रविवार 16 जुलाई 1972 की अव्यक्त मुरली

⁰> ¹16-07-72 ōm śhānti avyakt bāpadādāmadhuban

⁰> > Avyakt BapDada 16th July 1972

²Svachchha aur ātmik bal vālī ātmā hī ākarṣhaṇ mūrtta hai ³Apnē kō is śhrēṣhṭh drama K|kē andar hero actor aur mukhyaēkṭar samajhtē hō  ?

¹Do you consider yourself to be a main actor, a hero actor, in this elevated drama?

⁴Mukhyaēkṭarsa K|kē taraph sabhī kā attention hōtā hai .

²Everyone’s attention is always on the main actors.

⁵Tō her|har second key|kī act apnē kō mukhyaēkṭar samajhtē huyē bajātē hō  ?

³So, do you act while considering yourself at every second to be a main actor?

⁶Jō nāmīgrāmī actors hōtē haĩ unhō̃ mē̃ mukhya 3 bātē̃ hōtī haĩ .

⁴Famous actors have three things in particular. ⁵What are these?

⁷Vah kaunsī haĩ  ?

⁶Firstly, they will beactive.

⁸Ēk tō vah active hōgā , dūsrā accurate hōgā aur aṭrēkṭiv hōgā .

⁷Secondly, they will be accurate.And thirdly they will beattractive.

⁹Yah tīnō̃ bātē̃ nāmī-grāmī actors mē̃ avaśhya hōtī haĩ .

⁸Famous actors definitely have these three things.

¹⁰Tō aisē apnē kō nāmīgrāmī vā mukhya actor samajhtē hō  ?

⁹So, do you consider yourself to be a famous or main actor in this way?

¹¹Aṭrēkṭa kis bāt par karē̃gē  ?

¹⁰Due to which aspect would you attract?

¹²Her|har karma mē̃ , her|har chalan mē̃ rūhāniyat key|kī attraction hō .

¹¹Let there be theattraction of spirituality in every action, and in every activity.

¹³Jaisē kōī śharīr mē̃ sundar hōtā hai tō vah bhī attraction kartē haĩ nā apnē taraph .

¹²Those who are physically beautiful attract others towards themselves.

¹⁴Aisē hī jō ātmā svachchha hai , ātmik-bal vālī hai , vah bhī apnē taraphaākarṣitakaratē haĩ .

¹³In the same way, souls who are pure and have spiritual power attract others towards themselves.

¹⁵Jaisē ātmā-jñānī mahātmāē̃ ādi bhī dvāpar ādi mē̃ apnē satōpradhān sthiti vālē thē tō unhō̃ mē̃ bhī rūhānī ākarṣhaṇ tō thā nā , jō apnē taraph ākarṣhit karkē aurō̃ kō bhī is duniyā sē alpkāl K|kē liyē vairāgya tō dilā dētē thē nā .

¹⁴Similarly, the great souls at the beginning of the copper age had their satopradhan stage, and so they had that spiritual attraction which pulled others towards them, and inspired them to have disinterest in this world, even for a temporary period.

¹⁶Jab ulaṭē gyān vālō̃ mē̃ bhī itnī attraction thī , tō jō yathārth aur śhrēṣhṭh gyān-svarūp haĩ unhō̃ mē̃ bhī rūhānī ākarṣhaṇ vā attraction rahēgī .

¹⁵Since those who had wrong knowledge had that much attraction, those who embody true and elevated knowledge will also have this spiritual attraction.

¹⁷Śhārīrik beauty najdīk vā sāmnē ānē sē ākarṣhaṇ karēgī . ¹⁸Rūhānī ākarṣhaṇ dūr baiṭhē bhī kisī ātmā kō apnē taraph ākarṣitakaratī .

¹⁶Physical beauty can only attract you when someone comes close to you, or in front of you, but spiritual attraction can attract others who are sitting at a distance.

¹⁹Itnī attraction arthāt rūhāniyat apnē āp mē̃ anubhav kartē hō  ?

¹⁷Do you experience this much attraction - that is, spirituality - within yourself?

²⁰Aisē hī phir accurate bhī hō .

¹⁸In the same way, you should also beaccurate.

²¹Accurate kismē̃  ?

¹⁹Accurate in what?

²²Jō mansā arthāt saṅkalp K|kē liyē bhī śhrīmat milī huī hai - vāṇī K|kē liyē bhī jō śhrīmat milī huī hai aur karma K|kē liyē bhī jō śhrīmat milī huī hai in sabhī bātō̃ mē̃ accurate .

²⁰You have been given shrimat for your thoughts, shrimat for your words, and shrimat for your deeds, and you have to remain accurate in all these things. ²¹Your thoughts should not be inaccurate.

²³Mansā bhī anaēkyurēṭ na hō . ²⁴Jō niyam haĩ , maryādā haĩ , jō direction haĩ un sabhī mē̃ accurate aur active .

²²Whatever the discipline, whatever the code of conduct, whatever the directions, you should remain accurate and active in all of these.

²⁵Jō active hōtā hai vah jis samay jaisā apnē kō banānē chāhē , chalānē chāhē vah chalā saktē haĩ vā aisā hī rūp dhāraṇ kar saktē haĩ .

²³Those who areactive are able to mould themselves, in whatever way and at whatever time they want: they can adopt that form at any time.

