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Part 1: The Divine Source of Yoga: Teachings from the Bhajans Aum, karoti kalyāṇam, ārogyam, dhanasampadā, shatrubuddhi vināśāya, dīpajyotir namastute. Nāma kartaḥ prabhu-dīpa-kartaḥ mahāprabhu-dīpa-kartaḥ hi kevalaṃ śāntiḥ śāntiḥ... Hari Om, good morning everybody. Hari Om, dobré ráno všem, and welcome also to those who are on the webcast. I also welcome everyone on the webcast. Some years ago, I asked Swāmījī a question. You always say that your teaching goes back to Mahāprabhujī. But in the bhajans, did Mahāprabhujī maybe write something about āsanas, about prāṇāyāma, about all these techniques? Swāmījī said, "Yes, in the bhajans there is a lot, but he wrote much more, also about very concrete techniques, but unfortunately..." When Mahāprabhujī lived, at that time, some other sādhu was jealous of him and stole a whole pile of bhajans and published them under his own name. So in this way they are lost, because Mahāprabhujī is not someone who would fight for copyright. But still, in our bhajans we have a lot. When we think, "Let's look in the books of Mahāprabhujī which he wrote," we must remember he was not a book writer. All his teaching was spontaneous. Only one small booklet is there, "Vijñāna Dīpa Gītā," which is about the teaching of the Guru. Otherwise, all Mahāprabhujī’s teachings we have in the bhajans. Another source book for us, of course, is the Līlā Amṛt from Holī Gurujī. But if you look through the Līlā Amṛt, there are so many bhajans inside. Plus, you must know that in our Western edition, about half of the bhajans are taken out; in the Hindi edition, it is basically also like a bhajan book. So the teaching of Mahāprabhujī comes to us mainly through the bhajans and, of course, from all his disciples. The bhajans are not just spiritual songs; they are real guruvākya. Now is the question: why actually can Mahāprabhujī speak about the yoga techniques? What nowadays people understand as yoga—this Dhyāna yoga, and that yoga, and so many different yoga styles—how can Mahāprabhujī speak about that? What are people making? It is very important to understand: no one can make a yoga exercise. All the yoga teachings are revealed divine knowledge. We know this, of course, for the mantras which were received by ṛṣis maybe thousands of years ago, and then they gave them to their disciples, and in this way they came to us. But interestingly, this is also valid for all the other classical yoga techniques. A very good witness for this is Swāmī Muktānanda. In his autobiography, Chit Śakti Vilās, he writes about his own meditation experiences. He describes what he experienced, not what he practiced by reading a book and then doing it. He didn’t even know what he was experiencing; he read the books afterward to understand what was happening to him. He describes that all the three bandhas happened to him; he experienced them, and also the different mudrās. He mentions Mahā Mudrā, Mahā Bandha, Mahā Vedha, Viparītakaraṇī Mudrā, Vajrolī Mudrā, and others. Also, different types of prāṇāyāmas simply happened to him. That means his body made the prāṇāyāma technique, and he just observed what was going on. Most interesting, and I always read this in yoga classes when I teach level 4: in level 4 we have Siṁhāsana, the lion. You know, it’s a very strange exercise when we are suddenly roaring like a lion, and often yoga students don’t believe that it is actually a classical yoga technique because it’s so funny. Then, as proof, I read the experience of Swāmī Muktānanda. He lived in a small hut close to a village, and the villagers used to bring him some food. In the evening, usually they came for some satsaṅg or darśan, and he was spending his whole time with sādhanā, with the blessing of his guru, of course. He describes that at one point of his sādhanā, he developed the identification to be a lion, and he started this roaring sound. It just happened to him, and it was so strong and so true that the cows got scared and ran away, and the dogs started barking loudly. The villagers were alarmed and were looking for this lion, and then they came running