरुपानें असतेच.

But just as a still wind has no appearance, so too, this knowing of the sattwa guna does not see the `many' forms of this world. Though no world is seen still, that Reality is there along with this wind element (ie. purush/prakruti and the `all' is perceived).

काष्ठीं अग्नी दिसेना । निरोधवायो भासेना । जाणीव तैसी लक्षेना । येकायेकीं ॥ २४ ॥

लांकडामध्यें अग्नि असून दिसत नाहीं. वायू वाहाणें बंद झालें कीं वायु असून भासत नाही. त्याचप्रमाणें जाणीवेंचे अस्तित्व एकदम ध्यानांत येत नाहीं.

And just as fire is in wood but it is not seen (ie. an un-manifest potential exists), so too, this knowing is in the still wind but has not appeared (ie. knowing is there as un-manifest potential within this wind and guna maya makes it begin to manifest). Like this is this knowing, but the jiva within that One brahman cannot behold this.

भूतें वेगळालीं दिसती । पाहाता येकचि भासती । बहुत धूर्तपणें प्रचिती । वोळखावी ॥ २५ ॥

पांच भूतें दिसायला वेगवेगळीं दिसतात. पण सूक्ष्म विचारानें बघितली तर तीं एकरुप आढळतात. या गोष्टीचा अनुभव मोठ्या चतुरपणें घ्यावा लागतो.

These great elements are understood when separated out by vivek and then you can understand that the One (nirgun) has appeared Itself as Its reflection, this sagun form. Therefore this `all' within this `experience' should be recognized through wisdom.

ब्रह्मापासून मूळमाया । मूळमायेपासून गुणमाया । गुणमायेपासून तया । गुणास जन्म ॥ २६ ॥

विश्वनिर्मितीची गोष्ट - परब्रह्मापासून मूलमाया झाली. मूलमायेपासून गुणमाया झाली. गुणमायेपासून सत्व, रज, तम हे तीन गुण जन्मलें.

From brahman has come mula maya and from mula maya there has come guna maya. Then from guna maya, the gunas are born.

गुणापासूनियां भूतें । पावलीं पष्ट दशेतें । ऐसियांचीं रुपें समस्तें । निरोपिलीं ॥ २७ ॥

गुणांपासून पांच भूतें झाली. नंतर ती वेगवेगळी होऊन दृश्य रुपास आली. या सगळ्यांची लक्षणें आतांपर्यंत सांगितली.

From the gunas the five great elements acquire a manifest state and they appear before the ten senses. In this way these `many' forms have appeared from this `speech'.

आकाश गुणापासूनि जालें । हें कदापी नाहीं घडलें । शब्दगुणास कल्पिलें । आकाश वायां ॥ २८ ॥

खरें म्हणजें पांच भूतें व तीन गुण मिळून गुणमाया असतें. म्हणून आकाश गुणामपासून झालें असें कधींच घडत नाही. शब्दाला अधिष्ठान हवें म्हणून उगीच आकाशाची कल्पना केली आहे.

When from this pure sattwa guna, space appears (ie. when the imperceptible space becomes the object then there is the knowing sattwa guna and the pure sattwa disap- pears), then that thoughtless swarup cannot be accomplished. For then that thoughtless is imagined as this `word' and so there is space and this wind.

येक सांगतां येकचि भावी । उगीच करी गथागोवी । तया वेड्याची उगवी । कोणें करावी ॥ २९ ॥

एक सांगितलें तर भलतेंच कांहींतरी समजते. उगीच अर्थाचा घोटाळा करतो, अशा वेड्याची समजूत घालणें फार कठिण असतें.

That One either understands thoughtlessness or that One becomes a jiva and starts imagining and unnecessarily creates this great entanglement. Then who can release that One from this mad confusion?

सिकविल्यां हि कळेना । उमजविल्यां हि उमजेना । दृष्टांतेंहि तर्केना । मंदरुप ॥ ३० ॥

त्याला नीट शिकवले तर कळत नाहीं. समजावून सांगितलें तर समजत नाहीं. उदाहरणें व दृष्टांत देऊन सांगितलें तरी त्यांचा बरोबर अर्थ काढण्याची शक्ति त्याच्या बुद्धींत नाहीं.

