रविवार 18 मई 1969 की अव्यक्त मुरली

⁰> ¹18-05-69 ōm śhānti avyakt bāpdādā madhuban

⁰> > 18-05-69 Om Shanti Avyakt Bapdada Madhuban

²" rūhānī gyān-yōg key|kī jyōtiṣhī "

¹The spiritual astrologer of knowledge and yoga.

³Āp sabhī nē bulāyā yā bāpdādā nē āp sabhī kō bulāyā hai  ?

²Did all of you call BapDada, or did BapDada call all of you?

⁴Kisnē kiskō bulāyā hai  ?

³Who called whom?

⁵Jō bachchē bāp K|kē kantavya mē̃ nimitt banē huyē haĩ - unhō̃ kō yah bāt her|har vakt yād rakhnī hai ki hamē̃ her|har samay her|har hālat mē̃ ever ready aur all-round hōnā hai .

⁴Those children who are the instruments in the Father's task have to remember one aspect at all times: "We have to remain ever-ready and all- rounders at every moment in every situation."

⁶Agar yah dō bātē̃ sabhī mē̃ ā jāyē tō service kā sabūt śhrēṣhṭh nikal saktā hai .

⁵If these two things are imbibed by all of you, then the result of service can be very elevated.

⁷Lēkin number-vār puruṣhārth anusār yah bātē̃ haĩ .

⁶But these aspects are numberwise according to effort.

⁸Āp nimitt banē huē bachchō̃ kō yah salōgan yād rakhnā chāhiyē ki ham jō karma karē̃gē mujhē dēkh aur sabhī karē̃gē .

⁷You children who are the instruments have to remember the slogan: "Whatever actions I perform, others who see me will perform the same actions."

⁹Her|har samay apnē kō aisā samjhō . ¹⁰Jaisē drama K|kē stage par sabhī K|kē sāmnē ham part bajā rahē haĩ .

⁸At every moment consider yourself to be playing a part in the drama on the stage in front of everyone.

¹¹Ēk hōtā hai apnē āp sē rehearsal . ¹²Ēk hōtā hai stage par sabhī K|kē sāmnē part bajānā .

⁹One is to rehearse by yourself, and the other is to play a part on the stage in front of everyone.

¹³Tō stage par act karnē vālē kā apnē ūpar kitnā dhyān rahtā hai .

¹⁰And so, imagine how much attention those who act their part on a stage have to pay to themselves.

¹⁴Ēk-ēk act par her|har samay attention rahtā hai .

¹¹They have to pay attention to themselves at every moment whilst acting each act.

¹⁵Hāthō̃ par , pāvō̃ par , ā̃khō̃ par sabhī par dhyān rahtā hai .

¹²They have to pay attention to their hands, their feet, their eyes, to everything.

¹⁶Agar kōī bhī bāt nīchē ūpar hōtī hai tō actor K|kē act mē̃ śhōbhā nahī̃ dētī . ¹⁷Tō aisē apnē kō samajhkar chalnā hai .

¹³If anything is not right, it doesn't add beauty to the actor's performance. ¹⁴So you consider yourself to be an actor in this way and continue to move along.

¹⁸Tīn minute kā record jab bhartē haĩ tō kitnā dhyān dētē haĩ .

¹⁵When a three minute record is being recorded, you pay so much attention to it.

¹⁹Āp sabhī bhī apnē 21 janmō̃ kā record bhar rahē hō tō bhartē samay bahut dhyān rakhnā hai . ²⁰Record mē̃ jarā bhī nīchē-ūpar hō jātā hai tō vah record hamēśhā K|kē liyē raddhī hō jātā hai .

¹⁶All of you are recording your record for twenty-one births, and so there should be so much attention paid at the time of recording it. ¹⁷If there is the slightest fluctuation in the record, it is erased for all time.

²¹Tumhārā bhī 21 janmō̃ K|kē liyē satyugī rāj - dhānī kā jō record bhartā hai tō vah radd na hō jāyē .

¹⁸Your record for the kingdom of the golden age is being recorded for twenty-one births, and so it shouldn't be spoilt.

