मंगलवार 19 सितंबर 1972 की अव्यक्त मुरली

⁰> ¹19-09-72 ōm śhānti avyakt bāpadādāmadhuban

⁰> > 19/09/72 Avyakt BapDada Revised: 14/02/94

²Majabūriyō̃ kō samāpt karnē ka sādhan - mazbūtī ³Abhī achal , aḍōl , aṭal sthiti mē̃ sthit hō  ?

¹Are all of you stabilised in your unshakeable, immovable and constant stage?

⁴Jō mahāvīrō̃ key|kī sthiti gāī huī hai , us kalp pahlē K|kē gāyan vā varṇan huī sthiti mē̃ sthit hō  ?

²Are you stabilised in the stage of the mahavirs that is remembered from the previous kalpa?

⁵Vā apnē antim sākṣhīpan , harṣhitmukh , nyārī aur ati pyārī sthiti K|kē samīp ā rahē hō , ki vah sthiti abhī dūr hai  ?

³Are you coming close to your final stage of being a detached observer, cheerful, detached and extremely loving? ⁴Or, is that stage still far off?

⁶Jō vastu samīp ā jātī hai uskē kōī-nā-kōī lakṣhaṇ vā chihna najar ānē lagtē haĩ .

⁵You are able to closely see the signs and qualities of anything that is coming close to you.

⁷Tō āp lōg kyā anubhav kartē hō  ?

⁶So what do you people experience?

⁸Kyā vah antim sthiti samīp ā rahī hai  ?

⁷Is that final stage coming close?

⁹Samīp sē bhī jyādā aur kaunsī stage hōtī hai  ?

⁸What other stage is even closer than that of being close?

¹⁰Bāp K|kē samīp ā rahē hō  ?

⁹Are you coming close to the Father?

¹¹Kyā anubhav kartē hō  ?

¹⁰What are you experiencing?

¹²Samīp jā rahē hō nā .

¹¹You are coming close, are you not?

¹³Chaltē-chaltē ṭhahar tō nahī̃ jātē hō  ?

¹²You do not come to a standstill whilst moving along, do you?

¹⁴Kōī sāiḍ-sīn dēkhkar ṭhahar tō nahī̃ jātē hō  ?

¹³You do not stop on seeing a side­scene, do you?

¹⁵Chaṛhtī kalā kā anubhav kartē hō  ?

¹⁴Are you experiencing the stage of ascent?

¹⁶Ṭhahartī kalā tō nahī̃  ?

¹⁵It is not the stopping stage, is it?

¹⁷Sthūl yātrā par bhī jab jātē haĩ tō chaltē rahtē haĩ , rūktē nahī̃ haĩ .

¹⁶When people go on a physical pilgrimage, they continually keep on moving, they do not stop anywhere.

¹⁸Yah bhī rūhānī yātrā hai nā .

¹⁷This is also a spiritual pilgrimage, is it not?

¹⁹Ismē̃ bhī rūknā nahī̃ hai .

¹⁸You must not stop here either.

²⁰Athak , aṭal , achal hō chaltē rahnā hai . ²¹Tō mañjil par pahuñch jāvēṅgē .

¹⁹You have to continue to move whilst being tireless, unshakeable and firm; then, you will reach your destination.

²²Yah lakṣhya rakhā hai nā .

²⁰This is the aim you have kept, is it not?

²³Agar lakṣhya majbūt hai tō lakṣhaṇ bhī ā jātē haĩ .

²¹If your aim is firm, then you also develop the qualifications.

²⁴Majbūtī sē majabūriyā̃ samāpt hō jātī haĩ .

²²By your having that strength, any compulsion is finished.

²⁵Agar majbūtī nahī̃ hai tō phir anēk majabūriyā̃ bhī dikhāī dētī haĩ .

²³If there isn't any strength, then many types of compulsion are also visible.

²⁶Tō apnē kō mahāvīr samajhtē hō nā .

²⁴You do consider yourselves to be mahavirs, do you not?

²⁷Mahāvīr kabhī bhī kisī majbūrī kō mazbūrī nahī̃ samajhē̃gē .

²⁵A mahavir will not consider any type of compulsion to be a compulsion.

²⁸Ēk second mē̃ majbūtī K|kē ādhār sē majbūrī kō samāpt kar dētē haĩ .

²⁶In one second, on the basis of his strength, he will finish the compulsion.

²⁹Aisē hī aṅgad samān apnē buddhi rūpī pāṅw kō ēk bāp kī yād mē̃ sthit karnā hai , jō kōī bhī hilā nā sakē .

²⁷In the same way, you have to stabilise the foot of your intellect in the remembrance of the one Father, so that, just like Angad, no one is able to make you fluctuate.

³⁰Kalp pahlē bhī aisē hī banē thē nā , yād ātā hai  ?

