घेई घेई माझे वाचे । गोड नाम विठोबाचे ॥ १ ॥
तुम्ही घ्यारे डोळे सुख । पाहा विठोबाचे मुख ॥ २ ॥
तुम्ही ऐकाँकारे कान । माझ्या विठोबाचे गुण ॥ ३ ॥
मना तेथें धांव घेई । राहे विठोबाचे पायीं ॥ ४ ॥
तुका म्हणे जीवा । नको सोडू या केशवा ॥ ५ ॥
(तुकाराम गाथा – ३९४)
O my voice, constantly chant the sweet name of Vithoba
O my eyes, attain your ultimate fulfillment by beholding the beautiful face of Vithoba
O my ears, listen deeply to the divine virtues of my Vithoba
O my mind, run swiftly to Him, and remain anchored at His feet.
Tuka (Tukaram Maharaj) says, O my soul (Jiva), never let go of Lord Keshava. (gatha – 394)
While the literal meaning of this Abhanga is evident, we shall now contemplate its underlying spiritual essence.
पराञ्चि खानि व्यतृणत्स्वयंभूस्तस्मात्पराङ्पश्यति नान्तरात्मन् ॥
(कठोपनिषद – २.१.१)
Brahma, the Creator, designed the senses to face outward. Therefore, a person naturally looks outward at the external world, and not within the Inner Self. (Kathopanishad – 2.1.1)
Just as Ishwara manifested sense objects to allow for the unfolding of Prarabdha, He provided the senses as the essential instruments for their experience. The senses were created with an outward tendency (bahirmukha), directing themselves toward external objects, and drawing the mind along with them. Since all objects are products of Maya, they undergo the sixfold modifications (Shadvikara) – existence, birth, growth, transformation, decay, and destruction. Consequently, these do not constitute the Self (Ātman); they are essentially of the nature of the non-Self (Anātman). The Atman, however, is Nirvikara – eternally beyond all modifications.
The Atman is not perceivable to the senses, nor does it appear as a manifest object. Because it is hidden from external perception, it is described as dwelling ‘within.’ Conversely, since sensory objects are Anatman and possess attributes entirely opposite to those of the Atman, they are regarded as ‘external’. Because the senses perceive the external world, they are naturally directed outward. The mind also becomes outward-facing the moment it begins to focus on worldly objects. Once a craving for these objects takes hold, the senses become uncontrollable. Through this association, the mind itself becomes object-oriented, losing its capacity to dwell on anything else. Even in the absence of physical objects, the mind conjures its own imaginary world through Sankalpa (desire) and Vikalpa (doubt) and revels in them.
ह्या विषयांवाचूनि काही । आणीक सर्वथा रम्य नाही ।
ऐसा स्वभावाचि पाही । इंद्रियांचा ॥
(ज्ञानेश्वरी २.१२०)
The very nature of the senses is such that they find absolutely nothing else to be as delightful or pleasing as these sensory objects. (Jnaneshwari 2.120)
Turning toward the Self creates a state of inwardness, while turning toward the world of objects is to be in a state of outwardness. Senses that are perpetually outward-oriented are considered ‘unrestrained’; and for the senses to be unrestrained is to live in a state of ‘delirium’ or ‘senseless babbling’ – they begin to wander aimlessly.
The Senses in the Gross Body
Within the gross body, the physical locations where the ten faculties – the five of knowledge (Jnanendriyas) and five of action (Karmendriyas) – along with the internal instrument (Antahkarana) reside, are known as the ‘Golakas,’ or sensory centers. Restraining the mind involves preventing it from reaching sensory objects, or recalling it should it wander toward them; this act of withdrawing the mind from sensory objects is called ‘Shama.’ Likewise, to check the outward rush of the sense instruments and hold them back from objects is called ‘Dama’ or ‘Pratyahara.’ These are technically termed the ‘pacification’ (Shamana) of the mind and the ‘subjugation’ (Damana) of the senses. We shall now understand each sense faculty and its respective physical seat.
The Five Organs of Knowledge (Jñāna Indriyas)
Faculties (Indriya): Shrotra (Hearing), Tvak (Touch), Chakshu (Sight), Rasana (Taste), Ghrana (Smell).