to him to warn him from the lion. And what did they find? They found a roaring Bābājī. So, this is one proof that these yoga techniques, all the classical yoga techniques, are divine. They are not man-made; they are divine. But we are not Swāmī Muktānanda, that we would directly experience; therefore we have a teacher who tells us very clearly and writes a book, a system: Yoga in Daily Life. And our source book, basically, for all the yoga practices, especially the higher yoga practices, is our bhajans. Our main technique, of course, when we get initiation, is the mantra. So we have many bhajans about mantra. For example: "Terī bītī, umar harināma vīṇā sumiraṇa karālī, mīrāmaṇa. You are wasting your time without the name of God. Oh my mind, repeat the mantra." Usually in the bhajans you don’t find the word mantra, but instead you find nāma, meaning the name, or harināma, the name of God. So also in the bhajans: "Always repeating the name of God, I found the divine bliss." "Satguru nāma lītā patakā jāvare, repeating the name of God, all my karmas are purified." "O bhaḍjore manavasī prabhudī padayāra, O my mind, always repeat the name of Mahāprabhujī. O má mysli, neustále opakuj jméno Mahāprabhujīho." "Dhanapāyo. I have got a precious jewel, the name of Lord Rāma." "Oh, holy guru, she’s wonderful, but she’s not about Oṃ." "Aum kī racanā śarīre, aum kī racanā śarīre, janī janī beda suhijana, rahe sukhī ārire. Everything is a creation of Aum, and only the wise ones know its secret." But our main bhajan about mantra is actually "Śrī Dīp Nī Rañjan, Śabdūk Bañjan." This is special because, on one hand, it really includes the original guru mantra, and therefore it was a kind of revolution when Holī Gurujī wrote it, because usually mantras are kept secret, and now through this bhajan, everyone gets to know. But Holī Gurujī said, "Good things need not be secret." And in fact, Swāmījī sometimes uses this bhajan now to give mass initiation to a whole village. The other point is that in this bhajan, everything is explained about the effects of this mantra, which is, at the same time, the effect of every mantra. So, we have many bhajans about mantra. One beautiful, very profound bhajan is about our yoga nidrā technique: "Yogī Janakī Yoga Nidrā Biralā Santājanā Janī Re. The sleep of the yogī, the Yoga Nidrā, is known only to very few selected yogīs." That was not only true at the time when Mahāprabhujī wrote it, but it is still true now. Because just to understand Yoganidrā as a relaxation technique is very little understanding. In this bhajan, Mahāprabhujī explains the different levels of consciousness through which you go when you experience the different levels of yoga nidrā. I remember once when Swāmījī translated this bhajan, it was really hard for him, and in the end he managed somehow for himself. Because it describes all the levels of consciousness until samādhi. So what we understand as yoga nidrā is just a small part of it. Also, we have bhajans on the different aspects of yoga, the different yoga paths. Most of the course is on bhakti yoga. Just think, how many bhajans we have on bhakti to the guru, understanding the guru, and seva to the guru. And connected with this, mantra and satsaṅg is also a big topic. So when you go through our bhajan books, you will realize about 90% of all bhajans are actually bhakti bhajans. We have two bhajans which I remember on Jñāna Yoga. One is directly describing the techniques. This is a bhajan from Holī Gurujī, when he describes exactly the four aspects or the four techniques of Jñāna Yoga: Viveka, Vairāgya, Ṣaṭsampati (the six treasures, which he also mentions then one by one), and Mumukṣutva, the striving for God-realization. And another bhajan, which we sang already on Friday, is directly on Vairāgya. We don’t have a bhajan directly about karma yoga. I know only this one: "Puruṣādhat." But this is more on the other aspect of puruṣadhātu: "Whatever you want to achieve in this life, you have to do hard work." And Rāja Yoga and Kuṇḍalinī Yoga we often cannot really recognize because everything is in a poetical form. But often these meditation experiences are