²⁸You became this a kalpa ago also, did you not? ²⁹Do you remember this?

³¹Jab kalp pahlē aisē banē thē , tō vahī part repeat karnē mē̃ kyā muśhkil hai  ?

³⁰Since you became this in the previous kalpa, what is difficult in repeating that same part?

³²Anēk bār kiyē huyē part kō repeat karnā muśhkil hōtā hai  ?

³¹Is it difficult to repeat a part that you have played many times?

³³Tō āp bahut-bahut padma bhāgyaśhālī hō .

³²So, you are multi­multimultimillion times fortunate!

³⁴Itnē sārēviśvakē andar bāp kō jānnē aur apnā janma-siddh adhikār prāpt karnē vālē kitnē thōṛē haĩ  ?

³³Out of the entire world, there are so few who know the Father and claim their birthright.

³⁵Anginat nahī̃ haĩ , gintī vālē haĩ .

³⁴There are not countless of these; they can be counted.

³⁶Un thōṛē jānnē vālō̃ mē̃ āp hō nā .

³⁵You are also amongst those few who know this, are you not?

³⁷Tō padmāpadma bhāgyaśhālī nahī̃ huē  ?

³⁶So, does this not make you multimillion times fortunate?

³⁸Abhī tō duniyā agyān key|kī nīnd mē̃ sōī hai aur āp anēkō̃ mē̃ sē thōṛī-sī ātmāē̃ bāp K|kē varsē K|kē adhikārī ban rahē hō .

³⁷At present, the world is sleeping in the sleep of ignorance, whereas you, out of the many, are claiming the right to the Father's inheritance.

³⁹Jab vah sabhī jāg jāvēṅgē , kōśhiśh karē̃gē ki ham bhī kuchh kaṇā-dānā lē āvē̃ , lēkin kyā hōgā  ?

³⁸When all of those have awakened, and they try to take even a few grains, what will happen then? ³⁹Will they be able to take it then?

⁴⁰Lē sakē̃gē  ? ⁴¹Jab late|lēṭ hō jāvēṅgē tō kyā lē pāvēṅgē  ?

⁴⁰When it becomes too late, what will they be able to take?

⁴²Us samay āp sabhī ātmāō̃ kō bhī apnē śhrēṣhṭh bhāgya kā pratyakṣha rūp mē̃ sākṣhātkār hōgā .

⁴¹At that time, all of you souls will also have a vision of your elevated fortune in a practical form.

⁴³Abhī tō gupta hai nā .

⁴²At present, it is incognito.

⁴⁴Abhī gupta mē̃ na bāp kō jāntē haĩ , na āp śhrēṣhṭh ātmāō̃ kō jāntē haĩ .

⁴³Now, because of it being incognito, they neither know the Father, nor do they know you elevated souls.

⁴⁵Sādhāraṇ samajhtē haĩ .

⁴⁴They consider you to be ordinary.

⁴⁶Lēkin vah samay dūr nahī̃ jabki jāgēṅgē , taṛapēṅgē , rōyēṅgē , paśhchātāp karē̃gē lēkin phir bhī pā na sakē̃gē .

⁴⁵But the time is not far off when they will awaken and cry out in distress; they will cry and repent, but even then, they will not be able to attain anything.

⁴⁷Batāō , us samay āpkō apnē ūpar kitnā nāz hōgā ki ham tō pahlē sē hī pahchān kar adhikārī ban gayē haĩ  !

⁴⁶At that time, all of you will have so much pride in yourselves, that you recognised Baba earlier and claimed the right.

⁴⁸Aisī khuśhī mē̃ rahnā chāhiē .

⁴⁷You should maintain such happiness.

⁴⁹Kyā milā hai , kaun milā hai aur phir kyā-kyā hōnē vālā hai  !

⁴⁸What have you received? ⁴⁹Whom have you found? ⁵⁰What is going to happen?

⁵⁰Yah sabhī jāntē huē sadaiv atiindriy sukh mē̃ jhūmtē rahnā hai .

⁵¹Whilst knowing all this, you must continue to dance in supersensuous happiness.

⁵¹Aisī avasthā hai ki kabhī-kabhī papers hilā dētē haĩ  ?

⁵²Do you have such a stage or do the papers sometimes make you fluctuate?

⁵²Hiltē tō nahī̃ hō  ?

⁵³You do not fluctuate, do you?

⁵³Ghabrātē tō nahī̃ hō  ?

⁵⁴You do not become afraid, do you?

⁵⁴Ki ēk dō sē sunkar ghabrānē key|kī lahar ātī hai , phir apnē kō ṭhīk kar dētē hō  ?

⁵⁵Or, is it that when you hear things from one another, waves of fear come, and that you then put yourself right?