Physical seat (Golaka): Karna (Ears), Tvacha (Skin), Netra (Eyes), Jivha (Tongue), Nasika (Nose)
Sense (Vishaya): Shabda (Sound), Sparsha (Touch), Rupa (Form), Rasa (Taste), Gandha (Fragrance)
The Five Organs of Action (Karma Indriyas)
Faculty (Indriya) – Hasta (Hands), Pada (Feet), Vaak (Speech), Upastha (Procreation), Paayu (Excretion)
Physical Seat (Golaka) – Paani (Palms/Hands), Paada (Feet/Legs), Jivhaa (Tongue/Vocal Cords), Shisna (Genitals), Guda (Anus)
Function (Vishaya/Action) – Giving and Receiving, Motion – Coming and Going, Articulation/Speaking, Procreation/Urination, Excretion/Elimination
The physical seat (Golaka) of the inner faculty (Antahkarana) is the Heart (Hrudaya). The ‘Heart’ (as a field of consciousness) is said to pervade the entire body. The mind is a functional modification (vrutti) of that very Antahkarana. When the senses and the mind are to be restrained and withdrawn from external objects, where should they be brought back and kept? They are to be drawn back and fixed in their own respective golakas, and anchored therein. This process is called Pratyāhāra (withdrawal of the senses). Such withdrawal and re-establishment alone constitutes the true nature of Vairāgya (dispassion).
To begin this journey, one must first cultivate Viveka (discernment). Without the foundation of Viveka and Vairagya (detachment), the spiritual journey (Paramartha) cannot even begin – the supreme spiritual pursuit. While we talk about turning the senses inward, it is more fitting to say we must turn our mind inward. Among the many paths leading to God, Samarth Ramdas advocates the path of Bhakti (devotion), for it is simple, accessible, and well-traversed; hence, there is no fear in following it. Along this path, kīrtans and spiritual discourses serve as nourishing stations; thus, one need not worry even if they lack their own provisions of discernment and dispassion. There are ‘water stations’ (Panpoyas) of Bhajans and week-long communal chanting programs to quench the seeker’s thirst. This path is safe, as it is constantly ‘patrolled on all four sides’ by the vibrant sounds of cymbals and drums (गस्त फिरे चहुकोनी । टाळमृदंगाचे ध्वनी ।). Because only saints and true devotees tread this path, the seeker’s spiritual practice remains shielded from harm. On the contrary, the seeker is graced with the company of saints, effortlessly attaining the supreme benefit of their presence – for as it is said, ‘In the sight of a saint, one finds the Lord Himself.’ (संतदर्शने हा लाभ । पद्मनाभ जोडला ॥) Along the route, the hermitages and ashrams of sages provide rest for the weary traveler. Because of the lush forests and gardens, the path is enchanting, and free from worldly distractions. In the pleasant company of trees, creepers, and forest-dwellers, the journey passes swiftly. One only needs to keep walking with eager longing for God; fueled by divine love, faith, devotion, and steadfast perseverance.
The senses have developed such a deep-seated liking, habit, and repeated practice for indulging in sense objects that they have become truly addicted to them. Just as it is exceedingly difficult to liberate an addict from their vice, breaking the grip of the senses is a formidable challenge.
विषयविषाचा पडिपाडु । गोड परमार्ध लागे कडु ।
कडु विषय तो गोडु । जीवासी जाहाला ॥
(ज्ञानेश्वरी १०.१५९)
Such is the overwhelming allure of sensory objects that the Supreme Truth begins to taste bitter, while the bitter objects of the world seem sweet to the soul. Due to the ‘deceptive outward beauty’ (Aapaat Ramaniyata) nature of Maya, objects enchant and mesmerize the mind the moment they are perceived; they are inherently designed to be captivating.
At the outset, indulging in these objects feels pleasurable. However, as the Bhagavad Gita (18.38) warns: ‘परिणामे विषमिव’ – though it is ‘like nectar at first, it is like poison in the end’ and by the time one realizes this, the enjoyer has already suffered great loss. The ultimate consequence of sensory indulgence is inevitably sorrow. The physical senses cannot grasp this, and neither can a mind that has surrendered to them. In truth, it is the mind that drives the senses. If one attempts to forcibly separate the senses from their objects, or vice versa, they will rebel, causing the addiction to erupt with even greater intensity. To let them run wild is perilous, yet to restrain them is incredibly difficult.
The oppressive rigor of the Yogic path of restraint is plainly evident. The path of Knowledge (Jnana) is equally demanding; the only difference is that its sternness is wrapped in a refinement of the intellect. In contrast, Mother Devotion (Bhakti-Mauli) is tender-hearted, and her grace rests upon the saints. Therefore, moved by compassionate reflection upon the helpless condition of ordinary human beings, the saints devised a gentle means for internalizing dispassion (Vairagya). ‘काय वाानू या हो संतांचे उपकार ।’ – How can one ever describe the immense debt of gratitude we owe to these Saints? Let us now attentively consider the path they have indicated.