described in some bhajans very clearly. For example, in the bhajan "Hā-phakīrī, hā-phakīrī, turīya pad-nirvāṇa, hā-phakīrī, hā-phakīrī yogī," the highest state of consciousness, this is nirvāṇa. "Hā-phakīrī yoginī nirvāṇa," then you are not attached to anyone or anything; you are completely free. "Śūnyame ugā bhan," that means in the emptiness, in the empty space, in the śūnyākāśa, there appeared the divine light. So this is directly describing a meditation experience. We have a bhajan, also one bhajan which goes quite straight on the Kuṇḍalinī Yoga and the chakras. This is interestingly a bhajan which was originally sung for Muslims. In the refrain, we have Mecca and Medina. So here in this bhajan, Mahāprabhujī obviously explains about the different chakras and different techniques. He mentions Nābhi Kamal, which means the Maṇipūra Chakra; Hṛdaya Kamal, which means the Anāhata Chakra; Kaṇṭha Kamal, which means the Viśuddhi Chakra; and he mentions Daśavar, Daśavar, the tenth, which means it is actually another name for the Sahasrāra Chakra. Most interesting is the second verse because this second verse is directly the origin for a yoga technique which we have from Swāmījī in our chakra book. So it’s about Nābhi Kamal, that means about Maṇipūra Chakra. You’ll find it in the chapter Manipūra Cakra under the Techniques. "Nābhi Kamal meṁ dhūnī lagākar dhyāna dharūṅgare." So in the Nābhi Kamal, I make a fireplace, a dhūnī, and then I sit and meditate. And then, "Bharama karamakī lakari..." So, lakari, that’s a piece of wood. And bhāram and kāram, that means all my doubts, my confusion, my ignorance, and my karmas, now as a piece of wood I place in the fire. And that’s exactly how Swāmījī is teaching us. This is one point where I could find out very clearly that really Swāmījī’s teaching goes back to Mahāprabhujī’s teaching. Also, Mahāprabhujī’s bhajan "Nirguṇa Kelere, Nirguṇa Kelere, Kāyame Voto, Aparūpa Haradām" is basically very poetical and therefore not so easy to understand language describing all these meditation techniques. He speaks about the mantra So’haṁ, mentions the Maṇipūra Chakra, mentions the different Prāṇas and the Nāḍīs. Now I would like to come to one bhajan and translate it, which till now we are not singing so much, and I guess many of you will not have the text. It’s a bhajan, "Satyaguru Jagame Āyā Merā." This bhajan is for me really special because in it, so many different aspects of yoga and techniques of yoga are mentioned. The refrain says: "My Satguru came into this world." That means it is about the incarnation of God as a Gurudeva. So Mahāprabhujī, I think he doesn’t describe exactly one guru and one disciple, but more in general the relationship of guru and disciple. The first step is that, because of the longing of our heart, the call of our heart, God feels compassion and incarnates as a guru. So it’s always a background: God incarnates when people are suffering and calling for God. The first verse: "Satguru āyā merā mana bhayā merā dila hara śāyarī. Harṣa huā śaraṇaṁ melage caraṇaṁ melage." Gurudev came into this world, and now the reaction of the disciple: "Oh, my Gurudev came, and my mind, my heart is so full of joy. My heart is overflowing with joy because now my prayers are fulfilled. Gurudev came. So full of joy, I now come running to him and bow down to him and touch his holy lotus feet." In very few words, the whole relationship between guru and disciple is described here. The disciple realizes Gurudev is there. He comes to the guru. He does praṇām. And that means he requests, "Please, accept me. Teach me. Accept me as your child, as your disciple. Give me your blessing." And the answer is yes; he places his hands on my head. That is exactly what Swāmījī is doing when he initiates us as a disciple and gives us mantra. Now he gives his blessing. Now he awakens the energy in us, and our spiritual path is beginning. "So’haṁ śabda diyā śravaṇamaya nābhi māyā samayāre." What happens next? Now comes the mantra initiation. In this case, the disciple is initiated into the mantra "So’haṁ." This is one of the mantras which we know, and it is a very special mantra