⁵⁵Result kyā samajhtē hō  ?

⁵⁶What do you think the result is?

⁵⁶Madhuban nivāsiyō̃ key|kī result kyā hai  ?

⁵⁷What is the result of the Madhuban niwasis?

⁵⁷Madhuban nivāsī lāiṭ-hāūs haĩ .

⁵⁸Madhuban niwasis are lighthouses.

⁵⁸Light - hāūs ūñchā hōtā hai aur rāstā batānē vālā hōtā hai . ⁵⁹Madhuban K|kē direction pramāṇ sabhī chal rahē haĩ-tō lāiṭ-hāūs huā nā .

⁵⁹A lighthouse is high up and it shows the path. ⁶⁰You are all moving along according to the directions of Madhuban, and so it has become a lighthouse, has it not?

⁶⁰Aur ūñch stage bhī huī .

⁶¹And there is also the elevated stage.

⁶¹Jaisē bāp kā kahtē hō ūñchā kām , vaisē hī madhuban arthāt ūñchā dhām .

⁶²As it is said of the Father that His task is elevated, in the same way, Madhuban is also the elevated place.

⁶²Tō nām aur kām bhī ūñchā hōgā nā .

⁶³So, the name and the task would both be elevated, would they not?

⁶³Nām bhī hai madhuban .

⁶⁴The very name is Madhuban.

⁶⁴Madhuban-nivāsiyō̃ key|kī yah viśhēṣhtā hai nā-madhuramūrta aur bēhad K|kē vairāgyamūrta . ⁶⁵Ēk taraph madhurtā , dūsrē taraph itnā hī phir bēhad key|kī vairāgyavr̥ti .

⁶⁵This is the speciality of the Madhuban niwasis, is it not? ⁶⁶The images of sweetness and those who have unlimited disinterest: on the one hand, you have sweetness and on the other hand, you have just as much an attitude of unlimited disinterest.

⁶⁶Vairāgyavr̥ti sē sirph gambhīramūrta rahē̃gē  ?

⁶⁷With the attitude of unlimited disinterest, would you simply remain serious and mature?

⁶⁷Nahī̃ , vāstavik gambhīrtā ramaṇīktā mē̃ samāī huī hai .

⁶⁸No, in fact, a truly mature and serious nature has an entertaining nature merged within.

⁶⁸Vah tō agyānī lōgō̃ kā gambhīr rūp hōgā tō bilkul hī gambhīr , ramaṇīktā kā nām-niśhān nahī̃ hōgā .

⁶⁹Perhaps, when those who do not have any knowledge have a serious nature, they are so serious that there won't be any name or trace of being entertaining.

⁶⁹Lēkin yathārth gambhīrtā kā guṇ ramaṇīktā K|kē guṇ sampann hai .

⁷⁰However, the accurate virtue of being serious and mature is completed with the virtue of being entertaining.

⁷⁰Jaisē lōgō̃ kō bhī samjhātē hō ki ham ātmā śāntasvarūp haĩ lēkin sirph śāntasvarūp nahī̃ hai lēkin us śāntasvarūp mē̃ ānand , prēm , gyān sabhī samāyā huā hai .

⁷¹You explain to people that the soul is an embodiment of peace. ⁷²However, the soul is not just an embodiment of peace, but within that peace, bliss, love and knowledge are also all merged.

⁷¹Tō aisē bēhad K|kē vairāgyamūrta vālē aur sāth-sāth madhurtā bhī , yahī viśhēṣhtā madhuban nivāsiyō̃ kī hai .

⁷³In the same way, the speciality of the Madhuban niwasis is that they are the images of such unlimited disinterest but that they also have sweetness.

⁷²Tō jō bēhad K|kē vairāgyavr̥ti mē̃ rahnē vālē haĩ vah kab ghabrātē haĩ kyā  ?

⁷⁴Do those who maintain an attitude of unlimited disinterest ever become afraid?

⁷³Ḍagmag hō saktē haĩ  ?

⁷⁵Can they ever fluctuate?

⁷⁴Hil saktē haĩ  ?

⁷⁶Can they ever shake?

⁷⁵Kitnā bhī jōr sē hilāvē̃ lēkin bēhad K|kē vairāgavr̥ti vālē ‘ naṣhṭōmōhā smr̥itisvarūp ’ hōtē haĩ . ⁷⁶Tō naṣhṭōmōhā smr̥itisvarūp hō  ?

⁷⁷No matter how strongly others may try to make them fluctuate, those who have an attitude of unlimited disinterest are the conquerors of attachment and the embodiment of remembrance.

⁷⁷Ki thōṛā-bahut dēkh kar kuchh aṅśh mātra bhī snēh kahō vā mōh kahō , lēkin snēh kā svarūp kyā hōtā hai , iskō tō jāntē hō nā  ?