²²Radd huā tō phir dūr hō jātē haĩ .

¹⁹If it is erased, you distance yourself.

²³Tō yah sōchnā chāhiē - hamārē her|har karma kē ūpar sabhī key|kī ā̃kh hai .

²⁰And so you should think about this. ²¹Everyone's vision is on your every action.

²⁴Actors jab dēkhtē haĩ , hamkō sabhī dēkh rahē haĩ tō khās attention rahtā hai .

²²When actors are aware that everyone is watching them, they pay special attention to themselves.

²⁵Kōī dēkhnē vālā nahī̃ hōtā hai tō albēlāpan rahtā hai .

²³When there isn't anyone observing them, they become careless.

²⁶Tō hamēśhā samajhnā chāhiē ham bhalē akēlēpan mē̃ kuchh kartē , tō bhī sr̥iṣhṭi K|kē sāmnē haĩ .

²⁴So always think that even when you are doing something by yourself, you are in front of the world.

²⁷Sārī sr̥iṣhṭi key|kī ātmāyē̃ chārō̃ ōr sē hamē̃ dēkh rahī haĩ .

²⁵The souls of the entire world are watching you from all four directions.

²⁸Agar ēk-ēk fool|phūl aisā sampūrṇ aur sundar hō jāyē tō is bagīchē key|kī khuśhbū kitnī phail jātī  !

²⁶If each flower were to become so perfect and beautiful, the fragrance of this garden would spread so much.

²⁹Lēkin kyō̃ nahī̃ phailtī , uskā kāraṇ kyā  ?

²⁷But what is the reason that it doesn't spread?

³⁰Khuśhbū K|kē sāth-sāth kahā̃-kahā̃ bīch mē̃ aur bāt bhī ā jātī hai .

²⁸Together with the fragrance, in some cases, there is also something else that comes in-between.

³¹Bhalē khuśhbū kitnī hō lēkin khuśhbū sē bhī jaldī failanē vālī badbū hōtī hai , jō jarā see|sī|C bāt sārī khuśhbū kō samāpt kar dētī hai .

²⁹No matter how much fragrance there may be, a bad odour spreads even faster than fragrance, and so the slightest smallest incident finishes all the fragrance.

³²Avināśhī khuśhbū jiskō sadā gulāb kahtē haĩ .

³⁰A rose is said to have an eternal fragrance.

³³Ēk hōtā hai sadā gulāb , dūsrā hōtā gulāb , tīsrā hōtā hai rūhē̃ gulāb .

³¹An eternal rose is one thing; the rose is a second thing and the third is a spiritual rose.

³⁴Pahlā number hai rūhē̃ gulāb .

³²The first number is the spiritual rose.

³⁵Vah rūh key|kī sthiti mē̃ rahtā hai aur rūhānī rūh K|kē hamē̃śā najdīk hai .

³³That remains in the stage of a spirit and is always close to a spirit.

³⁶Aisē hai rūhē gulāb .

³⁴Such is a spiritual rose.

³⁷Aur dūsrī quality jō hai vah phir service mē̃ bahut achchhē rahtē haĩ bākī rūhānī sthiti mē̃ kamī hai .

³⁵And the second quality are very good in service, but they are lacking in the spiritual stage.

³⁸Service mē̃ , dhārṇā mē̃ achchhē haĩ , saṅskār śhītal haĩ .

³⁶They are good in service and in their dharna, and their sanskars are cool.

³⁹Khud apnē kō kyā samajhtē hō  ?

³⁷What do you consider yourself?

⁴⁰Kis number kā fool|phūl samajhtē hō  ?

³⁸Which number flower are you?

⁴¹Kāṇṭē tō yahā̃ hō bhī na sakē .

³⁹There cannot be any thorns here.

⁴²Haĩ tō sabhī gulāb . ⁴³Lēkin gulāb mē̃ bhī phark hai .

⁴⁰All are roses, but there is a difference in the roses.

⁴⁴Jō rūhē gulāb hōṅgē unkī niśhānī kyā hōgī  ?

⁴¹What are the signs of the spiritual roses?

⁴⁵Āp lōgō̃ kō mastak key|kī rēkhā parakhnē ātī hai  ?