Even if he is taught, still that nirgun cannot be understood. And even if he understands still, he has not *understood (He is beyond understanding and cannot be made an object of understanding). Even this sagun form cannot be realized if you apply the logic of these similes (the similes can only be used to infer this `I am', to coax the mind into dropping its logic and perceiving that which remains). *(maharaj- how to kiss yourself?. . .if he says he understands then, he has not understood)

भूतांहून भूत थोर । हा हि दाविला विचार । परी भूतांवडिल स्वतंत्र । कोण आहे ॥ ३१ ॥

पांच भूतांमध्यें एकापेक्षां एकथोर आहे. हा विचार मांडला. याचप्रमाणें पंचभूतांहून वरिष्ठ व स्वतंत्र कोण हा प्रश्र्ण येतो.

So it has been proved that from one element another element comes and that thought- lessness is brahman. But how can the eldest of these great elements (ie. space) be that independent brahman?

जेथें मूळमाया पंचभूतिक । तेथें काये राहिला विवेक । मूळमायेपरतें येक । निर्गुणब्रह्म ॥ ३२ ॥

जेथें मूळमायाच पांच भूतांनी भरलेली आहे, तेथें या प्रश्र्णाचा विचारच थांबतो. मूळमायेच्या पलीकडे निर्गुण ब्रह्म तेवढें आहे.

When `here' is mula maya containing the elements then, how can that brahman `there' stay? When this space is `here' then, how can there be the vivek of brahman, for that One nirgun brahman is beyond mula maya.

ब्रह्मीं मूळमाया जाली । तिची लीळा परीक्षिली । तंव ते निखळ बोलली । भूतेंत्रिगुणांची ॥ ३३ ॥

परब्रह्मामध्यें मूळमाया निर्माण झाली. हें अवाढव्य विश्व बनवण्याचा खेळ ती खेळते. या तिच्या लीलेचें सूक्ष्म निरिक्षण केलें आणि खोल परिक्षण केले तर असें आढळतें कीं ती निव्वळ पांच भूतें व तीन गुण यांची मूस आहे.

This mula maya has appeared in brahman and her `play' has been examined. Her `play' is that pure swarup being placed in a mould made up of the three gunas and the great elements.

भूतें विचारवंत चत्वार । आकाश पाहातां निर्विकार । आकाश भूत हा विचार । उपाधीकरितां ॥ ३४ ॥

चार भूतांना विकार आहेत. त्यांच्यामध्यें बदल घदतो. आकाश मात्र निर्विकार आहे. त्याला उपाधि आहे, मर्यादा आहे. म्हणून तें पंचभूतांत गणलें जाते.

Then there is space, the possessor of these four other modifications of wind, fire, water and earth. But when you properly understood this space then, it is that unmodified swarup. That thoughtless Self has appeared as this space element, on account of the limiting concepts.

पिंडीं व्यापक म्हणोन जीव । ब्रह्मांडीं व्यापक म्हणोन शिव । तैसाच हाहि अभिप्राव । आकाशाचा ॥ ३५ ॥

जाणीव जेव्हां पिंडाला व्यापते तेव्हां तिला जीव म्हणतात. ती पिंडापुरती मर्यादित होते. जाणीव जेव्हां विश्वाला किंवा ब्रह्मांडाला व्यापते, विश्वापुरती मर्यादित होते तेव्हां तीला शिव म्हणतात. आकाशाचाही असाच विचार करावयास हवा.

When it pervades as space in the pinda then, there is the jiva. When it pervades as space in the brahmanda then, there is shiva. In this way, that thoughtless Self has become space (ie. space is and yet it is not. It is a conundrum. siddharameshwar maharaj- `when you look at the moon you do not see that which is present between the moon and your nose. When you focus your attention there then, space appears': You who are that imperceptible brahman becomes space by this act of attention)

उपाधीमधें सांपडलें । सूक्ष्म पाहातां भासलें । इतुक्यासाठीं आकाश जालें । भूतरुप ॥ ३६ ॥

आकाशाला दृश्यानें मर्यादा घातली. सूक्ष्म दृष्टीनें पाहीलें तर तें ज्ञेयरुपानें अनुभवास येतें. ज्ञेयरुपानें म्हणजे वेगळेपणानें जें अनुभवास येतें तें पंचभूतात्मक असतें. म्हणून आकाश पांच भूतांपैकी एक गणलें गेलें आहे.

When that subtle brahman gets caught in the limiting concepts of jiva or shiva then it appears. On account of the limiting concepts, space has appeared and there are these elemental forms (then you are the base of the manifest forms).

आकाश अवकाश तो भकास । परब्रह्म तें निराभास । उपाधी नस्ता जें आकाश । तेंचि ब्रह्म ॥ ३७ ॥

आकाश अवकाशरुप आहे, म्हणून तें शून्यमय आहे. शून्य नाहींपणानें भासतें, पण परब्रह्म निराळेंपणानेम अनुभवास येतच नाही. दृश्यपणाची कोणतीही उपाधि नसणारें जें आकाश तेंच ब्रह्मस्वरुप होय.