⁷⁸So, are you the conquerors of attachment and the embodiment of remembrance? ⁷⁹Or, when you see even a little something, do you have love, or call it attachment?

⁷⁸Jiskē prati snēh hōtā hai tō uskē prati sahyōgī ban jānā hōtā hai .

⁸⁰Call it whatever you will, but what is the form of love? ⁸¹You know this, do you not?

⁷⁹Bākī kōī rīti-rasma sē snēh kā rūp prakaṭ karnā , iskō snēh kahē̃gē vā mōh kahē̃gē  ?

⁸²You become co­operative with the one you love. ⁸³But, to let the form of love emerge as a custom or system: would this be called love or attachment?

⁸⁰Tō ismē̃ madhuban nivāsī pās|pass huē  ?

⁸⁴So have the Madhuban niwasis passed in this subject?

⁸¹Madhuban kā vāyumaṇḍal , madhuban nivāsiyō̃ key|kī vr̥iti , vibration - lāiṭ-hāūs hōnē kāraṇ chārō̃ ōr ēk second mē̃ phail jātī hai .

⁸⁵Because the Madhuban niwasis are lighthouses, their attitude and vibrations spread into the atmosphere in all four directions in one second.

⁸²Tō aisē samajh kar her|har part bajātē hō  ?

⁸⁶Do you play every part considering yourselves to be such instruments?

⁸³Nimitt samajh kar vā aisē samay chhōṭē bachchē hō jātē hō  ?

⁸⁷Or, do you become little children at that time? ⁸⁸What is the result?

⁸⁴Kyā result huī  ?

⁸⁹Nothing has happened as yet.

⁸⁵Yah tō abhī kuchh nahī̃ huā .

⁹⁰A lot more is still to happen.

⁸⁶Ab tō bahut kuchh hōnā hai . ⁸⁷Āp sōchē̃gē achānak hō gayā , isliyē thōṛā-sā huā .

⁹¹You may think that because something happened suddenly, only a little has happened.

⁸⁸Lēkin paper tō achānak āvēṅgē , paper kōī batā kar nahī̃ āvēṅgē .

⁹²However, a paper comes suddenly; it does not give advance warning.

⁸⁹Pahlē batā tō diyā hai ki aisē-aisē paper hōnē vālē haĩ .

⁹³You have already been told that you will be given such papers.

⁹⁰Lēkin us samay achānak hōtā hai .

⁹⁴At that time, they will happen suddenly.

⁹¹Tō achānak paper mē̃ agar zarā saṅkalp mē̃ bhī hilnā huā tō aṅgad misal huē  ?

⁹⁵So, if there is the slightest fluctuation in your thoughts because of a paper that comes suddenly, then are you like Angad?

⁹²Ab vah last stage nahī̃ āī hai kyā  ?

⁹⁶Have you not yet reached that final stage?

⁹³Pūchh rahē thē nā samīp sē bhī jyādā nazdīk kaunsī stage hōtī hai  ?

⁹⁷You were asked what is the stage that is even closer than that of being close?

⁹⁴Vah hōtī hai sammukh dikhāī dēnā .

⁹⁸That is, of being able to see it in front of you.

⁹⁵Samīp ātē-ātē vahī vastu sammukh hō jātī hai .

⁹⁹Whilst coming close, that thing comes right in front of you.

⁹⁶Tō samīp kā anubhav kartē hō vā bilkul vah stage sammukh dikhāī dētī hai  ?

¹⁰⁰So, do you experience closeness or are you able to see that stage right in front of you?

⁹⁷Āj yah haĩ , kal yah ban jāvēṅgē-aisē sammukh anubhav kartē hō  ? ⁹⁸Jaisē sākār mē̃ anubhav dēkhā-tō bhaviṣyasvarūp aur antim sampūrṇ svarūp sadā sammukh spaṣhṭ rūp mē̃ rahtā thā nā .

¹⁰¹Today, you are this and tomorrow, you will become this: do you experience it to be right in front of you in this way? ¹⁰²You saw in the experience of the sakar form how his future form and his final complete form always used to be clearly in front of him.

⁹⁹Tō follow father karnā hai .

¹⁰³Similarly, you have to follow the father.

¹⁰⁰Jaisē bāp K|kē sāmnē sampūrṇ stage vā bhaviṣhya stage sadā sāmnē rahtī hai , vaisē hī anubhav hō rahā hai  ? ¹⁰¹Ki sōchtē hō - ‘ ‘ patā nahī̃ kyā bhaviṣhya hōnā hai  ?

¹⁰⁴Just as the perfect stage and the future stage constantly stayed in front of the father, in the same way, are you also experiencing this, or are you thinking: I don't know what the future will be?

