THE DASBODHA BY: SADGURU SHREE SAMARTH RAMDAS ...

THE DASBODHA BY: SADGURU SHREE SAMARTH RAMDAS ... THE DASBODHA BY: SADGURU SHREE SAMARTH RAMDAS ...

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appease the audience one always has to be on the look out for innovations in his religious discourse. The religious discourse should be done in such a way that it literally attracts the attention of the whole world for which one needs to have an inherent interest in religious discourse. The Gods like this type of worship. In the present times this is probably the only way to attract and improve the downtrodden. While doing it one should imagine that the God himself is talking from within one’s self. With utmost love one should sing the praise of the Gods’ indescribable powers. This is not easy but it can be achieved by practice and unflinching faith in the God. The religious discourse should be made interesting for the audience to remain engrossed in it. Religious discourse should be done in many ways which suits one’s style. An orator can do it best but a singer is no less effective if not more as his singing may captivate the audience. Same is true for an actor, dancer etc. The thing to be remembered is that the audience should be made so deeply involved in the stories about the God that they would sing, act and dance and even be moved to tears of joy. In the midst of all this the religious discourser should tell about the real knowledge, Vairagya, morals, ethics, justice, religion, Sadhana and finally the Parbrahma. The subject of the religious discourse should be according to the situation and the type of audience. Sometimes one has to talk about the bodily form of the God and at others one should tell about the Parbrahma. While presenting the subject hypothesis must be stressed. This requires Vedic knowledge which one must possess. The difference between Maya and Parbrahma should be stressed. During all this one should never ever forget the preaching of the Guru. One who is always careful and wise knows how to maintain Vairagya and the knowledge about the self. In the discourse nothing which will, create doubt, unhappiness, do injustice or lead to immorality and which will break the Sadhana should be talked. It is an art by itself that despite knowing the bodiless form of the God one should be able to describe the bodily form of the God so eloquently that the audience feels that the discourser is giving vent to their feelings. The religious discourser should be a man who has gained the knowledge through Guru and has the insurmountable experience of the Parbrahma. An experienced orator can maintain the fine balance in his oration regarding the Vedic preaching, the real and ultimate knowledge which will lead everyone in the audience to the correct spiritual path without hurting anyone’s faith. Shree Samarth now tells what can be achieved by religious discourse. He says that it has the power to; dissipate even the greatest of sins, get unified with the God, turn not only the speech but the thoughts also into the purest form, turn anyone into a man with high moral and ethical values and virtues, make the character of a man spotless, make one able to concentrate that much harder, all said and done it is not possible to describe completely what a religious discourse can accrue. The only words to describe it would be that the religious discourse is the resting place for the Parbrahma, the Gods and his choicest places of worship. END OF THE SECOND SAMAS

THE THIRD SAMAS – NAMSMARANBHAKTI (WORSHIP BY CHANTING GOD’S NAME) Shree Samarth says that one should continuously chant the name of the God. It should be done ideally all the time when one is awake but if that is not possible then it should at least be done in the morning, afternoon and in the evening. He advises that whatever the state of mind or the situation one should never leave chanting the God’s name. It doesn’t have to be taken at any particular time. No time is a bad time for it. It should be done when you are happy or unhappy, without problems or in the thick of them, while you are walking, talking, doing your own business or job, while eating, while enjoying all types of pleasures. You should do it irrespective of the fact of whether you are rich or poor. One shouldn’t allow the changes in the circumstances to affect your chanting of the God’s name. One thing that people resorting to this type worship forget to do is to continue with it when they become rich from being poor or when they turn poor from richness. This should never happen. Chanting of the God’s name removes all obstacles from your path and it takes you to a higher pedestal. All types of troubles vanish. The only clause for this is that one should not forget to chant the name of the God not only all the time all the while but even while you are dying. The great Sage Valmiki who wrote the great epic Ramayana even before Lord Ram was born chanted his name in the reverse order (which in Sanskrit means, “You die”), but the order automatically got corrected because of the continuous chanting and because there are only two letters in the word Ram in Sanskrit. The greatest sinner of the yore King Ajamel took the name of the God at the time of his death and that too because he wanted to call his son whose name was one of the thousand names of Lord Vishnu, and he was washed away off all the sins! There are so many examples of the worshippers getting Moksha due to just chanting of the God’s name, the religious books are replete with them. Even heavy stones and other materials have been able to remain afloat on the water as those using them were chanting the God’s name. The God is highly pleased with this simple method of worship of chanting his name all the time all the while. If you do it throughout your life you don’t require any other Sadhana, such is the great importance of this type of worship. The importance of the chanting of God’s name can’t be fully explained; suffice it to say that even Lord Mahesh could digest the worst poison because of it. Nobody is prevented from this type of worship by the religion. Even the illiterate and fools have benefited from it. This takes you from the innumerable troubles of leading a family life and helps you to forget about the happiness or otherwise that you get from time to time. At the end of it, it takes you to Moksha. Shree Samarth says that I have told this out of my own experience. END OF THE THIRD SAMAS THE FOURTH SAMAS – PADSEVANBHAKTI (WORSHIP BY SBUMITTING AT THE FEET OF THE GURU) For getting to the God submitting to the Guru at his feet by both the body and the mind is the fourth type of worship. This is done for breaking the cycle of birth and death.