Space is an `interval' and then that brahman becomes void and empty like zero. But that parabrahman is imperceptible, beyond any appearance. When the limiting concepts are destroyed then, this space of mula maya is that brahman (when nothing remains to pervade then even knowing is not required; knowing is maya and she brings the 5 great elements).

जाणीव नेणीव मध्यमान । हेंचि गुणाचें प्रमाण । येथें निरोपिलें त्रिगुण । रुपेंसहित ॥ ३८ ॥

सत्व म्हणजे जाणीव, तम म्हणजे नेणीव आणी रज म्हणजे जाणीव नेणीव यांचे मिश्रण. तीन गुणांची रुपें त्यांच्या प्रगट रुपांसहित सांगितलीं आहेत.

When there is knowing, not knowing/ignorance and the mix of the two then, that thoughtless Truth has become these gunas. Then `here' becomes the expansion of three gunas along with the elements.

प्रकृती पावली विस्तारातें । पुढें येकाचें येकचि होतें । विकारवंतचि तयातें । नेम कैंचा ॥ ३९ ॥

एकदां का प्रकृतीचा विस्तार होऊं लागला म्हणजे एकांतून एक निर्माण होत जातें. प्रकृती विकारवंत आहे असें एकदां समजले म्हणजे तिच्यांत अनंत प्रकारचे दृश्य कसें निर्माण होत जातें याचे आश्र्चर्य वाटणार नाही.

prakruti has expanded and then to that One there appeared a jiva. Then how can the possessor of these other four elements (ie. space) be that Reality?

काळें पांढरें मेळवितां । पारवें होतें तत्वता । काळें पिवळें मेळवितां । हिरवें होये ॥ ४० ॥

काळा व पांढरा रंग एकत्र मिसळला कीं त्यापासून पारवा रंग तयार होतो. काळा व पिवळा रंग मिसळला कीं त्यापासून हिरवा रंग तयार होतो.

When black and white get mixed together, grey becomes apparent. When black and yellow get mixed, there appears green.

ऐसे रंग नानापरी । मेळवितां पालट धरी । तैसें दृश्य हें विकारी । विकारवंत ॥ ४१ ॥

अशारीतीनें रंगांचें मिश्रण केलें तर मूळ रंग बदलतात. व नवीन रंग तयार होतात. त्याचप्रमाणें मुळांतच दृश्य विकारवंत असल्यामुळें त्यामध्यें बदल होऊन नवीन नवीन दृश्य वस्तु बनत जातात.

When many different colours get mixed together then changes are conceived of. In this same way also, that thoughtless swarup appeared as this visible `all' and then, many changes were conceived of when this space and its modifications (wind, fire etc) are mixed together (then there is objectification).14

येका जीवनें नाना रंग । उमटों लागती तरंग । पालटाचा लागवेग । किती म्हणोन पाहावा ॥ ४२ ॥

मुळांत पाणी एकच असतें. परंतु त्यावर तरंग उमटु लागतात. तरंगांमध्यें इतक्या जलद गतीनें बदल घडतो कीं, त्यांची गणती करणें अशक्य असतें.

The one water becomes many colours when a wave is produced. And the wave is a movement of change. Therefore the mind should understand that still nirgun. (The wave rising out of the stillness of the ocean appears as a separate changing form and in 14siddharameswar maharaj- That thoughtless Knower has become this variegated visible world; a picture painted by our own thoughts. But look carefully and understand that within this gross world there is, inside and outside, this knowledge beyond the colours. My dear disciples, doing the guru's mantra with eyes half closed, drushti anta drushti suranga. karuniya samadrushti maga. nana tarheche ranga suranga. raktashwetapita ahe. pudhe nilavarna teja janave. . . (These are extracts from the guru's daily bhajan. It means; seeing with inner vision there is that beautiful form. This is the vision of knowledge. Then the many and various colours are this one beautiful form. When the red, white, and yellow are seen with this knowingness, then everywhere will be the splendour of that infinite Self). nilavarma te bimbakashi, chaitanyachi musa tyamadhye vastu jadali ase. And when you understand the splendour of that Self hidden within this mould of chaitanya then, this is the study of your Self. And now open wide your half-closed eyes and with those open eyes understand what is outside. Understand it is you, that Self who is seeing yourself outside. Then everywhere is this Lord of the colours. Take anything and understand it is that Self. When everything outside is broken, smashed and burnt to ashes then, that One splendour will be seen. the same way, due to maya, the elements and forms appear as separate and changing in that thoughtless swarup)

येका उदकाचे विकार । पाहातां दिसती अपार । पांचा भूतांचे विस्तार । चौर्‍यासी लक्ष योनी ॥ ४३ ॥

पांच भूतांपैकी पाणी एक भूत आहे. त्याचे एकट्याचे इतके फेरबदल घडतांना दिसतात. मग पांच भूतांचा पसारा केवढा अपाट असेल, चौर्‍यांशी लक्ष योनींतील जीवप्राणी त्या अफाट पसार्‍याचाच एक भाग आहे.