¹⁰²Vah spaṣhṭ hōtā kahā̃ hai  ? ¹⁰³Announce ta hōtā nahī̃ .

¹⁰⁵It is never clear; it is never announced.

¹⁰⁴’ ’ lēkin jō mahāvīrapuruṣārthīhaĩ unkī buddhi mē̃ sadā apnē prati spaṣhṭ rahtā hai . ¹⁰⁵Tō spaṣhṭ dēkhnē mē̃ ātā hai vā thōṛā - bahut ghūṅghaṭ bīch mē̃ hai  ?

¹⁰⁶However, the mahavir effort­makers will always have it clear in their intellect. ¹⁰⁷So, are you able to see it clearly, or is there a thin veil in­between? ¹⁰⁸Nowadays, they also have transparent veils.

¹⁰⁶Ājkal ṭrānsapērēnṭa ghūṅghaṭ bhī hōtā hai .

¹⁰⁹You are able to see everything through it, yet it is still a veil.

¹⁰⁷Dikhāī sabhī kuchh dētā hai phir bhī ghūṅghaṭ hōtā hai . ¹⁰⁸Lēkin vaisē spaṣhṭ dēkhnā aur ghūṅghaṭ bīch dēkhnā - phark tō hōgā nā  ?

¹¹⁰However, there would be a difference in seeing something clearly without a veil in­between and seeing something through a veil, would there not?

¹⁰⁹Tō apnē purūṣhārth pramāṇ ṭrānsapērēnṭa rūp mē̃ ghūṅghaṭ tō nahī̃ rah gayā hai  ?

¹¹¹So, according to your effort, there isn't a transparent veil in­between still remaining, is there?

¹¹⁰Bilkul hī spaṣhṭ hai nā  ?

¹¹²Everything is absolutely clear, is it not?

¹¹¹Tō madhuban nivāsī aṭal haĩ nā .

¹¹³So, Madhuban niwasis are unshakeable, are they not?

¹¹²Ki ki yah saṅkalp bhī hai ki yah kyā hōtā hai  ?

¹¹⁴Or, do you have the thought: What is happening?

¹¹³Kyō̃ , kyā kā question tō nahī̃  ?

¹¹⁵You do not have any questions of why and what, do you?

¹¹⁴Jō bhī part chaltē haĩ un harēk part mē̃ bahut kuchh guhya rahasya samāē huē haĩ , vah rahasya kyā thā  ?

¹¹⁶Whatever part is being played, a very deep significance is contained within each part. ¹¹⁷What was that significance?

¹¹⁵Sunāyā thā nā samay key|kī sūchnā dēnē liyē bīch - bīch mē̃ ghaṇṭī bajā kar jagātē haĩ .

¹¹⁸You were told earlier that in order to warn you of the time, a bell is rung every now and then.

¹¹⁶Isliē āpkē jaṛ chitrō̃ kē āgē ghaṇṭī bajātē haĩ .

¹¹⁹This is why people ring the bells in front of your non­living images.

¹¹⁷Uṭhātē bhī haĩ ghaṇṭī bajā kar , phir sulātē bhī haĩ ghaṇṭī bajā kar .

¹²⁰They awaken you by ringing the bells; they put you to sleep by ringing the bells.

¹¹⁸Yah bhī samay key|kī sūchnā - ghaṇṭiyā̃ bajtī haĩ . ¹¹⁹Kyōṅki jaisē śhāstravādiyō̃ nē lambā - chauṛā time batā kar sabhī kō sulā diyā hai .

¹²¹Here also, because the scripture­writers have shown a long duration of the time and put everyone to sleep, you are given a warning of the time by the ringing of bells.

¹²⁰Khūb agyān nīnd mē̃ sabhī sō gayē haĩ kyōṅki samajhtē haĩ abhī bahut samay paṛā hai .

¹²²Everyone is sleeping in the sleep of ignorance because they think that they still have a lot of time.

¹²¹Tō yahā̃ phir jō daivī parivār key|kī ātmāē̃ haĩ unhō̃ kō chaltē-chaltē māyā kaī prakār K|kē rūp-raṅg , rīti-rasma K|kē dvārā albēlā banā kar samay key|kī pahchān sē dūr , purūṣhārth K|kē ḍhīlēpan mē̃ sulā dētī hai .

¹²³So here also, Maya makes the souls of the divine family careless with her various colours and forms and her customs and systems, and makes them distant from the recognition of time and puts them in the sleep of the slackness of effort.

¹²²Jab kōī albēlā hōtā hai tō ārām sē rahtā hai . ¹²³Zimmēvārī hōnē sē attention rahtā hai ki hamkō time par uṭhnā hai , yah karnā hai .

¹²⁴When people are careless, they are comfortable in that, but when they have a responsibility, they have to pay attention that they get up on time and do something.