because it is connected with the breath. It is that mantra which, unconsciously, we actually repeat every day, if you have a normal breath, 21,600 times—but we are not aware of this. "So’haṁ śabda diyā śravaṇamaya." Now, in my ears, he gave me the mantra So’haṁ. This śravaṇamaya indicates the old way of initiation. It was actually a very intimate thing. The guru came close to the disciple and whispered the mantra into the ear of the disciple so that no one else would hear it. So’haṁ: "I am that." Now, this mantra he gave me. What does it mean? Is a mantra a thing like a book? I have the book here, now I give it to him. So what does it mean, "He gave the mantra"? It’s not a physical thing which you can move from one place to another. Mantras are reality. Sound, vibration is the form of God, and this is everywhere. God is everywhere. That means the mantras are already there, so strictly speaking, they cannot be given, because that makes the thought they would be moved from one place to the other, belonging before from one person to the other person. So you could say the Gurudev makes us aware of this mantra, which is already there. And he tells us the importance of this mantra and says, "Now practice that." When we sing OM, basically we sing, so now we make the OM. But that’s not true, because the OM is already there. The power of OM is in the fact that it is a real, existing reality, and now when we chant the OM, or even when we sing OM, then we come in contact with this real, existing reality. So when the guru gives us a mantra, he actually makes us aware of this mantra and tells us that this would be very good for you, now practice this, so that you awaken this divine energy in you and it can purify. It says, "Nābhi māyā samayā re." It says the mantra is contained, like stored in the nābhi, in the maṇipūra cakra. You see, it’s not given; it is just pointed: "Look, it is there, it is in your maṇipūra cakra already." So the bhajan refers to Swāmījī’s teaching, what he always says: the origin of the sound is from Maṇipūra, and from there you awaken it. Now the next line is interesting: "Lākhaṭa śabda bhāyā prakāśa." This mantra which he gave to the disciple, and now it turns into light. So it was a sound, it was a vibration, and now it changes. It becomes light. Sound and light, these are the two basic forms of existence. When we go deep in meditation, these two things remain. And just remember what Swāmījī explained hundreds or thousands of times about Aum singing. He says, you chant Aum and you observe how the sound comes from Maṇipūra and goes up, and then it becomes articulated, and it touches the Ājñā Cakra and then the Sahasrāra Cakra. And what is next? Then he says the Sahasrāra Chakra is like a mirror, and from there it is reflected down again, but in the form of light. So this is exactly Swāmījī’s teaching. But he says the sound, the vibration, turns into the light, the divine light. "Lākhaṭa śabda bhāyā prakāśa." The mantra, the sound, changes into light. "Sahajā āyā jāgāyā re." Now this line is like a summary already of this process, meeting guru and disciple. Sahaja means something like naturally, automatically. You might know it from the name sahaja samādhi, the natural state, the samādhi in which you come as a natural state. And this natural, that is also God, that is also Gurudev. What is the natural state? That is divine. So Sahaja means also just God or the Guru. So "Sahajā āyā jāgāyā re": God, as a Guru, came and He awakened me. So this is the beginning of the relationship, Guru and disciple. They meet, and he gets the initiation, and now it goes into the details of what’s happening. This Mantra So’haṁ is special. Part 2: The Inner Journey: Mantra, Prāṇa, and Realization The mantra "So'ham" is unique. It is already present within our very breath. As the verse says: Āvarta, javata, āvarta, urvata. Āvarta and urvata refer to inhalation and exhalation. Āvarta, javata means coming and going. During this coming and going of the breath—the inhalation and exhalation—there is ardha mātrā dhyāya re dhyāya (meditate on the half-measure). I am always repeating half of this mantra. This