²⁶Tō jō mukhya pārṭdhārī hai unhō̃ mē̃ yah tīnō̃ hī viśēṣatāē̃ bharī huī rahtī haĩ .

²⁴So, the main actors have these three specialities all the time.

²⁷Ismē̃ hī dēkhnā hai ki in mē̃ sē kaunsī viśhēṣhtā kis percentage mē̃ cum|kam hai  ?

²⁵You have to see which speciality is lacking, and to what percentage.

²⁸Stage K|kē sāth-sāth percentage kō bhī dēkhnā hai .

²⁶Together with the stage, you also have to see the percentage.

²⁹Rūhāniyat hai , ākarṣitakar saktē haĩ , lēkin jitnī percentage hōnī chāhiē vah hai  ?

²⁷You have spirituality, so you can attract others, but do you have the percentage that there should be?

³⁰Agar percentage key|kī kamī hai tō iskō sampūrṇ tō nahī̃ kahē̃gē na .

²⁸If a percentage is lacking, it cannot be called full.

³¹Pās|pass tō hō gayē , phir bhī marks K|kē ādhār par nambaratō hōtē haĩ nā .

²⁹You have passed, but the numbers are based on marks.

³²Third division vālē kō bhī pās|pass tō kahtē haĩ lēkin kahā̃ third vālā , kahā̃ first class - phark tō hai nā .

³⁰Those of the third division are also said to have passed, but there is a vast difference between the third division and the first class.

³³Tō ab check karnā percentage kō .

³¹So, now, check the percentage.

³⁴Stage tō ab natural bāt hō gaī . ³⁵Kyōṅki practical act mē̃ stage par hō nā .

³²The stage has now become something natural, because you are on the stage with the practical act.

³⁶Ab sirph percentage K|kē ādhār par nambarahōnē haĩ .

³³Now, the number will be given on the basis of the percentage.

³⁷Āj bahut baṛā saṅgaṭhan hō gayā hai .

³⁴The gathering has now become very large.

³⁸Jaisē bāp kō bhī samān bachchē priya lagtē haĩ , āp lōg āpas mē̃ bhī ēk samān miltē hō tō yah sitārō̃ kā mēlā bhī bahut achchhā lagtā hai nā . ³⁹Saṅgamyugī mēlā tō hai hī .

³⁵Just as Baba loves the children who are similar to him, so too all of you who are equals meet together. ³⁶So, this gathering of the stars is very good, is it not? ³⁷It is the mela of the confluence age, but this is a mela within that mela.

⁴⁰Lēkin us mēlē mē̃ bhī yah mēlā hai .

³⁸The special mela within a mela is enjoyed and liked more.

⁴¹Mēlē K|kē andar jō viśhēṣh mēlā lagtā hai vah phir jyādā priya lagtā hai .

³⁹Within the huge melas, a special place is created where everyone celebrates a meeting.

⁴²Baṛē baṛē mēlō̃ K|kē andar bhī phir ēk viśhēṣh sthān banātē haĩ jahā̃ sabhī kā milan hōtā hai .

⁴⁰This confluence age is an unlimited mela anyway, but, within that, this is the physical space where equal souls come and meet together.

⁴³Saṅgamyug bēhad kā mēlā tō hai hī lēkin uskē andar bhī yah sthūl viśhēṣh sthān hai , jahā̃ samān ātmāē̃ āpas mē̃ miltī haĩ .

⁴¹Each one enjoys meeting souls who are equals, and who are close. ⁴²In order to celebrate a mela with special souls, you yourself have to become special.

⁴⁴Harēk kō apnē samān vā samīp ātmāō̃ sē milnā - julanā achchhā lagtā hai .

⁴³If someone is special, and the others are ordinary, that cannot be called a mela.

⁴⁵Viśhēṣh ātmāō̃ sē mēlā banānē liyē svayã kō bhī viśhēṣh bannā paṛē .

⁴⁴You have to imbibe the specialities of the divine virtues, like the Father.

⁴⁶Kōī viśhēṣh hō , kōī sādhāraṇ hō , vah kōī mēlā nahī̃ kahā jātā .

⁴⁵You have to provide the proof of the sustenance you have taken from the Father.

⁴⁷Bāp K|kē samān divya dhārṇāō̃ key|kī viśhēṣhtā dhāraṇ karnī hai .

⁴⁶What did Baba sustain you for? ⁴⁷In order to fill you with specialities.

⁴⁸Bāp sē jō pālnā lī hai iskā sabūt dēnā hai . ⁴⁹Bāp nē pālnā kis liyē key|kī  ?

⁴⁸What would you call it if you have an aim, but do not imbibe the qualifications?

⁵⁰Viśēṣatāē̃ bharnē liyē .

⁴⁹Someone who is extra sensible?

⁵¹Lakṣhya hō aur lakṣhaṇ na āvē  ; tō iskō kyā kahā jāyē  ? ⁵²Jyādā samajhdār . ⁵³Ēk hōtē haĩ samajhdār , dūsrē hōtē haĩ bēhad K|kē samajhdār .

⁵⁰On one side are those who are sensible, and on the other side are those who are sensible to an unlimited extent. ⁵¹There is no limit to being unlimited.

⁵⁴Bēhad mē̃ kōī limit nahī̃ hōtī hai . ⁵⁵Achchhā  !

⁵²Achcha. ⁵³* * * O M S H A N T I * * *