¹²⁴Agar kōī programme mē̃ nahī̃ tō albēlā hī sō jāvēgā .

¹²⁵If there is no responsibility, they become careless and go to sleep.

¹²⁵Tō yah bhī albēlāpan ā jātā hai .

¹²⁶So this is also a carelessness they develop.

¹²⁶Jab kōī albēlē hō ḍhīlē purūṣhārth K|kē nīnd K|kē naśhē mē̃ mast hō jātē haĩ tō kyā karnā paṛtā hai  ?

¹²⁷When they become careless and are lost in the sleep of being slack in effort, what do you then have to do? ¹²⁸You have to shake them.

¹²⁷Unkō hilānā paṛtā hai , halchal karnī paṛtī hai ki uṭh jāyē̃ .

¹²⁹You have to create some sort of upheaval so that they wake up.

¹²⁸Jaisī-jaisī nīnd hōtī hai vaisā kiyā jātā hai .

¹³⁰As is the sleep they are in, so is the kind of noise you make.

¹²⁹Bahut gahrī nīnd hōtī hai tō uskō hilānā paṛtā hai lēkin kōī key|kī halkī nīnd hōtī hai tō thōṛī halchal karnē sē bhī uṭh jātā hai . ¹³⁰Abhī hilāyā nahī̃ hai , thōṛī halchal huī hai .

¹³¹If they are in a deep sleep, you have to shake them, but if they are light sleepers, they awaken with the slightest movement. ¹³²At present, you haven't yet shaken anyone; only a little movement has taken place.

¹³¹Dūsrī cīzakō nimitt rakh uskō hilāyā jātā hai . ¹³²Tō jāgr̥iti hō jātī hai .

¹³³You use something else as an instrument to shake that person so that he awakens.

¹³³Yah bhī drama mē̃ nimit banī huī jō sūcanā-svarūp mūrtiyā̃ haĩ , unhō̃ kō thōṛā hilāyā , halchal key|kī tō sabhī jāg gayē . ¹³⁴Kyōṅki halkī nīnd hai nā .

¹³⁴Here, in the drama also, when the images that were the form of a warning were shaken a little, and a little movement was created, everyone awoke, because they were in a light sleep.

¹³⁵Jāgē tō zarūr lēkin jāgnē kē sāth raṛī tō nahī̃ key|kī  ?

¹³⁵They definitely did awaken, but did they cry out as soon as they awoke?

¹³⁶Aisē hōtā hai , kōī kō achānak jagāyā jātā hai tō vah ghabrā jātā hai - kyā huā  ?

¹³⁶When someone is suddenly awakened, he becomes afraid and wonders what happened.

¹³⁷Tō kōī yathārth rūp sē jāgtē haĩ , kōī kuchh ghabrānē bād hōśh mē̃ ātē haĩ .

¹³⁷Some awaken properly and some become conscious after having become a little afraid.

¹³⁸Lēkin yah hōnā na chāhiē , zarā bhī chēhrē par rūprēkhā ghabrānē key|kī na ānī chāhiē .

¹³⁸However, it should not be like this. ¹³⁹There shouldn't be the slightest trace of any kind of fear visible on your face.

¹³⁹Āvāj mē̃ bhī change na hō . ¹⁴⁰Āvāj mē̃ bhī agar antar ā jātā hai vā chēhrē mē̃ bhī kuchh change ā jātī hai tō iskō bhī pās|pass kahē̃gē  ?

¹⁴⁰There shouldn't be the slightest change even in your sound. ¹⁴¹If there is a difference in your sound or on your face, then would you call this a pass?

¹⁴¹Yah tō kuchh nahī̃ huā .

¹⁴²In fact, this is nothing.

¹⁴²Abhī bahut kaṛē paper tō ānē vālē haĩ .

¹⁴³Many more difficult papers are still to come.

¹⁴³Paper kō bahut samay hō jātā hai tō paṛhāī mē̃ albēlāpan hō jātā hai .

¹⁴⁴When a paper is not to be given until after a long time, the students become careless in their study.

¹⁴⁴Phir jab imtihān K|kē din najdīk hōtē haĩ tō phir attention dētē haĩ .

¹⁴⁵Then, when the examination days come closer, they pay attention.

¹⁴⁵Tō yah abhī tō kuchh nahī̃ dēkhā .

¹⁴⁶So, as yet, you have seen nothing.

¹⁴⁶Pahlē K|kē paper kuchh alag haĩ , lēkin abhī tō aisē papers ānē vālē haĩ jō svapn mē̃ , saṅkalp mē̃ bhī nahī̃ hōgā . ¹⁴⁷Practice aisī hōnī chāhiē jaisē had kā drama sākṣhī hō dēkhā jātā hai .