⁴²Do you know how to judge the line on the forehead?

⁴⁶Jyōtiṣhī banē hō vā nahī̃  ?

⁴³Have you become fortune-tellers or not?

⁴⁷Bāpdādā jō gyān aur yōg key|kī jyōtiṣhī dikhātē haĩ unsē kyā dēkhtē hō  ?

⁴⁴What do you see in the fortune of knowledge and yoga that BapDada teaches you?

⁴⁸Harēk K|kē mukhṛē sē , nayanō̃ sē , mastak sē mālūm paṛtā hai .

⁴⁵You can tell from each one's face, eyes and forehead.

⁴⁹Ismē̃ bhī viśhēṣh mastak aur nayanō̃ sē mālūm paṛtā hai .

⁴⁶And in that also, you can especially tell everything from someone's forehead and eyes.

⁵⁰Āp jyōtiṣ bankar harēk kō parakh saktē hō  ?

⁴⁷You can become the fortune tellers and recognise anyone.

⁵¹Nayanō̃ mē̃ aur mastak mē̃ vah rēkhāyē̃ jarūr rahtī haĩ .

⁴⁸Those lines definitely exist in the eyes and on the forehead.

⁵²Kiskō parakhnā yah bhī jyōtiṣ vidyā hai .

⁴⁹Knowledge of astrology is needed to discern someone.

⁵³Tō yah jō vidyā hai parakhnē key|kī yah kaīyō̃ mē̃ cum|kam hai .

⁵⁰This knowledge of discerning others is lacking in some of you.

⁵⁴Gyān aur yōg sīkhtē haĩ lēkin yah parakhnē key|kī jyōtiṣ vidyā bhī jānnī hai .

⁵¹You learn knowledge and yoga, but you also have to know the knowledge of discerning others.

⁵⁵Kōī bhī vyakti sāmnē āē tō āp lōgō̃ kō tō ēk second mē̃ unkē tīnō̃ kālō̃ kō parakh lēnā chāhiē .

⁵²When anyone comes in front of you, you should be able to know about his three aspects of time in one second.

⁵⁶Ēk tō past mē̃ unkī life kyā thī aur vartamān samay unkī vr̥itti , dr̥iṣhṭi aur bhaviṣhya mē̃ kahā̃ tak yah apnī prālabdh banā saktē haĩ .

⁵³One is to know what his life was in the past, another what his vision and attitude are at present, and another, to what extent he can create his future reward.

⁵⁷Yah jānnē key|kī practice chāhiē .

⁵⁴You need to acquire the practice of being able to do this.

⁵⁸Yah parakhnē key|kī jō knowledge hai vah bahut cum|kam hai .

⁵⁵This knowledge of recognising others is lacking.

⁵⁹Yah kamī abhī bharnī chāhiē .

⁵⁶You now have to remove this weakness.

⁶⁰Vartamān samay jō ānē vālā hai usmē̃ agar yah guṇ nahī̃ hōgā , kamī hōgī tō dhōkhē mē̃ ā jāyēṅgē .

⁵⁷If you do not have this virtue in the time that is yet to come, if it is lacking, you will be deceived.

⁶¹Kaī aisī ātmāē̃ āp K|kē sāmnē āyēṅgī jō andar ēk aur bāhar sē dūsrī hōgī .

⁵⁸Many such souls will come in front of you; internally they will be one thing and externally something else.

⁶²Parīkṣhā kē liē āyēṅgī . ⁶³Kyōṅki kaī samajhtē haĩ ki yah sirph raṭē huē haĩ .

⁵⁹They will come to test you, because many think that this is just something that you learn off by heart.

⁶⁴Tō kaī raṅg rūp sē ārṭiphīsiyal rūp mē̃ bhī parakhnē liē āyēṅgē , bhinn-bhinn rūp sē .

⁶⁰So many will come to you in an artificial way in many different forms and colours in order to judge you.

⁶⁵Isliyē yah dhyān rakhnā hai ki yah kisaliyē āyā hai  ? ⁶⁶Unkī vr̥itti kyā hai  ?