When you understand then, there is that One unlimited and boundless. And when that One looks outward then, there is this modification of the water *element and the expansion of the five elements into the eighty-four principles of a jiva. *(Soft formation of form ie. objectification, like the wave being seen rather than the water of the ocean)

नाना देहाचें बीज उदक । उदकापासून सकळ लोक । किडा मुंगी स्वापदादिक । उदकेंचि होयें ॥ ४४ ॥

जगांत कितीतरी प्रकारचे प्राणी दिसतात, पण पाणी हेंच त्यांच्या देहाचे मूळ आहे. सगळीं माणसें किडामुंगी इत्यादि जीव, आणी श्वापदादिक जनावरें सगळीं पाण्यापासून निर्माण होतात.

This water (`soft' objectification) is the seed of `many' bodies and from this water of objectification there comes this world of the `all' also. The insects, ants and animals etc. have all come from this water/objectification. (If one `looks up' or inwards and understands then, the mind becomes quiet and this water/objectification merges in the `all'; if one `looks down' or outwards and imagines then, the mind stirs and there is further objectivity and the `soft' becomes gross. Then taking yourself to be an individual body, you see `many' other creatures, like insects etc.)

शुक्लीत श्रोणीत म्हणिजे नीर । त्या नीराचें हें शरीर । नखें दंत अस्तिमात्र । उदकाच्या होती ॥ ४५ ॥

रक्त आणी वीर्य मुळांत पाणीच असतात. त्या पाण्यापासून आपलें शरीर बनतें. नखें, दांतव सगळीं हाडें पाण्यापासूनच तयार होतात.

The man's seminal fluid and blood are this water (it is only because of objectification that body consciousness arises and separate and distinct forms or parts are seen, like blood as being different from sweat or seminal fluid. Otherwise if there is no care for the individual body then, this one moving `all' form is perceived). That thoughtless swarup and this `all' body have become this water of objectivity. Even the nails, teeth and bones are borne of this objectification of this water element. (There is that thoughtless objectless swarup and then this wind of the `all' ie. just knowing the original `object'; then objectification becomes more and more gross and forms are perceived and given names. And from the `soft' objects of this water there comes the `many' hard objects due to gross body consciousness. In this way, the One has been broken into so `many' separate words, objects and parts)

मुल्यांचे बारीक पागोरे । तेणें पंथें उदक भरे । त्या उदकेंचि विस्तारे । वृक्षमात्र ॥ ४६ ॥

झाडाच्या मुळ्यांना अगदी बारीक तंतुमय शाखा असतात. त्यांच्यातून पाणी शोषलें जाऊन तें सगळ्या झाडाला पुरविलें जातें. त्यापाण्यानें झाडाचा विस्तार होतो.

(This objectification is explained by using the metaphor of the tree. This tree is maya.) At the root there are the finest of tendrils and due to these the whole tree is filled with this water. In the same way, from the root of this `I am' there has come this `soft' objectification and this `soft' objectification has become a gross body.

अंबवृक्ष मोहरा आले । अवघे उदकाकरितां जाले । फळीं फुलीं लगडले । सावकास ॥ ४७ ॥

पाण्यामुळें आंब्याच्या झाडाला मोहोर येतो. झाडांना फुलांचा व फळांचा बहर येतो. तो सगळा पाण्याचा परिणाम होय.

The blossoms have appeared on the mango tree on account of this water; for due to this water everything appears. In the *leaves, in the flowers and in the fruits there is this water. *(ie. leaves are the different sources of birth, flowers are the experiences and the fruits are the pleasures and pains; all are due to objectification)

खोड फोडून अंबे पाहातां । तेथें दिसेना सर्वथा । खांद्या फोडून फळें पाहातां । वोलीं सालें ॥ ४८ ॥

आब्याच्या झाडाचें खोड फोडलें तर आंबे दिसत नाहीत. फांद्या तोडल्या तरी तेथें आंबे दिसत नाहीत. तर ओल्या सालीच असतात.