¹⁴⁷However, such papers are to come that you wouldn't even have thought or dreamt of. ¹⁴⁸You should have such a practice that it will be as though you are seeing a limited drama as a detached observer.

¹⁴⁸Phir chāhē dardnāk hō vā hansī kā hō , dōnō̃ part kō sākṣhī hō dēkhtē haĩ , antar nahī̃ hōtā hai kyōṅki drama samajhtē haĩ .

¹⁴⁹Then, whether a scene is of pain or of laughter, you observe both parts as a detached observer. ¹⁵⁰There won't be any difference in either scene because you will consider it to be a drama.

¹⁴⁹Tō aisī ēkras avasthā hōnī chāhiē .

¹⁵¹So, you should have such a constant stage.

¹⁵⁰Chāhē ramaṇīk part hō , chāhē kōī snēhī ātmā kā gambhīr part bhī hō tō bhī sākṣhī hōkar dēkhō .

¹⁵²Whether the part is of being entertaining or of a serious and mature part of a loving soul, see that also as a detached observer.

¹⁵¹Sākṣhī dr̥iṣhṭā key|kī avasthā hōnī chāhiē .

¹⁵³You should have the stage of being a detached observer.

¹⁵²Ghabrāī huī yā yuddha kartī huī avasthā nā hō .

¹⁵⁴Your stage should not be that of being afraid or of battling.

¹⁵³Kōī ghabrātē bhī nahī̃ haĩ , yuddha mē̃ lag jātē haĩ .

¹⁵⁵Some are not afraid, but they are still engaged in battling.

¹⁵⁴Zarūr kuchh kalyāṇ hōgā .

¹⁵⁶There must definitely be some benefit.

¹⁵⁵Lēkin sākṣhī dr̥iṣhṭā key|kī stage bilkul alag hai .

¹⁵⁷However, the stage of being a detached observer is completely separate.

¹⁵⁶Iskō hī ēkras avasthā kahā jātā hai .

¹⁵⁸This is known as the constant stage.

¹⁵⁷Vah tab hōgī jab ēk hī bāp kī yād mē̃ sadā magna hōṅgē . ¹⁵⁸Bāp aur varsā , bas , tīsrā nā kōī .

¹⁵⁹That will only happen when you constantly remain absorbed in the remembrance of the one Father: Baba and the inheritance, that is all, nothing else.

¹⁵⁹Aur , kōī bāt dēkhatē-sunatē vā kōī sambandh-sampark mē̃ ātē huē aisē samajhē̃gē jaisē sākṣhī hō part bajā rahē haĩ .

¹⁶⁰Whilst seeing, listening or coming into connection or relationship, you will consider it to be playing your part as a detached observer. ¹⁶¹The intellect should be lost in that love.

¹⁶⁰Buddhi us lagna mē̃ magna . ¹⁶¹Bāp aur varsē key|kī mastī rahē .

¹⁶²Let there be the intoxication of the Father and the inheritance.

¹⁶²Isliē ab aisī stage banāō , iskē liē apnī parakh karnē kē liē yah paper ātē haĩ .

¹⁶³This is why you must now create such a stage. ¹⁶⁴Therefore, in order for you to judge yourself, these papers come to you.

¹⁶³Nahī̃ tō mālūm kaisē paṛē  ?

¹⁶⁵How else would you know?

¹⁶⁴Harēk key|kī apnī sthiti kō parakhnē K|kē liyē thermometer miltē haĩ , jissē apnī sthiti kō svayã parakh sakō .

¹⁶⁶Each of you receives a thermometer to recognise your own stage through which you can judge your own stage for yourself.

¹⁶⁵Kōī kō kahnē key|kī darkār nahī̃ , ghabrānā nahī̃ , gahrāī mē̃ jāō tō ghabrāhaṭ band hō jāvēgī .

¹⁶⁷There is no need for anyone to tell you anything. ¹⁶⁸Do not become afraid. ¹⁶⁹When you go into the depth, all fear will be finished.

¹⁶⁶Gahrāī mē̃ na jānē kāraṇ ghabrātē hō .

¹⁷⁰Because of not going into the depth, you become afraid.

¹⁶⁷Madhuban nivāsiyō̃ kē liē khās milnē liyē āyē huē haĩ .

¹⁷¹Baba has especially come to meet the Madhuban niwasis.

¹⁶⁸Ismē̃ bhī śhrēṣhṭh bhāgyaśhālī huē nā .

¹⁷²You are the ones with the most elevated fortune, are you not?

¹⁶⁹Aur tō programme banātē rahtē . ¹⁷⁰Āp bigar programme prāpt kartē hō . ¹⁷¹Tō viśhēṣhtā huī nā .

¹⁷³Others continue to make programmes, but you attain everything without programmes, and so this is a speciality, is it not?

