Sant Dnyaneshwar and Adwaita Siddhanta

पांडुरंगकांती दिव्य तेज झळकती ।
रत्‍नकीळ फांकती प्रभा ।
अगणित लावण्य तेजःपुंजाळले ।
न वर्णवे तेथींची शोभा ॥१॥

कानडा हो विठ्ठलु कर्नाटकु ।
तेणें मज लावियला वेधु ।
खोळ बुंथी घेऊनि खुणाची पालवी ।
आळविल्या नेदी सादु ॥२॥

शब्देंविण संवादु दुजेंवीण अनुवादु ।
हें तंव कैसेंनि गमे ।
परेहि परतें बोलणें खुंटलें ।
वैखरी कैसेंनि सांगें ॥३॥

पाया पडूं गेलें तंव पाउलचि न दिसे ।
उभाचि स्वयंभु असे ।
समोर कीं पाठिमोरा न कळे ।
ठकचि पडिलें कैसें ॥४॥

क्षेमालागी जीव उतावीळ माझा ।
म्हणवूनि स्फुरताती बाहो ।
क्षेम देऊं गेलें तंव मीचि मी एकली ।
आसावला जीव राहो ॥५॥

बाप रखुमादेविवरु हृदयींचा जाणुनी ।
अनुभवु सौरसु केला ।
दृष्टीचां डोळां पाहों गेलें तंव ।
भीतरीं पालटु झाला ॥६॥

Saint Sant Dnyaneshwar And Adwaita SiddhantaMaharaj  , in his beautiful poetic discourses called as Abhangas (a-bhanga which never deteriorates) has addressed the state of a sadhaka from dwaita bhaava to advaita state.  Sadhaka  , here in represented as a lady with extreme Viraha  , has gone through all the stages of seperation and is now eager to meet her Lord.

That Lord has captivated her existence   , the Lord who  , seemingly for her  , hasn’t answered her prayers  even after all the Tapasya she had done. The Lord named as Panduranga  , who is quite simpleton as he can be easily moved by bhakti but complex at the  same time  . Duryodhana and Vidura  tried binding the Lord. The bindings used by Duryodhana were materialistic  whereas Vidura bound the Lord with bhakti. Lord answered Vidura  and you know what happened with Duryodhana.

कानडा हो विठ्ठलु कर्नाटकु ।
तेणें मज लावियला वेधु ।
The Lord  Viththala  , who bodily resides in the state of Karnataka (this portion does have deceptive yet beautiful second meaning as Viththala doesn’t reside at a single place. Kanadau means the one who gets bound by devotion  . Kar-nataku is also taken as the one who is the player and playwright of the play called Samsara ) .

Sant Dnyaneshwar

The Lord appears finally in front of the Sadhaka just like Dnyaneshwar Mauli describes  “खोळ बुंथी घेऊनि खुणाची पालवी ।”   hiding away from all others under the covering of Maya as the happiness acquired by any sadhaka in Parmartha  is purely his own . He tries to speak with him but fails  , wonders how are the talks even going on without any speech. “शब्देवीण संवादू । दुजेवीण अनुवादू  ।। ”

There are four levels of speech Vaikhari the lowest  and Para  , the highest  . Even Para Vaani can’t describe the conversation between him and Viththala  ,  how can impure Vaikhari describe it?

The Sadhaka tries to touch Viththala’s feet  but can’t see anything when he bends down  , he can’t even recognize whether Lord is in front of her or at her back. The Sadhaka is bewildered  , puzzled  . For him time has stood still.

After all that he’s gone through  , he is desperate to unite with his Lord  , his arms are feeling restless to embrace his Lord  . The sadhaka embraces the Lord to find that he was standing there alone  . He was at his limits now  .

Now here Mauli Dnyaneshwar Maharaj says  “दृष्टीचा डोळा” , the sight of wisdom  , Instead of “डोळ्याची दृष्टी”  , the sight of material eyes. Up until now  , the sadhaka was wandering here and there to see Lord Viththala in the outside world with his material eyes  . Now when he turned his “डोळ्याची दृष्टी” to “दृष्टीचा डोळा”  , things got drastically changed for him  .
दृष्टीचा डोळा the eye of ‘sight which provides sight to our eyes’ . Our eyes gain strength to view from inside  , the Para Brahma itself. Drishticha Dola is The eye witnessing The Para Brahma  , the Dnyaana Netra.The sadhaka changes into saadhya (the one which is the aim of Saadhana  , the Lord himself) .

“भीतरीं पालटु झाला”  , insides have changed after having the सौरसू , nectar of अनुभव  , the realisation. The realisation dawns on sadhaka that he became the same entity that he once yearned to meet. This is the state of sadhaka described by Adi Shankaracharya in his  “Nirvana Shatakam”
चिदानंद रूपः  शिवोहम् शिवोहम्
The “aham” , my entire existence  ,  has completely merged with the Shiva  .

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