half is a mantra, a short syllable. One is "So," the other is "Haṃ." This describes exactly how the mantra is combined with the breath: one half with the inhalation, the other half with the exhalation. This is precisely what Swāmījī teaches us, especially in our yoga system's Level Two meditation techniques, and it is known from many other traditions. With the inhalation: "So." With the exhalation: "Haṃ." The breath is going on all the time. This is the same state we try to achieve through conscious japa (repetition) of our mantra. I repeat my mantra to arrive at ajapā—where it works by itself. In fact, it does work by itself because it is going on continuously, but we are not aware of it. That is why we cannot directly benefit from it. Through our practice, it becomes a conscious process. The text speaks of japa, ajapā, ajapā sumaru. I meditate all the time with this mantra until I come to the state of ajapā. Sumaru comes from the Sanskrit word smṛti, meaning memory—to remember the Lord. By repeating my mantra all the time, I am thinking of God all the time. Then something happens. We move from active practice to passive practice. When we practice chanting Aum, for example, we do something actively. But the final state in Nāda Yoga is when you experience Aum and you do nothing. The verse says: Raṇankāra sunāpāyāre raṇankāra. That is the inner Nāda, the inner divine sound which is always there. Śṛṇu means "listen." The disciple begins by practicing the mantra constantly—japa, japa, japa. But when you reach the state of ajapā, you no longer need to practice. The sound is already there, and you experience and listen to it. The student has reached ajapā. Now we come to more detail: Candra, Sūrya, or Iḍā, Piṅgalā. He describes the nāḍīs, Iḍā and Piṅgalā. As you know, what is inside is the same as outside. Iḍā and Piṅgalā are like the moon and sun in the sky. Therefore, we speak of the moon and sun systems within us. Here we are directly in Swāmījī's teaching on Kuṇḍalinī Yoga. We have learned from Swāmījī for many years that we must activate and purify the nāḍīs through nāḍī śodhana and special techniques involving kumbhaka (breath retention), which is the main purification technique and part of every classical prāṇāyāma. Only when Iḍā and Piṅgalā are both active and balanced can Suṣumṇā be activated. The bhajan is poetry, so Mahāprabhujī does not say Suṣumṇā but Sukhamanā—it means the same: Suṣumṇā. Sajmilayārī means the opposite energies of Iḍā and Piṅgalā now merge, come together, and unite in Suṣumṇā. Where does this happen? It happens in every chakra, because Iḍā and Piṅgalā do not go straight but cross each other, meeting with Suṣumṇā in every chakra. The most important meeting point is the Ājñā Chakra, also called Trikuṭī. This is exactly what we are practicing. In the Kriyānusthāna, for example, the different energies of Iḍā and Piṅgalā come together naturally and automatically. But when they meet in Suṣumṇā and Suṣumṇā is activated, a new quality emerges. Therefore, something new happens: unmanī ghaja. Unmanī means "within me," inside. Ghaja means sound—a roaring or vibrating sound. Unmanī is a word from the Yoga Sūtras. Patañjali says that when all the nāḍīs are full of impurities, how can the energy flow and the state of unmanī be reached? Unmanī means something like samādhi, the highest state of consciousness. Here it is unmanī ghaja: the sound that comes from this state. It is the sound we hear—the anāhata-nāda about which Swāmījī always speaks. We listen to this sound. Anāhata has two meanings. Swāmījī always emphasizes the meaning of "endless, boundless," an interpretation from a certain Hindi dialect. Another meaning is "a sound not produced by two things striking each other"—the sound that exists by itself, the divine, natural, original sound. So I listen to these inner sounds. Unmanī ghaṇā so, urme jotā jagāyārī. Ur means the heart. Jota is another spelling for jyoti (light). In my heart, the light awakens. My heart opens, flowing over with full bhakti. According to Indian understanding, the heart is also the seat of the mind. The light is there, and more light comes. It