¹⁷²Madhuban mē̃ bāp svayã dauṛī pahan ātē haĩ .

¹⁷⁴Baba Himself comes running to Madhuban. ¹⁷⁵The result is good.

¹⁷³Result tō achchhī hai .

¹⁷⁶That was only a little upheaval.

¹⁷⁴Vah tō … zarā-sī halchal thī . ¹⁷⁵Us ‘ zarā ’ kō samajh gayē nā .

¹⁷⁷You have now understood that little upheaval, have you not?

¹⁷⁶Ab iskō bhī nikālnā hai .

¹⁷⁸Now, you have to remove even that.

¹⁷⁷Zarā bhī phlô ( F l a w  ; dōṣh ) fail kar dētā hai .

¹⁷⁹Even the slightest flaw will make you fail.

¹⁷⁸Last final paper mē̃ agar zarā-sā phlô ā gayā tō fail hō jāvēṅgē .

¹⁸⁰If there is the slightest flaw in the last, final paper, then you fail.

¹⁷⁹Isliē pahlē sē paper hōtē haĩ paripakva banānē liyē .

¹⁸¹This is why, in order to make you strong, papers are given in advance.

¹⁸⁰Bākī abhī key|kī result bahut achchhī hai .

¹⁸²However, the result of the present time is very good.

¹⁸¹Sabhī ēk dō mē̃ snēhī , sahyōgī achchhē haĩ .

¹⁸³All of you are very good and loving and co­operate with one another.

¹⁸²Sunayā thā nā ki sūkṣmasarvis key|kī machinery ab chālū hōtī hai . ¹⁸³Tō madhuban nivāsiyō̃ sē viśhēṣh sūkṣmasarvisakī machinery ab chālū hō gaī hai .

¹⁸⁴You were also told earlier that the machinery of subtle service is always working, and so the machinery of Madhuban niwasis is always working. ¹⁸⁵So, the subtle machinery of the Madhuban niwasis has now started to work.

¹⁸⁴Aur bhī sēvākēndrō̃ par sūkṣhma sarvisacālū tō hai lēkin phir bhī vartamān result anusār is sarvisamēnnambaravan madhuban nivāsī haĩ .

¹⁸⁶At other service centres also, there is subtle service taking place, but according to the present result, Madhuban niwasis are number one in this service.

¹⁸⁵Isliē mubārak hō  !

¹⁸⁷This is why you are given congratulations.

¹⁸⁶Jaisē abhī tak snēh aur sahyōg kā sabūt dē rahē hō , vahī sabūt auṣadhi K|kē rūp mē̃ jahā̃ pahuñchānē chāhtē hō vahā̃ pahuñch rahā hai .

¹⁸⁸Until now, you have been giving the proof of love and co­operation. ¹⁸⁹That proof is reaching wherever you want it to reach in the form of a medicine.

¹⁸⁷Āpkī powerful auṣadhi hai nā .

¹⁹⁰Yours is a powerful medicine, is it not?

¹⁸⁸Jaisē-jaisē āp key|kī powerful auṣadhi pahuñchtī jātī hai , vaisē-vaisē svastha hōtē jā rahē haĩ .

¹⁹¹As your powerful medicine reaches everywhere, accordingly they are becoming healthy through that.

¹⁸⁹Ismē̃ bhī powerful auṣadhi bhējtē rahē̃gē tō ēk haphtā mē̃ bhī ṭhīk hō saktē haĩ .

¹⁹²If you continue to send even more powerful medicine, then they can become all right in even one week.

¹⁹⁰Margin hai tēj karnē key|kī .

¹⁹³There is a margin to make this fast.

¹⁹¹Phir bhī result achchhī hai .

¹⁹⁴Even so, the result is good.

¹⁹²Aisī achchhī result kō dēkhtē huyē light - hāūs key|kī light chārō̃ taraph pahuñch rahī hai .

¹⁹⁵When such a good result is seen, the light of the lighthouse reaches all four directions.

¹⁹³Ussē aur sthānō̃ mē̃ bhī light - hāūs kā prabhāv paṛ rahā hai .

¹⁹⁶Through this, other places are also being influenced by the influence of the lighthouse.

¹⁹⁴Achchhā  !

¹⁹⁷Achcha.

¹⁹⁵Aisē sadā āpas mē̃ ēkmat aur śhrēṣhṭh gati sē chalnē vālē , sadā ēk key|kī yād mē̃ rahnē vālē , pāṇḍav sēnā aur śhakti sēnā kō yād-pyār aur namastē .

¹⁹⁸To those who constantly move along in one direction and with a high speed, who constantly stay in the remembrance of One; to the Pandav Army and the Shakti Army, love, remembrances and namaste from BapDada. ¹⁹⁹* * * O M S H A N T I * * *