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Śrīdīpānārāyaṇa gāvanakī jai, moye lagilagan guru caraṇanakī, moye lagilagan guru caraṇanakī. Charaṇābhinamoyekachunahibhavajagamayasabhasapananaki, charaṇābhinamoyekachunahibhavajagamayasabhasapananaki. Mo ye la gi la ga na guru caraṇa na ki, mo ye la gi bhava sāgara saba sukha ga yo he. Chintana hi bhava tāraṇa na ki, bhava sāgara saba sukha ga yo he, chintana hi bhava tāraṇa na ki. Sarana bina mo yekachu nahi bhave, jaga maya sabha sapan ki. Sharanabhinamoye kachu nahi bhave, jagamaya sabha sapananaki. charananaki? guru charananaki? Ātma jñāna dījo guru, me bhava mārā na nākhi. Ātmā jñāna dījo guru me, bhava mārā na nākhi. Moye lāgi lāga na guru, cārā na nākhi. Cārā na bīnā moye kāchū nāhi bāve, jaga maya sabha sapa nanaki. Charanabhinamoye katu nahi bhave, jaga maya sabha sapa nanaki moye lāgi. Lagana nanaki moye laagi lagana guru charanaki, Mīrāke jagahāsa chōrīhāsa gāhi guru-charanānākī. Mīrāke jagahāsa chōrīhāsa gāhi guru-charanānākī kī mō ye lāgi lāgana, cāraṇa na kī mō ye lāgi lāgana guru cāraṇa na kī. Cāraṇa bīnā mō ye kañcū na hi bāve, jaga māyā sāva sāpa na na kī. Ścāraṇa-bhīnā moye kañcunā hibhāve jaga-māyā sāpa-sāpa-nāna-kī moye lāgi-lāga-nāguru ca kī moye lāgi-lāga-nāguru ca rāna-nākī moye lāgi-lāga-nāguru ca rāna-nākī. Śrī Deepānanda Bhagavān kī jai, Śrī Śrī Svāmījī Māśvaraṇanda. Purījī, Śrī Gurudeva kī jai, Śrī Mīrābāījī kī jai. Yes. Śrī Dīpānanda Bhagavān kī jai, Devaiśvara Mādhava kī jai, Mādhava Kṛṣṇa Bhagavān kī jai. Viśva Guru Mahāman Leśvara Paramānta Svāmī Śrī Meśvānandjī Mahārāja kī jaya, Mahāmaṇḍaleśvara Svāmī Śrī Jasrāja Purī Jī Mahārāja Kī Jeho. Dhire dhire chāl, gagan gaṛh chaḍh nāre bhai, manavā dhire dhire chāl, gagan gaṛh chaḍh nāre bhai. Manavā dhire dhire chāl, gagan gaṛh chaḍh nāre bhai. Man va dhire dhire chaal, Gagan gar chad naare bhai. Hajar bahatar nadia chaale, Lambi lambi khai. Sats Kosh Gagana Ke Upar Vah Parhera Gurai. Hajar Batar Nadiya Chale, Lambi Lambi Khai. Sats Kosh Gagana Ke Upar Vah Parhera Gurai. Dheere dheere chaal, gagan gar chad naare bhai, mann wa dheere dheere chaal, gagan gar chad naare bhai. Mann wa dheere dheere chaal, gagan gar chad naare bhai, mann wa dheere dheere chaal, gagan gar chad naare bhai. Galiya choti raat andheri, raste me chiknaai. Aga charapate pava tumhara padhoge undi khai, Ghaliya choti rata andhiri raste me chiknai. Aga charapate pava tumhara padhoge undi khai. Dheere dheere chaal, gagan gar chad naare bhai, mann va. Dheere dheere chaal, gagan gar chad naare bhai. Mann va dheere dheere chaal, gagan gar chad naare bhai. Man va dhiri dhiri chal, ghan gar char naare bhai. Paanch pachi sobeli ho, kare mohani raga sunai. Raga sunaya mero man, mohe rasto deya bulai. Paanch pachiso beli ho, kar mo ani raag sunayi. Rāga sunāyā tiro mana mohe, raso deya bulāyī. caḍa nāre bhai. Mana vā dhire dhire cāla, gagana kara caḍa nāre bhai. Mana vā dhire dhire cāla, gagana kara caḍa nāre bhai.... Bina jaane yaan koi ucho chadsi pari dharan pari aayi, Satguru bina malum nahi padta marga jeena bai. Bina jaane yaan koi ucho chadsi pari dharan pari aayi, Sāyab gurū bīnā malum nahi padatā mārag jīnā bāi. Dīre dīre chāl, gagan gar chad nāre bāi. Mann vā dīre dīre chāl, gagan gar chad nāre bāi. Manva dheere dheere cha, gagangar chadnaare bhai. Śrī Devapurījī hai satguru mera, Devī Senā lakhāī. Svāmī Dīpā sandhyā, śrī bholī guru kṛpā se pāī. Śrī Devapurījī hai satguru mera, Devī Senā lakhāī. Swami Deepā Sandhyā Śrī Bholī Guru Kṛpā Se Pāī Dheere Dheere Chāl Gagan Gar Chaḍh Nāre Bhai Mann Vā Dheere Dheere Chāl Gagan Gar Chaḍh Nāre Bhai Mann Vā Dheere Dheere Chāl Gagan Gar Chaḍh Nāre Bhai Śrī Dīpnān Bhagavān Kī Jai Devāśvar Mahādeva Kī Jai Madhav Krishna Bhagavān Kī Jai, Viśva Guru Mahāmaṇḍaleśvara Paramaṁ Svāmī Śrī Maheśvara Nānjī Mahārāj Kī Jai, Mahāmaṇḍaleśvara Svāmī Śrī Jasrāj Purījī Mahārāj Kī Jai Ho. Shri Dīpṇān Bhagavān kī Jai, Satguru Deva kī Jai ho, Jug Jug Jiyo Maheśwar Ānand, Jug Jug Jiyo Maheśwar Ānand. Shri Deep Dayālu ke Amṛt Āśiṣ, Deep Dayālu ke Amṛt Āśiṣ. O Jug Jug Jiyo Maheśwarānand, O Jug Jug Jiyo Maheśwarānand. Dhanyavād, Bhārat Bhūmi kā Prakṛte Bāl Mukhān. Dhanyabhāg, Bhārat bhūmī kī prakṛti bāl mukhān Śrī Tāp kā pāp harat hai, jaise pūrṇam cand. Jug jug jīyo