Shri Sai Satcharitra - Chapter 20 - English

Shri Sai Satcharitra - Chapter 20

Chapter 20 of Shrirdi Sai Satcharitra (English Version)

Complete English Playlist Link : https://www.youtube.com/playlist?list=PLI6LdKwBZwGiaZfO_IEhX0ivQonA0FMSu
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This chapter covers the following:
Das Ganu’s Problem Solved by Kaka’s Maid

Preliminary

Sai was originally formless; He assumed a form for the sake of His devotees. With the help of the actress Maya, He played the part of the lead actor in the big drama of the universe. Let us remember and visualize Shri Sai; Let us go to Shirdi and watch carefully the programs after the noon Arati. After the Arati ceremony was over, Sai used to come out of the Masjid, stand at its edge, distribute Udi (ashes from the fire Baba kept burning all day in the Masjid) to His devotees with very kind and loving looks. The devotees also got up with equal fervor, clasped His Feet and stood there staring at Him, enjoying the shower of Udi. Baba passed handfuls of Udi into the palms of His devotees and marked their foreheads with Udi with His fingers. The love He bore for them was boundless. Then He addressed each of the devotees individually as follows, “Oh Bhau; go have your lunch; Anna; go to your lodgings; Bapu, enjoy your dishes”. In this way, He accosted each and every devotee and sent them home. Even now, one can enjoy these sights. If one brings into play their imagination, they can visualize and enjoy them. Now bringing Sai before our mental vision, let us meditate on Him, from His Feet up to His face and prostrate before Him humbly and lovingly. Let us now respectfully revert to the story of this chapter.

The Ishavasya Upanishad

Das Ganu once started to write a Marathi commentary on the Ishavasya Upanishad. Let us first give the readers a brief summary of this Upanishad before proceeding further. It is called a Mantropanishad, as it is embodied in the Mantras of the Vedic Samhita. It constitutes the last Chapter of the Vajasaneyi Samhita (Yajurveda) and it is, therefore, called the Vajasaneyi Samhitopanishad. Since it is embodied in Vedic Samhitas, it is regarded as superior to all other Upanishads, which occur in the Brahmanas and Aranyakas (explanatory treatises on Mantras and rituals). Other Upanishads are considered to be commentaries on the truths mentioned briefly in the Ishavasya Upanishad. For instance, the biggest of the Upanishads, the Brihadaranyaka Upanishad, is considered by Pandit Satwalekar to be a running commentary on the Ishavasya Upanishad. Profesor R.D. Ranade says, “The Ishopanishad is quite a small Upanishad and yet it contains many hints which show an extraordinarily-piercing insight. Within the short compass of 18 verses, it gives a valuable mystical description of the Atman, a description of the ideal sage, who stands unruffled in the midst of temptations and sorrow, and the adumbration of the doctrine of Karma-Yoga as later formulated. And finally a reconciliation of the claims of knowledge and work. The most valuable ideas that lie at the root of the Upanishad, are that of a logical synthesis between the two opposites of knowledge and work, which are both required according to the Upanishad. ” (page 24 of the Constructive Survey of the Upanishad Philosophy). In another place, he says that “The poetry of the Ishopanishad is a co-mixture of moral, mystical and metaphysical.” From the brief description given above, anyone can see how difficult it is to translate this Upanishad from Sanskrit into a vernacular language and summarize its exact meaning. Das Ganu translated it into Marathi, verse by verse, but as he did not comprehend the gist or essence of the Upanishad, he was not satisfied with his performance. He therefore consulted some learned men regarding his doubts and difficulties and discussed it with them at great length. They did not solve his doubts and nor did they give him any rational and satisfactory explanation. So Das Ganu was a little restless about this matter.

The SadGuru is the Only One Competent and Qualified to Explain

Bow to Shri Sai – Peace be to all

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