continues. Urdhvaṃkajara āyari, Pīchā pavana nabhitara cāyā. Now we speak of the prāṇas, the energies. Pavana literally means "wind," but in yoga scriptures it is often used interchangeably with prāṇa. Pichapavana means the prāṇas or winds in the back—the prāṇas where our chakras and nāḍīs are. Nābhi dhārachārya: nābhi is the navel, the Maṇipūra Chakra. The prāṇas connected to the Maṇipūra Chakra in our back start to flow. Through our meditation and mantra practice, they are activated. Here we are already in an advanced state; they are not just flowing normally but are activated in a special way. Through yoga practice, we influence them to flow differently. Ulṭā. Ulṭā means upside down, reverse. Ulṭā baṅka gharāya. Ulṭā baṅka means bent in an opposite way. Here, Mahāprabhujī is describing an āsana, or rather a mudrā. Does anyone have an idea which one? Yes, Viparīta Karaṇī Mudrā. Viparīta means the same as ulṭā—upside down. In this mudrā, the body is placed opposite, upside down. The point is that the energies now flow in the opposite direction. You know that apāna is the energy that moves downward, particularly for elimination. But now the lower body is on top and the head is at the bottom, especially when we also concentrate on the Viśuddhi Chakra. In this way, we guide the energy to flow differently than usual—it flows upward. Ulṭā, Baṅka, Gara, Āya. These prāṇas, these energies, flow upward as if the body is inverted; they flow "home." Gara means home. They flow up. Meru Daṇḍ is a common term for the spinal column. Meru is the holy mountain; daṇḍ means stick. Our spinal column is like a stick, and because of the process of the chakras, nāḍīs, and the awakening of Kuṇḍalinī, it is a holy mountain. Meru daṇḍako mori cheka. Mori means a hole, an opening, an outlet. If you have a pot with a mori, water flows out. Morī chekī means to check it, to close it. The idea is to control the energy so we do not lose it. Again, in poetic form, Mahāprabhujī describes a very concrete technique. What is he describing? Yes, the bandhas. We know the three bandhas: Jālandhara Bandha at the throat, Mūla Bandha at the base, and Uḍḍīyāna Bandha at the center. Mahā Bandha is when all are applied together. The point is, as I always say, like a pressure cooker. If you boil vegetables in an open pot, the steam escapes and it takes time to cook. But a pressure cooker is nearly closed, so strong energy builds up quickly. That is the point of the bandhas: to activate and strengthen the prāṇic energies. This is the point: why we practice the bandhas. Here, especially, because something is happening with the prāṇas. They are already flowing differently. But the decisive event comes now. Prāṇa, Apāna, milayari. The contrary forces of Prāṇa and Apāna merge together. This is exactly what happens in samādhi. Where does it happen? At the Maṇipūra Chakra. That is why it is said: Pijāpabanābhidhārācārya—those prāṇas which are connected to the Maṇipūra Chakra. Also, Samāna Vāyu plays a role in connecting these two opposite energies so that Prāṇa and Apāna merge in Maṇipūra and then flow upward. That is the real awakening of Kuṇḍalinī. Let's continue. The prāṇas were forced to flow upward and are uniting. Prāṇa and Apāna, ulṭā karadono. They are both forced to flow in opposite directions. Now comes another technique, which about half of you know: Kañcakabandha, chādayari, Kañcakabandha. Kañcaka means "pulling the bow." From kinchnā: to draw, to pull. It means we have a bow and an arrow, and we are going to shoot. What is that? That is our personal kriyā. He mentions this here. Kañchakabāṇa—pulling the bow—now Chadāya. Chadana means to go up. I am directing it upward; I shoot the arrow up. We must think in terms of chakras. The joining of Prāṇa and Apāna happened in Maṇipūra, so this must be directed to something higher than Maṇipūra. The next chakra is mentioned. Bṛkuṭī metara lagyo japa. Bṛkuṭī is the same as Trikuṭī. Which chakra is Trikuṭī? That is the Ājñā Chakra. Metara usually means a wire or cable. Here, it means the flow of energy, the flow of prāṇa. When this flow of prāṇic energy meets the Ājñā Chakra, the Bhrūkūṭī, then