Maheśvarānand Siddhip Dayāluk Amṛt Āśīṣ Nith Barṣo Ānand. Jug jug jīyo Maheśvarānand bhakti jñāna yore yog sādhanā brahma jñāna sukha kān. Vishwa vijayī ho mā, samrāṭ ho. Vishwa vijayī ho mā, samrāṭ avi chal. Jñāna abhaṅg, apaṅg, jug jug jiyo Maheśvarānand. Sīdīp dayā luke amṛt āśiṣ, nitbarso ānand. Jug jug jiyo Maheśvarānand. Jug jug jiyo Maheśvarānand. Jiyo Maheshwaranand, jug jug jiyo Maheshwaranand. Aapna roop samajh kar sab ko karte ho nirban. Jeevan mukt kare bhaktoka bina swarth nishkand. Jig jig jiyo Maheshwaranand. Śrī Pūjā Bhagavān Dīp Nārāyaṇ rakhte apne saṅgh. Madhvanand Ānand se kehtā ho, Madhvanand Ānand se kehtā meṅ to sab dukh baṅg. Maheśvarānand. God bless you! God bless you!... Deveśvara Mahādeva Kī Jai, Mādhav Kṛṣṇa Bhagavān Kī Jai, Viśva Guru Mahāmaṇḍaleśvara Paramanth Svāmī Śrī Meśvānand Jī Mahārāj Kī Jai, Mahāmaṇḍaleśvara Svāmī Śrī Jasrājpurī Jī Mahārāj Kī Jai Ho, Śrī Dīptānā Bhagavān Kī Jeho, Satguru Deva Kī Jeho. Hoā, Guru Deva kā Darśana Milanā Ho To Esā Ho, Śaraṇam meṁ jā rahā unā kī jagānā Ho To Esāṁ Huā. Guru Deva kā Darśana Milānā Ho To Hidayat Path Khol Kar Dekho, Haṁs Vahāṁ Kelā Kartā. Idā Pāṭ Khol Kar Dekho, Haṁs Vahāṁ Kelā Kartā Hai. Hamundar hai bada baari, tiraan ho to aisa ho. Hamundar hai bada baari, tiraan ho to aisa ho. Hoa Guru Devakā darśan milānā ho to aisa ho. Guru Devakā Darśan Milānā, O Tove Hero Kā Raṅg Hai, Bari Lage Koī San. Lage Koi San Trajan Pyara Dhoni Ka Dhyan Hai, Bari Dharana O Tov Esam O Aaguru Devaka Darshan Bhag Ki Shobha Pyaari, Bhag Ki Shobha Bari. God bless you. Toe sa keval kare Brahma me yaari divana. Dhan le saari keval kare Brahma me yaari divana. Ho to eṣā ho, hūvā guru-dīva kā daraśanā milānā, oto eṣā ho. Śaraṇa me jā rahā unakī jagānā, oto eṣā ho. Niraṁtar dekhalo eṣā Brahma kī jyot hai, bārī niraṁtar dekhlo eṣā Brahma kī jyot hai, bārī Brahma kī jyot hai, bārī. Zamevah āp avināśīr amānā, hotho eṣā ho. Hoa Guru Devakā Darśana Milana Ho To Aisā Ho, Śaraṇame Jā Rahā Unā Ke Jagana Ho To Aisā Ho. Agam kī khul rahī bārī, Brahmā kī ṭūṭe gayī tārī. Samajha karā dekhale lālā akhaṇḍī, Ho to aisā ho. Samajha karā dekhale lālā akhaṇḍī, Ho to aisā ho. Vā gurudeva kā darśanā milānā ho to eṣā ho, śaraṇa me jā rahā, unā ke jagānā ho to eṣā ho. Mila gurudeva purī pura nirañjana jilāme nūra, mila gurudeva purī pura nirañjana jīvame nūra, nirañjana jīvame nūla. Dīpa abhāva, dekhalo, dīpatā, dīpanā, utto eṣā ho. Deep abhāv, dekhalo, dīpatā, dīpanā, utto eṣā ho. If it is possible to get the darśan of the Guru, then so be it. I am going to take refuge to awaken him. If it is possible to get the darśan of the Guru, then so be it. I am going to take refuge to awaken him. Sārā nāme jārā āunakī jagānā hō tō esā hō, Deepnān Bhagavān Kī Jai, Devēśvara Mahādēva Kī Jai, Mādhav Kṛṣṇa Bhagavān Kī Jai, Viśvaguru Mahāman Leśvara Paramān Svāmī Śrī Meśvarānjī Mahārāj Kī Jai, Mahāman Leśvara Svāmī Śrī Jasrāj Purī. Jī Mahārāj Kī Jai, Om Bole Śrī Dīpṇān Bhagavān Kī Jai, Śrī Śrī Dev Puruṣa Mahādeva Kī Jai, Dharma Samrāṭ Paramahaṁt Śrī Svāmī Madhavānand Purī Jī Mahārāj Kī Jai. Today is, tomorrow is a holiday for the boys in the hostel, so tonight we thought we’d take the chance to get some of their energy. Often people ask to talk about the school or say something about the school, but I think that everything about what is Swāmījī’s school and the guru call is summed up in the energy which the boys have when they sing bhajans. Every year we have new children come. This year, a lot of the children stayed from last year, so in July and August we often go through a period of chaos in bhajans, as everyone with much enthusiasm wants to play the ḍholak and wants to play the mañjirā, and sometimes it doesn’t quite work. That, after some time, it becomes something really valuable. I find that really special to think that all their lives, those children will know how to sing those bhajans. Or they’ll have the skill to play the dolok and the manjira, to play the manjira and the dolok. And especially, to be able to play the dolok is something that completely changes bhajans. For the bhajan singer, it’s so much better to sing, it’s so much more uplifting to sing when the dholak is really pushing you to keep going. And the mañjirā is also just as important. They