In worldly objects, the qualities of Rajas (restlessness) and Tamas (inertia/ignorance) are predominant; it is this very dominance that is disruptive and obstructive. If this excess is reduced, these objects lose their ‘object-ness’—that toxic quality which acts like a poison. We must eliminate the ‘poisonous nature’ of the object – which acts like a toxin; without necessarily changing its outward form. Imagine a snake whose venomous fangs have been removed; one could wear it freely around one’s neck or play with it without any fear of harm. The five sensory experiences – Sound, Touch, Sight, Taste, and Smell; are normally infused with the ‘poison’ of Rajas and Tamas. Removing these qualities is impossible because they are the defining characteristics of material objects. Instead, if the five sense-objects marked by an abundance of Shuddha Sattva (pure goodness/luminosity) were to become available, there would be no outward difference in the experience of enjoyment; yet the affliction that binds would no longer remain. Does such an object of experience exist? Yes, indeed! That object is the manifest, physical form of the Divine—the Avatars (incarnations) of God. As the saying goes, विषय तो त्यांचा झाला नारायण – When the Divine (Narayana) Himself becomes the object of our focus, how can any harm arise? Such an object is a sensory object in name only. In Him, the mind finds delight, and because the senses have found their true fulfillment, they no longer wander unrestrained. These Divine forms are not subject to the laws of death and decay; they are embodiments of Existence, Consciousness, and Bliss (pure Sat-Chit-Ananda).
Sant Dnyaneshwar Maharaj says:
1. कान्होबा तुझी घोंगडी चांगली । आम्हासी का दिली वांगली रे ॥ स्वगत सच्चिदानंदे मिळोनि । शुद्ध सत्व गुणे विणली रे ॥ षड्गुण गोंडे रत्नजडित तुज श्यामसुंदरा शोभली रे । कान्होबा ॥ (येथे घोंगडी – देह.)
O Krishna, your blanket is exquisite; why have you given us this stained and tattered one? Your own blanket is woven by the Supreme Being (Satchidananda) Himself, crafted entirely from the threads of Pure Goodness (Shuddha Sattva). Adorned with tassels of the six divine attributes and studded with gems, it suits you perfectly, O the Dark and Beautiful One (Shyamasundara). (Here, the blanket represents the Body/Form).
2. अनुपम्य मनोहर कासे शोभे पीतांबर ।
Meaning: O Shri Krishna! You are resplendent in Your exquisitely beautiful Pitambara (sacred yellow silken garments) that graces your waist; or rather—it is You who brings a supreme charm to the very Pitambara You adorn.
3. राजस सुकुमार मदनाचा पुतळा । – तुकोबा
Meaning: O Lord Vitthala! You are the King of Elegance, the essence of Grace—the very idol of Cupid (Madana) himself. This Vigraha of the Divine is exquisitely pleasing to the eyes and purely celestial, containing not even a trace of anything that could cause agitation or disturbance. Therefore, this form is the very essence of Sukha (Bliss). Just as sweetness is the quality of a substance, and the substance itself is sweet—in the same way, this form of the Lord is not merely a possessor of the ‘attribute’ of happiness; it is the very Ocean of Bliss (Ananda-Sindhu) itself. – says Tukaram Maharaj.
4. रूप पाहता लोचनी । सुख जाले वो साजणी ।
Upon beholding this enchanting and divine Shrivigraha of the Lord, my Chitta (consciousness) has become utterly inundated and overflowing with Paramananda (supreme bliss).
5. सर्व सुखाचे आगर । बापरखुमा देवीवर ॥
Lord Vitthala, the Beloved of the Universal Mother Rukmini, is the Supreme Father (Jagat-Janaka) of the entire cosmos. He alone is the inexhaustible treasure (Akshaya-Nidhi) of all Ananda (bliss).
6. आवडे हे रूप गोजिरें सगुणं । पाहता लोचन सुखावले ॥ – ज्ञानेश्वर
Meaning: This Shrivigraha (saguna form) of the Lord is so profoundly beautiful and enchanting to the mind, that the mere sight of it has caused my eyes to become submerged in Paramananda (supreme bliss), reaching their ultimate fulfillment – Dyaneshwar maharaj explains in this verse.
7. सर्व सुखाचे आगर । जनी म्हणे शारंगधर – संत जनाबाई
The Meaning: He (Lord Vitthal) the Wielder of the Bow (Sharangdhara), is the Treasury (Abode) of all Bliss – Janabai says.
