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(८१)

राम नाम अमर नाम भजो भाई सोई।
सोई सत धुन सब घट-घट होई॥१॥
परा न पश्यन्ति न, मधिमा न बैखरि न,
वर्णात्मक हतधुन नहिं कोई॥२॥
अनहत अनाहत परसावे सत पद,
पहुँचि जहाँ पुनि, भव नहिं होई॥३॥
गुरु भेद धरि-धरि, दिव्य दृष्टि करि-करि,
तीन बन्द बन्द करि, भजो नाम सोई॥४॥
'मेँहीँ' मेँहीँ धुनि, अन्तर अन्त सुनि,
सुरत रमे गुरु आश्रित होई॥५॥  

(৮১)
রাম নাম অমর নাম ভজো ভাঈ সোঈ |
সোঈ সত ধুন সব ঘট-ঘট হোঈ ||১||
পরা ন পশ্যন্তি ন, মধিমা ন বৈখরি ন,
বর্ণাত্মক হতধুন নহিং কোঈ ||২||
অনহত অনাহত পরসাবে সত পদ,
পহুঁচি জহাঁ পুনি, ভব নহিং হোঈ ||৩||
গুরু ভেদ ধরি-ধরি, দিব্য দৃষ্টি করি-করি,
তীন বন্দ বন্দ করি, ভজো নাম সোঈ ||৪||
'মেঁহীঁ' মেঁহীঁ ধুনি, অন্তর অন্ত সুনি,
সুরত রমে গুরু আশ্রিত হোঈ ||৫|| 

Gujarati

Punjabi

Tamil

Telugu

(൮൧)

രാമ നാമ അമര നാമ ഭജോ ഭാഈ സോഈ .
സോഈ സത ധുന സബ ഘട-ഘട ഹോഈ ॥൧॥
പരാ ന പശ്യന്തി ന, മധിമാ ന ബൈഖരി ന,
വര്ണാത്മക ഹതധുന നഹിം കോഈ ॥൨॥
അനഹത അനാഹത പരസാവേ സത പദ,
പഹുംചി ജഹാം പുനി, ഭവ നഹിം ഹോഈ ॥൩॥
ഗുരു ഭേദ ധരി-ധരി, ദിവ്യ ദൃഷ്ടി കരി-കരി,
തീന ബന്ദ ബന്ദ കരി, ഭജോ നാമ സോഈ ॥൪॥
'മേംഹീം' മേംഹീം ധുനി, അന്തര അന്ത സുനി,
സുരത രമേ ഗുരു ആശ്രിത ഹോഈ ॥൫॥   

Kannada

81. RAM NAM AMAR NAM BHAJO BHAYI 

Râm’s Name is the immortal Name; meditate on that,
through bodies one & all speaks that very Name. ||1||
Neither Parâ nor Pashyanti, neither Madhyamâ nor Baikharî 110, not alphabetical, not struck at all is that Name. ||2||
Reaching where rebirth does never again hound, to that Eternal Being leads that unstruck Name. ||3||
Holding sacredly in heart Guru’s teaching, closing three doors102, unveiling Divine eyes, meditate on that very Name. ||4||
Taking refuge of Guru, the Soul so lovingly, in the innermost cell, O Mehî, grasps that subtlest Name. ||5|| 

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  • 102. Eyes, ears and mouth are implied here by the phrase “outer doors” (also, three doors). Santmat way of meditation consists in sitting erect with spine held in a straight line and keeping mouth, eyes and ears closed.
  • 110. Indian scripture recognises four classes of sound namely ‘Parâ’, ‘Pashyanti’, ‘Madhyamâ’ and ‘Baikharî’. The sound we produce while speaking first rises from the navel and is called ‘Parâ’. When this sound reaches the heart, it is known as ‘Pashyanti’. Rising further when it reaches the throat, it is termed as ‘Madhyamâ’ and, finally, as it is thrown out of the mouth and scatters in all directions, is pronounced after striking different portions within the mouth it is known as ‘Baikharî’.