go around in a circle; the ḍālek should follow the mañjirā. And the manjirā follows the singer, and the singer follows the dholak. Yeah, it’s just a circle going round and round, and when all is together and all is united, it’s such an energy. That the feeling of the bhajan takes on a different atmosphere. It’s always beautiful to sing bhajans, but it’s even more beautiful when everything is together. And I think perhaps you can feel that when the boys were singing. And it’s also not just, it’s not just singing what they’re doing, but I don’t know if it comes up on the webcast, but for the people who are here in the room, it’s the joy with which it’s happening and the enthusiasm. Which, with the other children, are also participating. It doesn’t come from the intellect; it just comes from the heart. And that is something that’s there, special for the whole life after. It means that these boys can always participate in one of the most beautiful parts of Indian culture. And the ancient tradition which is in this area, in Rajasthan, is that which you may have heard if you have ever been staying in Jadan or in Kathu or Kelesh, and suddenly, either from the village nearby or from some farmhouse in the middle of nowhere. Around nine o’clock at night, you’ll hear the loud sound of the loudspeaker. And the fellow who’s setting up the loudspeaker is saying, "Hello, hello." And you know that somewhere, for the whole night until the sun rises, there’s going to be a satsaṅg. And those holders of the tradition from all the villages around are going to come, and they’re going to be singing until the dawn breaks. And those satsaṅgs always seem to be so spontaneous and so disorganized in the beginning. To find somebody who’s playing the ḍholak, to find the people who are playing the mañjirā. And to have boys who can do that, and who later in life, when they’re in the village, will also be able to do that, it’s good for everybody. It means they’ll be part of those satsaṅgs. It means they’ll be part of those satsaṅgs. And it means that they’ll then also get the benefit of that satsaṅg, the benefit of the satsaṅg. They’ll get some advantage out of it. They’ll get something better out of it, and then it’s like a snowball. You know, sometimes they may not go to the satsaṅg because of the satsaṅg, but because they have to go because they’re the only one who plays dolek. But to be in satsaṅg means that you get the benefit out of it, and then it’s there, it grows, it goes into them. Other times, they’ll have the enthusiasm to go, and they’ll just be in the middle of it and part of it. You know, it’s not that enthusiasm is always constant for doing a spiritual practice. But who has experienced that? Because they had some duty, they had to go to some particular function, like the guys on the camera. And when there’s an all-night satsaṅg running on Guru Pūrṇimā or Mahāsamādhi, and at some time during the night, they’re so tired and thinking, "Oh, it would be really good to go to bed now." But they must stay because the webcast is running. And then suddenly, just a half an hour or one hour later, two o’clock or three o’clock in the morning, they start with the fakīrī bhajans, and Swāmījī also comes to listen. fakiri bhajanokat, és Svāmījī is akkor szokott jönni. And at that point in time, you’re so glad that you had to stay up because you had some duty. Because it’s such a treasure to hear those early morning bhajans. You see the way Swamījī arranges his evening, that he will be there. Often, he stays up just to make sure those bhajan singers also don’t fall asleep. He often stays up to make sure the bhajan singers don’t fall asleep. Because the most special part of the satsaṅg evening with those bhajans, it comes with some tapasyā. It’s not at 10 o’clock in the evening, it’s that early time in the morning. The other thing you can’t see on the webcast, or when you’re not here in the room, is the thing you cannot see. Is how many of those boys actually know how to play those instruments? At one stage last year, for some reason, there were maybe six dholaks underneath in the cupboard, and the boys would manage to sneak them all out at once. And it sounded a little bit tribal, but every one of them was in