If the trunk (ie. guna maya) gets smashed and opened out then there is only this sour water (ie. if you destroy this knowing of guna maya then, it will expand outwards and become more and more objective). But `there' in brahman nothing is seen. And if the branches (ie. gunas) are smashed and opened out then, the only fruit you will see is this wet bark or skin (if the gunas are allowed to expand out then, a gross body is seen).

मुळापासुन सेवटवरी । फळ नाहीं तदनंतरीं । जळरुप फळ चतुरीं । विवेकें जाणावें ॥ ४९ ॥

अशा रीतीनें मुळापासून झादाच्या शेंड्यापर्यंत पाहिलें तरी त्यांच्यामध्यें फळ दिसणार नाहीं. यावरुन झाडाला लगडणारे फळ जळरुप असते असें चतुरमाणसानें विवेकपूर्वक ठरवावें.

From the root to the outer branches there is no fruit inside the tree. The fruit is made up of this water/objectification and the wise should know this through vivek.

तेंचि जळ सेंड्या चढे । तेव्हां वृक्षमात्र लगडे । येकाचें येकचि घडे । येणें प्रकारें ॥ ५० ॥

झाडाच्या मुळ्यांनी शोषलेले पाणी जेव्हां झाडाच्या शेंड्यापर्यंत पोहोचते तेव्हा सगळें झाड फलाफुलांनी लगडुन जातें. एकांतून दुसरें कसें निर्माण होते, याचे हें उत्तम उदाहरण आहे.

It is only when this water reaches the extremities (ie. far from the atma) that thick bunches of fruit appear. In this way that One brahman has become this jiva. (ie. when one is simply knowing then, the fruits of pleasures and pains do not appear. But when this knowing ie. forgetting everything, is given up then, objectification expands and a gross body with pains and pleasures appears)

पत्रें पुष्पें फळें भेद । किती करावा अनुवाद । सूक्ष्म दृष्टीनें विशद । होत आहे ॥ ५१ ॥

एकाच पाण्यापासून पानें, फळें, व फुलें असें निरनिरालें बदल घडून येतात. ते भेद इतकें असतात कीं, सगळें सांगणें अशक्य आहे. सूक्ष्म दृष्टीनें विचार केला तर या गोष्टी स्पष्टपणें आकलन होऊं लागतात.

When there are these different leaves, flowers and fruits then the mind just keeps repeating these same experiences over and over again (maharaj- you wake up in the morning and do the same old thing over again). But by subtle vision there is that clear thoughtless swarup.

भूतांचे विकार सांगो किती । क्षणक्षणा पालटती । येकाचे येकचि होती । नाना वर्ण ॥ ५२ ॥

पांच भूतांमध्यें क्षणाक्षणाला सारखा बदल होत असतो. हे बदल सगळे सांगणें शक्य नाहीं. एका पदार्थांत बदल होऊन त्याच्यातून दुसरा पदार्थ निर्माण होतो. पदा्थाच्या रंगामध्यें नाना तर्‍हेचे बदल घडतात. हें सर्व वर्णन करणें शक्य नाहीं.

How can one understand thoughtlessness when there are the `many' modifications of the elements changing from moment to moment? For that One brahman has become a jiva and there are `many' colours and forms.

त्रिगुणभूतांची लटपट । पाहों जातां हे खटपट । बहुरुप बहु पालट । किती म्हणोन सांगावा ॥ ५३ ॥

तीन गुण व पांच भूतें यांच्या परस्पर मिश्रणाचा हा अवाढव्य खटाटोप समजून घेणें म्हणजें मोठीच खटपट आहे. नाना प्रकारच्या वस्तु, त्यांची नाना रुपें , त्यांच्यांत घडणारे नाना बदल, या सर्वांचे निरीक्षण व परिक्षण म्हणजे कठिण काम आहे याची कल्पना करावी.

If you try to understand that thoughtless swarup when there is the noise and restlessness of the three gunas and five great elements then, there is only more toil and suffering. These `many' forms only bring `many' changes and therefore the `many' should be made into that thoughtless Self.

ये प्रकृतीचा निरास । विवेकें वारावा सावकास । मग परमात्मा परेश । अनन्यभावें भजावा ॥ ५४ ॥

अशा या गुणमायेचे म्हणजे गुणमय प्रकृतीचें निरसन करावें. पण तें अत्यंत विवेकानें व सावकाश करावें. मग परमात्मस्वरुप परमेश्वराशी अगदी अनन्य व्हावें व त्याची भक्ति करावी.

By vivek the effortless dissolution of prakruti is achieved. Then there is that paramatma, beyond ishwara (ie. no Knower/ishwara and no known) when you make your bhajans with the understanding of no-otherness. .