⁶¹Therefore, you must pay attention to what each one comes for and what his attitude is like.

⁶⁷Aur aśhuddh ātmāō̃ key|kī bhī baṛī sambhāl karnī hai .

⁶²Be very cautious with impure souls.

⁶⁸Aisē-aisē case bhī bahut hōṅgē din pratidin pāp ātmāyē̃ tō bahut hōtē haĩ .

⁶³Day by day, there will be many such cases. ⁶⁴There are many sinful souls.

⁶⁹Āpdāyē̃ , akālē mr̥iityu , pāp karma baṛhtē jātē haĩ tō unhō̃ key|kī vāsanāyē̃ jō rah jātī haĩ vah phir aśhuddh ātmāō̃ K|kē rūp mē̃ bhaṭaktī haĩ . ⁷⁰Isliyē yah bhī bahut baṛī sambhāl rakhnī hai .

⁶⁵Calamities, untimely death and sinful actions are increasing, and so because their desires are not fulfilled, they wander as impure souls, and therefore you have to be very cautious about this.

⁷¹Kōī mē̃ aśhuddh ātmā key|kī pravēśhtā hōtī hai tō unkō bhagānē liē ēk tō dhūp jalātē haĩ aur āg mē̃ chīj kō tapākar lagātē haĩ aur lāl mirchī bhī khilātē haĩ .

⁶⁶When an impure soul has entered someone else, a special incense stick (dhoop) is lit to chase it away, something is heated in a fire and that person is touched with it. ⁶⁷Or, that person is even fed red chilli powder.

⁷²Tō āp sabhī kō phir yōg key|kī agni sē kām lēnā hai .

⁶⁸So all of you have to work with the power of yoga.

⁷³Her|har karmēndriyō̃ kō yōgāgni mē̃ tapānā hai tō phir kōī war|vār nahī̃ kar sakē̃gē .

⁶⁹You have to heat up each of your physical senses with the fire of yoga so that no one can attack you.

⁷⁴Thōṛā bhī kahā̃ ḍhīlāpan huā , kōī bhī karmēndriyā̃ ḍhīlī huī tō phir pravēśhtā hō saktī hai .

⁷⁰If there is the slightest slackness, if any of your physical senses become slack, then it can enter you.

⁷⁵Vah aśhuddh ātmāē̃ bhī baṛī powerful hōtī haĩ .

⁷¹Those impure souls are also very powerful.

⁷⁶Vah māyā key|kī power bhī cum|kam nahī̃ hōtī .

⁷²Maya's power is no less.

⁷⁷Yah bahut dhyān rakhnā hai .

⁷³Pay a lot of attention to this.

⁷⁸Aur kaī prākr̥itik āpdāyē̃ bhī apnā kantavya karēgī .

⁷⁴And even the elements of nature will carry on with their own work.

⁷⁹Uskā sāmnā karnē liyē apnē mē̃ īśhvarīy śhakti dhāraṇ karnī hai .

⁷⁵In order to confront them, imbibe Godly power into yourself.

⁸⁰Us samay snēh nahī̃ rakhnā hai .

⁷⁶At that time, you must not have love for it.

⁸¹Us samay śhakti - rūp key|kī āvaśhyaktā hai .

⁷⁷At that time, you need to be the embodiment of power.

⁸²Kis samay snēhamūrta , kis samay śaktirūp bannā hai yah bhī sōchnā hai .

⁷⁸You have to think about when you need to be the embodiment of love and when you need to be the embodiment of power.

⁸³In sabhī bātō̃ mē̃ śaktirūp key|kī āvaśhyaktā hai .

⁷⁹You need to be an embodiment of power in all these aspects.

⁸⁴Agar kōī aisā āyā aur unkō jyādā snēh dikhāyā tō kahā̃ nuksān bhī hō saktā hai .

⁸⁰If such a person comes and you show him extra love, it can also cause damage.

⁸⁵Snēh bāpdādā aur daivī parivār sē karnā hai .

⁸¹Have love for BapDada and the divine family.

⁸⁶Bākī sabhī sē śaktirūp sē sāmnā karnā hai .

