गुरुवार 5 नवंबर 1970 की अव्यक्त मुरली

⁰> ¹05-11-70 ōm śhānti avyakt bāpdādā madhuban ²“ ḍilē is ḍēnjar ”

⁰> > Avyakt BapDada 5th November 1970 ¹Can each of you see your light and might?

³Harēk apnē light aur might kō dēkh parakh saktē haĩ  ?

²Do you have the power of discrimination?

⁴Apnē āp kō parakhnē key|kī śhakti apnē mē̃ anubhav kartē hō  ?

³Are you still making effort, or are you an image that grants visions?

⁵Apnē kō ab tak puruṣhārthī mūrt samajhtē hō vā sākṣhāt aur sākṣhātkār mūrt bhī samajhtē vā anubhav kartē hō  ? ⁶Vā samajhtē hō ki yah antim stage hai  ?

⁴What vision would your bhagats have if they came in front of you now? ⁵It should be a vision of the perfect stage, but would you be able to grant them that vision?

⁷Abhī-abhī āpkē bhakta āpkē sammukh āyē̃ tō āpkī sūrat sē unkī kis mūrt kā sākṣhātkār hōgā . ⁸Kaun-sā sākṣhātkār hōgā  ?

⁶Or would they have a vision of the fluctuation in your effort? ⁷Consider that your photograph is being taken every second, by the camera of the drama.

⁹Sākṣhātkār mūrt sadaiv sampūrṇ sthiti kā sākṣhātkār karāyēṅgē , lēkin abhī agar āpkē sāmnē kōī āyē tō unhē̃ aisā sākṣhātkār karā sakē̃gē  ?

⁸At the time of taking a photograph you must pay attention to everything. ⁹This photograph will be remembered in the form of some divine activity.

¹⁰Aisē tō nahī̃ ki āpkē puruṣhārth key|kī utrāī aur chaṛhāī kā unhē̃ sākṣhātkār hōtā rahēgā .

¹⁰And the images of the different stages of the present time will be worshipped in different forms.

¹¹Phōṭō nikāltē samay agar kōī bhī halchal hōtī hai tō phōṭō ṭhīk nikalēgā  ?

¹¹When you perform a drama on the stage, and visualise it, you pay so much attention.

¹²Aisē hī her|har second aisē hī samjhō ki hamārā phōṭō nikal rahā hai . ¹³Phōṭō nikāltē samay sabhī prakār kā dhyān diyā jātā hai vaisē apnē ūpar sadaiv dhyān rakhnā hai .

¹²In the same way, consider yourself to be playing a part on the unlimited stage. “The vision of the souls of the entire world is directed towards me”.

¹⁴Ēk-ēk second is sarvōttam vā puruṣhōttam saṅgamyug kā drama rūpī kaimarē mē̃ āp sabhī kā phōṭō nikaltā jātā hai .

¹³Remember the slogan: “to delay is dangerous”. ¹⁴If you delay in anything, there will be that much delay in the right to the fortune of the kingdom.

¹⁵Jō vahī chitra phir charitra K|kē rūp mē̃ gāyan hōtā āēgā .

¹⁵The majority of you complain that storms of waste thoughts create obstacles to becoming complete.

¹⁶Aur abhī K|kē bhinn-bhinn stage K|kē chitra , bhinn-bhinn rūp mē̃ pūjē jāyēṅgē .

¹⁶So fix appointments for what you have to do throughout the day, to keep your mind busy at all times.

¹⁷Her|har samay yah smr̥iti rakhō ki apnā chitra drama rūpī kaimarē K|kē sāmnē nikāl rahā hū̃ .

¹⁷Then waste thoughts will not have any time in-between to disturb you. ¹⁸Your time will be used in a worthwhile way.

¹⁸Ab K|kē ēk-ēk chitra ēk-ēk charitra gāyan aur pūjan yōgya bannē vālē haĩ .