time. But they could play at the same time, and when you think about that, that’s so many boys who can play that instrument. I find that really encouraging. Tonight, I would also like to welcome to the satsaṅg a special guest. And that guest is going to speak for a few moments. But you have to listen carefully. So please close your eyes for a moment. It’s silence. We finally got rid of that buzzing noise. To everybody around the world who’s been watching the webcast, very sorry about the noises that were coming from our loudspeakers in the last days. You cannot imagine how many ways it was tried to fix it. And I know yesterday was almost afterwards, like having a competition to describe what the noise was. I actually felt like there was a kettle boiling, and I was always going to get a cup of tea. But again, if you were here, you could see, I would not say the reason, but the way that that came to happen. We were trying for some days to repair the mixer, and then it was pronounced that no, no doctor could save it. And one of the karma yogīs made a run to Jodhpur on the local bus, got a new mixer, and brought it back. And literally, it was turned on actually at the start of prayer. We had already chanted Śrīdīp Nārāyaṇa Bhagavān. Śrīdīp Purojī Mahādeva was the first sound to come out of it. And I don’t know what was Mahāprabhujī’s trick, but throughout the prayer it was sounding quite good. Throughout the bhajans, it wasn’t too bad either. But once the webcast started, somebody turned on the kettle. And so many whistles and noises and crackles came out. See, there’s a lesson to be learned there. That never happens in the village satsaṅg. Because they always say, "Hallo, hallo, one, two, one, two." For at least half an hour before they start. And in that time, they remove so many crackles that afterwards they have somehow a decent sound, with too much echo, but quite good. So we all hope that for everybody it’s a little bit better today. And to those people who suffered last night, I am very sorry. Today I was telling a story with Avatār Purūjī. And it was about a man who owned a restaurant. By the end of the story, you may be able to establish what I wanted to say to Avatāra Purī. There was a man who owned a restaurant, and he had excellent food. It was beautiful inside, a great atmosphere, very comfortable, and it had been running for 15 years, but customers didn’t come. He just couldn’t figure out what to do about it. He tried publicizing it, he’d put signs outside, he’d given pamphlets, he’d advertised them on the television. Made it cheaper, had specials. But nothing at all functioned. So eventually he went to his Gurujī and said, "Gurujī, I need help." He went to his Gurujī and said, "I need help." Gurujī said, "What’s the problem?" He said, "I have this restaurant. I know the food is excellent. It’s better than any other restaurant in the town. I know the facilities are better than any other restaurant in the town. But the other restaurants are full, and mine is empty." And his Gurujī said to him, "Oh, that’s quite easy. First, tell me what’s the name of your restaurant." Said the name of the restaurant is the Silver Star. Guruji was meditating for a moment, said, "Sorry, you’ll have to change the name." And the disciple said, "Guruji, anything, but you know that name is there since 15 years, and it was actually said by my father." That it should be that name. I can’t change the name. Quite typical of one of us disciples, we always find a reason to say, "But Gurujī." And his Gurujī said, "No, you have to change the name. And you should call the restaurant The Five Bells." He said, "Gurujī, that’s a very strange name." And he said, "Yes, and outside the restaurant, near the road, you should make a pole and hang six bells." Because the disciple said, "Gurujī, you’re calling it five bells, and you’re going to put six bells there. What is that?" And he said, "Just do it." So he went and he did it. He changed the name to the five bells, and he hung the six bells outside the... The next day in the morning, when he opened, someone came in immediately. Of course, they wanted to tell him, "Are you stupid or what? Your restaurant is called Five Bells, and you’ve got six bells hanging