appease the audience one always has to be on the look out for innovations in his religious<br />

discourse. The religious discourse should be done in such a way that it literally attracts the attention<br />

of the whole world for which one needs to have an inherent interest in religious discourse.<br />

The Gods like this type of worship. In the present times this is<br />

probably the only way to attract and improve the downtrodden. While doing it one should imagine<br />

that the God himself is talking from within one’s self. With utmost love one should sing the praise<br />

of the Gods’ indescribable powers. This is not easy but it can be achieved by practice and<br />

unflinching faith in the God. The religious discourse should be made interesting for the audience to<br />

remain engrossed in it.<br />

Religious discourse should be done in many ways which suits one’s<br />

style. An orator can do it best but a singer is no less effective if not more as his singing may<br />

captivate the audience. Same is true for an actor, dancer etc. The thing to be remembered is that the<br />

audience should be made so deeply involved in the stories about the God that they would sing, act<br />

and dance and even be moved to tears of joy. In the midst of all this the religious discourser should<br />

tell about the real knowledge, Vairagya, morals, ethics, justice, religion, Sadhana and finally the<br />

Parbrahma.<br />

The subject of the religious discourse should be according to the<br />

situation and the type of audience. Sometimes one has to talk about the bodily form of the God and<br />

at others one should tell about the Parbrahma. While presenting the subject hypothesis must be<br />

stressed. This requires Vedic knowledge which one must possess. The difference between Maya<br />

and Parbrahma should be stressed. During all this one should never ever forget the preaching of the<br />

Guru.<br />

One who is always careful and wise knows how to maintain Vairagya<br />

and the knowledge about the self. In the discourse nothing which will, create doubt, unhappiness,<br />

do injustice or lead to immorality and which will break the Sadhana should be talked. It is an art by<br />

itself that despite knowing the bodiless form of the God one should be able to describe the bodily<br />

form of the God so eloquently that the audience feels that the discourser is giving vent to their<br />

feelings. The religious discourser should be a man who has gained the knowledge through Guru<br />

and has the insurmountable experience of the Parbrahma. An experienced orator can maintain the<br />

fine balance in his oration regarding the Vedic preaching, the real and ultimate knowledge which<br />

will lead everyone in the audience to the correct spiritual path without hurting anyone’s faith.<br />

Shree Samarth now tells what can be achieved by religious discourse.<br />

He says that it has the power to; dissipate even the greatest of sins, get unified with the God, turn<br />

not only the speech but the thoughts also into the purest form, turn anyone into a man with high<br />

moral and ethical values and virtues, make the character of a man spotless, make one able to<br />

concentrate that much harder, all said and done it is not possible to describe completely what a<br />

religious discourse can accrue. The only words to describe it would be that the religious discourse<br />

is the resting place for the Parbrahma, the Gods and his choicest places of worship.<br />

END OF <strong>THE</strong> SECOND SAMAS

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