8. सुखाचे ओतले सकळही । … – संत तुकाराम महाराज
The Meaning: Bhagavan Vitthal is Bliss personified. His entire form is nothing but the flow of Ananda, crystallized into a shape for your eyes to behold. – Tukaram Maharaj
These divine manifest forms (Saguna-Sakar Vigraha) appear like sensory objects, yet they lack the binding nature of worldly things. The forms of Rama, Krishan, Vithoba, Ganpati, Shiva-Parvati, and others are ‘sweet’ – meaning they are flawlessly blissful. The faculty of sight – eyes; find their ultimate contentment in these forms. Hence, exhortation by Sant Tukaram Maharaj “डोळे तुम्ही घ्यारे सुख । पाहा विठोबाचे मुख ॥” (O my eyes, attain your ultimate fulfillment by beholding the beautiful face of Vithoba)
In the sequence of cosmic manifestation, Space (Akasha)—and its primary attribute, Sound (Shabda) – is the first to emerge. Therefore, Sound is the closest element to the Atman (Self). Because of this proximity, Sound – in the form of the Divine Name (Nama) – possesses the attribute of the Self’s bliss in abundance. Thus, Tukoba says: “गोड तुझे रूप गोड तुझे नाम । देई मज प्रेम सर्व काळ ॥” (Sweet is Your form, sweet is Your Name; grant me Your love for all time.) This Divine Name is full of ‘rasa’ (Nectarous essence); therefore, it is also an object for the sense of taste (rasana). Since it is composed of sound, the Name is an object for the faculty of speech (Vak). Because the Name is so sweet, the organs of taste and speech are both satiated. Tukoba says: “घेई घेई माझे वाचे ।” (O my voice, constantly chant the sweet name of Vithoba) and he further explains जिव्हे गोडी तीन अक्षरांचा रस । अमृत जयास फिके पुढे ॥ (O tongue, taste the sweetness of the three-syllabled essence [Vithoba]; even nectar pales in comparison.)
Tukoba declares: जिव्हे गोडी तीन अक्षरांचा रस । अमृत जयास फिके पुढे ॥ सर्वांगी साखर अवघी गोड । (Upon the tongue dwells the sweetness of the three-syllabled nectar (Vithoba), a juice so divine that even the nectar of the gods (Amruta) pales in comparison.) Just as a doll made entirely of sugar is sweet in every part, the physical manifestation of the Divine is blissful in its entirety. We have reflected upon three senses here (sight, taste, and speech); in the same manner, one can consider the rest. Not only are the external forms of these manifestations beautiful, but their divine attributes (Gunas) are equally blissful. Hence: “तुम्ही आईकारे कान । माझ्या विठोबाचे गुण ॥” (O my ears, listen deeply to the divine virtues of my Vithoba.)
Now, let us consider the mind for a moment.
कां जें यया मनाचें एक निकें । जें देखिलें गोडीचिया ठाया सोके । म्हणोनि अनुभवसुखचि कवतिकें । दावीत जाइजे ॥
(ज्ञानेश्वरी – ६.१२०)
This mind possesses a singular, positive trait: once it glimpses a source of true happiness, it becomes habituated to it. Therefore, to the mind, one should skillfully and persistently reveal the sublime bliss of the Self (Atman).
Instead of worldly, mortal objects, the mind should be redirected toward the divine incarnations of God, allowing it to experience the bliss found there. Saint Tukaram achieved this through conscious effort, and His direct experience was: ‘आता कोठे धावे मन । तुझे चरण देखलिया ॥’ – Now, where else could my mind possibly run, having beheld Your lotus feet (tasted bliss)? What is true for the mind holds equally true for the senses.
The Saints offer this counsel to the senses: ‘Once you taste this Bliss, your restless wandering from door to door will cease.’ While the breath remains, the seeker should allow the senses to feast upon the sweetness of the Divine. This is the sacred play within the realm of Duality (Dvaita). Yet, when the body falls away, the soul dissolves into the seamless unity of Non-Duality (Advaita). Thus, the seeker is urged: whether dwelling in the body or beyond its dissolution, never let go of Keshava. Let your communion with Keshava be unbroken – first through the Beloved’s manifest form (Saguna), and finally in His formless, eternal essence (Nirguna).
In this manner, without forcibly imprisoning the senses or punishing the mind, one performs devotion to the Manifest Form (Saguna) through these very instruments. Even though the ‘medium’ remains the senses and the mind, the actual experience is of the objectless Supreme Self (Nirvishaya Paramatman)—it is an experience of His inherent Bliss.
The joy (bliss) derived from the Divine Form is divine and flawless, far superior to the fleeting pleasure of mortal, material objects. Just as a person with diabetes craves sweetness but is harmed by sugar, necessitating the use of ‘sugar-free tablets,’ Saint Tukaram has similarly connected the devotee to the Divine Manifest Form. The forms of Rama and Krishna are like ‘sugar-free tablets’: they are intensely sweet, but they lack the ‘harmful sweetness’ of worldly attachment. In this realm, indulgence is safe, for the experience is pure Ananda. When left to run wild, the senses are our enemies; but when they are anchored in the Lord, they become our greatest friends. Therefore, discipline the vision with this practice: ‘O eyes, attain your highest state by gazing upon the form of Vithoba’.
॥ Thus, blessings upon all ॥