outside." And he said, I don’t know, Gurujī said I should do like that. At the same time, that fellow smelled the food and thought, "It smells very good," and thought, "I’ll sit down and try it, why not?" And then that same day, 20 or 30 people came in to tell him the same thing. You’re stupid, five bells and you’ve got six bells hanging outside, don’t you know there’s six there? But of course, everyone saw the place, how comfortable it looked, and smelled how good the food was, and thought, "Oh, we may as well try something here, seeing as we’ve come inside." And within a week, the place was packed. Because many of those people who came and tried were coming back again. And, of course, everybody who was walking past came to tell this fellow he was stupid. And after a few weeks, he was so busy, and he finally found time to go back to his Gurujī. And to praṇām and say thank you. And his Gurujī said, "That was so simple. What are you saying thank you for?" You know, there are two things inside the story. The one was, of course, gurus can think in so many different ways than what we can see with our very tunnel vision, and through that broad understanding, that deep understanding of the human mind and of how it functions, they can use it for so many things. And the other one was, I was wanting to point out to Avatar Purī in the morning, that tendency that we all have to find the fault in everything. To find that same fault in ourselves so regularly, and to find it in all of those around us at the same time, and it’s so easy to see the negative qualities in other people, the mistakes, the weaknesses, but the real treasure is to be able to see the positive things in those same people and to catch on to those and to make use of them and to have a satsaṅg with those qualities. I also was thinking of that story because in the last days a few times I’ve jumped to conclusions about things without really understanding why. It happened like that. Something happened. I immediately got upset about it. But when I found out the context of why it happened, I understood. And it was a reminder to me that it’s so easy to get caught up in jumping on something when you see that it’s wrong, but let’s understand why it’s wrong. There’s a beautiful little story to illustrate that. For someone who was talking about that same thing, about learning to communicate and understanding, I can’t remember the name of the writer, but he said he once had an experience in a supermarket, and he was standing in the line. It was quite long, so he was getting a little impatient that it was taking a long time, and in front of him was a lady of about 50 years of age. And she had a young boy in her arms, one year old. And, um, when she came to the counter to the checkout, the woman behind it who was working there started to play with the baby. Hugging it and holding it up, and, "Oh, you’re so beautiful," and... And this man was getting more and more frustrated because for five minutes this was happening. After five minutes, the lady took the baby back and left. And this fellow, as he was trying to practice being tolerant and compassionate, he thought, "Oh, I’d better at least say something nice when I get to the checkout and not express my anger." He said he got to the counter, and he sort of said half enthusiastically, "That was a beautiful baby, wasn’t it?" And this lady, who was about 25 years of age, said something that completely... She said, "Yes, I know, I’m so glad you like the baby. Actually, that’s my son, but I don’t have any money, so I have to work all day, and my mother, she brings the baby once a day so that I can see him. And just spend five minutes with him." Of course, you can imagine how that man felt. But you know, it’s a perfect example of that, that we get easily frustrated about things, but if we don’t understand the context or the reason why it’s happening. If we quickly jump into an argument but don’t give the other side a chance to express their opinion. Express their reason, express their situation that’s caused them to act like that. We can often end up expressing something that we later on wish we hadn’t said. Say. We can often end up saying something we wish we didn’t say later on. Thank you.