¹⁹There are four things in which you have to appoint your mind:

¹⁹Jaisē yahā̃ bhī jab āp lōg kōī drama stage par kartē hō aur sākṣhātkār kartē hō tō kitnā dhyān rakhtē hō . ²⁰Aisē hī samjhō bēhad key|kī stage K|kē bīch part bajā rahī hū̃ vā bajā rahā hū̃ . ²¹Sārē viśhva key|kī ātmāō̃ key|kī nazar mērī taraph hai .

²⁰‘Milan’ is to meet, that is to have a heart to heart conversation with Baba. ‘Vernan’ is to speak, that is service.‘Lagan’ is to have love: you spend a lot of time in developing this love. ‘Magan’ is to be merged in love: you only stay merged for a short time....Have you become master almighty authorities?

²²Aisē samajhnē sē sampūrṇtā kō jaldī dhāraṇ kar sakē̃gē . ²³Samjhā .

²¹When you are that, you have passed, and will never then fail in any aspect.

²⁴Ēk slōgan sadā yād rakhō jissē sahaj hī jaldī sampūrṇ ban sakō .

²²Are you ever susceptible to feeling sensitive? ²³Are you feeling- proof?

²⁵Vah kaun sā slōgan yād rakhē̃gē  ? ²⁶ ( jānā hai aur ānā hai ) yah tō ṭhīk hai .

²⁴A master almighty authority is beyond feeling sensitive, and is full in all aspects, such as knowledge-full.

²⁷Lēkin jānā kaisē hai sampūrṇ hōkar jānā hai vā aisē hī  ? ²⁸Iskē liē kyā yād rakhnā  ?

²⁵To the extent that someone becomes full, accordingly he will finish all the flaws and the flu.

²⁹Ḍilē is ḍēnjar .

²⁶Flawless means full.

³⁰Agar kōī bhī bāt mē̃ dērī key|kī tō rāz bhāg K|kē adhikār mē̃ itnī dērī paṛ jāēgī . ³¹Isliē yah sadaiv yād rakhō ki vartamān samay K|kē pramāṇ ēk second bhī ḍilē nahī̃ karnī hai .

²⁷Are all of you a master almighty authority? ²⁸Those who did not raise your hands are also master almighty authority, because you have made the Almighty Authority Father belong to you, in all relationships.

³²Ājkal complete arthāt sampūrṇ karmātīt bannē kē liē puruṣhārth kartē-kartē mukhya ēk complain samay prati samay sabhī key|kī nikaltī hai . ³³Chāhtē haĩ complete hōnā lēkin vah complete hōnē nahī̃ dētī .

²⁹When you have such a great practical example, why don’t you know and accept yourself?If you constantly have this practical example in front of you then it is easy to become a conqueror of Maya.

³⁴Vah kaun see|sī|C complain hai  ?

³⁰Do you understand?

³⁵Vyarth saṅkalpō̃ key|kī . ³⁶Complete bannē mē̃ vyarth saṅkalpō̃ K|kē tūfān vighna ḍāltē haĩ . ³⁷Yah majority key|kī complain hai .

³¹Since you have forged all relationships with the one Father, what else remains? ³²When there is nothing remaining, to where will the intellect be drawn?

³⁸Ab iskō miṭānē liē āj yukti batātē haĩ . ³⁹Man key|kī vyarth saṅkalpō̃ key|kī complain kaisē pūrī hōgī  ?

³³If the intellect is wandering here and there, it shows that you have not forged all relationships with the One.

⁴⁰Yād kī yātrā tō mukhya bāt hai lēkin iskē liē bhinn-bhinn yuktiyā̃ haĩ . ⁴¹Vah kaun-sī  ?

³⁴You are in a bhatthi: you have come to check to what extent your battery is charged, and to charge it.

⁴²Jō baṛē ādmī hōtē haĩ unhō̃ kē pās apnē her|har samay key|kī apôinṭamēṇṭ key|kī diary banī huī hōtī hai .