⁸²But with all the rest, you have to confront them with the form of power.

⁸⁷Kaī bachchē gaphlat kartē haĩ jō unhō̃ K|kē snēh mē̃ ā jātē haĩ .

⁸³Many children make mistakes and they are attracted by their love.

⁸⁸Vah snēh vr̥iddhi hōkar kamjōr kar dētā hai , isliyē ab śaktirūp key|kī āvaśhyaktā hai .

⁸⁴That love increases and makes you weak, and therefore there is now the need to be the embodiment of power.

⁸⁹Antim nārā bhī bhārat mātā śhakti avatār kā gāyan hai .

⁸⁵The praise of the final slogan is of the mother of Bharat who is the incarnation of power.

⁹⁰Gōpī mātā thōṛēhī kahtē haĩ .

⁸⁶They do not say 'Gopi Mata' the loving mother.

⁹¹Ab śhakti rūp kā part hai .

⁸⁷It is now the part of being the embodiment of power.

⁹²Gōpīkāō̃ kā rūp sākār mē̃ thā .

⁸⁸The part of the gopikas was in the corporeal form.

⁹³Ab avyakt rūp sē śhakti kā part hai .

⁸⁹Now, it is the part of the shaktis in the avyakt form.

⁹⁴Harēk jab apnē śaktirūp mē̃ sthit hōṅgē tō itnē sabhī key|kī śhakti milākar kamāl kar dikhāyēgī .

⁹⁰When each one of you is stable in being the embodiment of power, the power of all of you put together will show wonders.

⁹⁵Yādgār rūp mē̃ antim chitra kaun sā dikhāyā huā hai  ?

⁹¹What is the last picture shown as a memorial? ⁹²That of giving a finger to lift a mountain.

⁹⁶Pahāṛ kō aṅgulī dēnē kā .

⁹³You have to give the finger of power.

⁹⁷Aṅgulī , yah śhakti key|kī dēnī hai . ⁹⁸Issē hī kaliyugī pahāṛ khatm hōgā .

⁹⁴The mountain of the iron age will be finished only through that.

⁹⁹Ismē̃ harēk key|kī aṅgulī key|kī darkār hai .

⁹⁵Everyone's finger is needed in that.

¹⁰⁰Abhī vah aṅgulī purī rīti nahī̃ hai .

⁹⁶That finger is not yet given fully.

¹⁰¹Uṭhātē jarūr haĩ parantu kōī key|kī kabhī sīdhī kōī key|kī kabhī ṭēṛhī hō jātī hai .

⁹⁷You lift that finger, but some people's finger is sometimes straight and some people's finger is sometimes bent.

¹⁰²Jab pūrī aṅgulī hōgī tab prabhāv nikalēgā .

⁹⁸When you give your whole finger, then you will create an impact.

¹⁰³Ēk jaisē aṅgulī dēnī hai .

⁹⁹All of you have to give a finger to the same extent.

¹⁰⁴Is kaliyugī pahāṛ kō jaldī aṅgulī dēkar phir satyugī duniyā kō lānā hai .

¹⁰⁰You must quickly give a finger to lift this mountain of the iron age and bring about the golden-aged world.

¹⁰⁵Sākār kē sāth snēh hai tō jaldī-jaldī is purānī duniyā sē chalnē key|kī taiyārī karō .

¹⁰¹You have love for the corporeal form and so you must quickly make preparations to go from this old world.

¹⁰⁶Āp kahē̃gē abhī service kahā̃ huī hai lēkin service bhī kiskē liyē rukī hai  ? ¹⁰⁷Agar āp harēk śaktirūp mē̃ sthit hō jāō tō āp K|kē jō bhūlē bhaṭakē bhakta haĩ , na chāhtē bhī cakamak ( chumbak ) kē āgē ā jāyēṅgē , dērī nahī̃ lagēgī .

¹⁰²All of you must become stable in being the embodiment of power, and all your long-lost and wandering devotees will be attracted to the magnet against their conscious wish and come. ¹⁰³It will not take long. ¹⁰⁴Achcha.

¹⁰⁸Achchhā  !

¹⁰⁵* * * O M S H A N T I* * *