comes something like an explosion. What we await is perhaps a thunderstorm, thunder and lightning—enlightenment. Bijelī in India is usually understood as electricity or light, but the original meaning is the lightning in a thunderstorm. Then appears the light, like lightning. As I said, more light comes. This describes exactly what we mean in English as enlightenment. The energy meets the Ājñā Chakra, and there is light; you are in light. Now the different experiences in samādhi are described. You experience different colors: Haria lal or dholapila—green, red, white, yellow. Śyām is a name for Lord Kṛṣṇa, and can refer to God in general. You get the darśan of Lord Kṛṣṇa, of God. God appears to you, usually in the form in which you believe. That is the point of the mantra. A mantra usually contains God's name in two forms: Nirguṇa (without attributes, like Om) and Saguṇa (with attributes). For example, Mahāprabhujī's name, or Śrī Devapurījī's name, is for us a concrete historical person. If you repeat a mantra to Jesus, the Divine Mother, or Buddha, that Iṣṭadeva (chosen deity) will give you darśan. If you are a worshipper of Kṛṣṇa, it might be the Śyām Rūpa; if of Śiva, it might be Śiva's rūpa. Jihino, jihino, bhajo, bhajī. Again, this fine inner sound experience. Bhajo, bhajī means sound is sounding. The inner Nāda. You know the word jīno or jīnī from the Bhajan Chardaryā, Jīnī-Re-Jīnī? A very, very fine cloth is our body. It means you listen to a sound, but it is not as we usually understand sound; it is very subtle, divine. This attracts our whole awareness. It is so pure and fine that our entire awareness goes there and joins with it. This awareness is the word suratā. Swāmījī has often spoken about this word. Usually, too much of our suratā (awareness) is in the world. But now the divine is present, and your whole suratā goes to the divine. Again, we have the word sahaj—always with a slightly different spelling, but it means the same: naturally, automatically. Sūtras had garapayarī. Our awareness comes naturally, automatically, home. But where is the center of our being, the center of our ātmā, the center of final realization? Swāmījī described it. He said the energies are awakened, go up through the chakras to the Sahasrāra Chakra, but then from there they go back to the Anāhata Chakra. The final realization is actually in the Anāhata Chakra, not in the Sahasrāra. I believe this is what Mahāprabhujī means here with ghar—home. We come truly home in our heart. Charaṇaṁ śiṣ nivāyare Devapurījī pura gura pāyaṁ, charaṇaṁ śiṣ nivāyare. Now the process is at the end. Mahāprabhujī greets his master. Śrīdeva Purījī, pūrā guru pāyā: "I found in Śrīdeva Purījī the perfect, the complete master." Chara Nong Shish Nivaya Re. Shish or Shirsh means the head (you know it from Śīrṣāsana). Full of gratitude, we bow down to Guru Dev, full of thankfulness for what he has given us. Svāmī Dīpapurī Satguru Keśaranī Harī Bhajanār Guṇagāyarī. Mahāprabhujī says, "I have come forever into the shelter of my Guru Dev." Hari Bhajjana: I worship, I serve God. Bhajjana is usually understood as a spiritual song, but its meaning is much wider. It is basically everything you do while thinking of God, praising God. Your mantra sādhanā is bhajan. Your guru seva is bhajan. Whatever you do dedicated to God is bhajan. Not by chance, the word bhajan is very close to bhakti; they are nearly the same. Guṇa gayare: I sing the glory of my master. The word guṇa is usually known in the context of the three guṇas (tamas, rajas, sattva), but we also have guṇa and avaguṇa (positive and negative qualities). Here, guṇa means the positive qualities. I worship God, I worship my guru, and sing his glory. This is a bhajan that goes very deep into practical yoga practices, which we truly know from Swāmījī. Swāmījī's teaching really comes from there. But on the other hand, if we only had such a bhajan without Swāmījī's guidance, we would be completely lost. We would have no idea what to do. Only based on our own experience can we actually understand such a bhajan. Thanks to Swāmījī, he translates it all for us in a very practical way.