³⁵All of you are the valuable, serviceable, workers group. ³⁶However there is a “but” to it.

⁴³Ēk-ēk ghaṇṭā unhō̃ kā fix hōtā hai .

³⁷BapDada sees the actions of the workers from the subtle region.

⁴⁴Aisē āp bhī baṛē tē baṛē hō nā .

³⁸Sometimes you perform a very wonderful circus.

⁴⁵Tō rōz amr̥itvēlē sārē din key|kī apnī apôinṭamēṇṭ key|kī diary banāō .

³⁹It is worth seeing the parts that you play in this circus.

⁴⁶Agar apnē man kō her|har samay apôinṭamēṇṭ mē̃ busy rakhē̃gē tō bīch mē̃ vyarth saṅkalp samay nahī̃ lē sakē̃gē .

⁴⁰Sometimes the workers show their fearsome form, but instead of adopting a fearsome form on their weaknesses, you show the circus of the fearsome form over others.

⁴⁷Apôinṭamēṇṭ sē free rahtē hō tab vyarth saṅkalp samay lē lētē haĩ . ⁴⁸Tō samay key|kī booking karnē kā tarīkā sīkhō .

⁴¹Sometimes you show the other circus of swinging in the swing of waste thoughts, instead of in the swing of supersensuous joy.

⁴⁹Apnē āp key|kī apôinṭamēṇṭ khud hī banāō ki āj sārē din mē̃ kyā-kyā karnā hai .

⁴²Thirdly the majority of you show the circus of changing your stage and your form.

⁵⁰Phir samay saphal hō jāyēgā .

⁴³You have to finish the desire for reward.

⁵¹Man kō kismē̃ apāinṭa karnā hai . ⁵²Iskē liē 4 bātē̃ batāī haĩ .

⁴⁴Instead of the word “desire” remember the word “good”.

⁵³1 - milan , 2 - varṇan , 3 - magan , 4 - lagan .

⁴⁵Desire finishes cleanliness, and you become a worrier.

⁵⁴Lagan lagānē mē̃ bhī samay bahut jātā hai nā .

⁴⁶Workers are doers, not worriers.

⁵⁵Tō magan key|kī avasthā mē̃ cum|kam rahtē haĩ . ⁵⁶Isliē lagan , magan , milan aur varṇan .

⁴⁷BapDada has hope in you, but for success you must gain the power of tolerance.

⁵⁷Varṇan hai service , milan hai rūh-rūhān karnā .

⁴⁸The sign of closeness to perfection is success.

⁵⁸Bāpdādā sē miltē haĩ nā . ⁵⁹Tō in chār bātō̃ mē̃ apnē samay kō fix karō .

⁴⁹Put this slogan in front of you: “purity is the prosperity of the confluence age”. “Purity is prosperity”.

⁶⁰Agar rōz key|kī apnī dincharyā phirksa karnē kē liē apôinṭamēṇṭ sārē samay key|kī fix hōgī tō bīch mē̃ vyarth saṅkalpō̃ kō disturb karnē kā samay hī nahī̃ milēgā . ⁶¹Jaisē kōī baṛē ādmī hōtē haĩ tō busy hōnē K|kē kāraṇ aur vyarth bātō̃ taraph dhyān aur samay nahī̃ dē saktē haĩ . ⁶²Aisē apnī dincharyā mē̃ samay kō fix karō . ⁶³Itnā samay is bāt mē̃ , is samay is bāt mē̃ lagānā hai .

⁵⁰There is so much detail in purity.

⁶⁴Aisī apôinṭamēṇṭ apnī niśhchit karō tab yah complain ḵẖatm hōgī aur complete ban jāēgī . ⁶⁵Achchhā  !

⁵¹The teachers will give you a class on what purity is, and with what yuktis you can imbibe it. ⁵²* * * O M S H A N T I * * *