"Maka apabila langit telah terbelah dan menjadi merah mawar seperti (kilapan) minyak" (Ar-Rahman: 37)





















Tawassul

Yaa sayyid as-Saadaat wa Nuur al-Mawjuudaat, yaa man huwaal-malja’u liman massahu dhaymun wa ghammun wa alam.Yaa Aqrab al-wasaa’ili ila-Allahi ta’aalaa wa yaa Aqwal mustanad, attawasalu ilaa janaabika-l-a‘zham bi-hadzihi-s-saadaati, wa ahlillaah, wa Ahli Baytika-l-Kiraam, li daf’i dhurrin laa yudfa’u illaa bi wasithatik, wa raf’i dhaymin laa yurfa’u illaa bi-dalaalatik, bi Sayyidii wa Mawlay, yaa Sayyidi, yaa Rasuulallaah:

(1) Nabi Muhammad ibn Abd Allah Salla Allahu ’alayhi wa alihi wa sallam
(2) Abu Bakr as-Siddiq radiya-l-Lahu ’anh
(3) Salman al-Farsi radiya-l-Lahu ’anh
(4) Qassim ibn Muhammad ibn Abu Bakr qaddasa-l-Lahu sirrah
(5) Ja’far as-Sadiq alayhi-s-salam
(6) Tayfur Abu Yazid al-Bistami radiya-l-Lahu ’anh
(7) Abul Hassan ’Ali al-Kharqani qaddasa-l-Lahu sirrah
(8) Abu ’Ali al-Farmadi qaddasa-l-Lahu sirrah
(9) Abu Ya’qub Yusuf al-Hamadani qaddasa-l-Lahu sirrah
(10) Abul Abbas al-Khidr alayhi-s-salam
(11) Abdul Khaliq al-Ghujdawani qaddasa-l-Lahu sirrah
(12) ’Arif ar-Riwakri qaddasa-l-Lahu sirrah
(13) Khwaja Mahmoud al-Anjir al-Faghnawi qaddasa-l-Lahu sirrah
(14) ’Ali ar-Ramitani qaddasa-l-Lahu sirrah
(15) Muhammad Baba as-Samasi qaddasa-l-Lahu sirrah
(16) as-Sayyid Amir Kulal qaddasa-l-Lahu sirrah
(17) Muhammad Bahaa’uddin Shah Naqshband qaddasa-l-Lahu sirrah
(18) ‘Ala’uddin al-Bukhari al-Attar qaddasa-l-Lahu sirrah
(19) Ya’quub al-Charkhi qaddasa-l-Lahu sirrah
(20) Ubaydullah al-Ahrar qaddasa-l-Lahu sirrah
(21) Muhammad az-Zahid qaddasa-l-Lahu sirrah
(22) Darwish Muhammad qaddasa-l-Lahu sirrah
(23) Muhammad Khwaja al-Amkanaki qaddasa-l-Lahu sirrah
(24) Muhammad al-Baqi bi-l-Lah qaddasa-l-Lahu sirrah
(25) Ahmad al-Faruqi as-Sirhindi qaddasa-l-Lahu sirrah
(26) Muhammad al-Ma’sum qaddasa-l-Lahu sirrah
(27) Muhammad Sayfuddin al-Faruqi al-Mujaddidi qaddasa-l-Lahu sirrah
(28) as-Sayyid Nur Muhammad al-Badawani qaddasa-l-Lahu sirrah
(29) Shamsuddin Habib Allah qaddasa-l-Lahu sirrah
(30) ‘Abdullah ad-Dahlawi qaddasa-l-Lahu sirrah
(31) Syekh Khalid al-Baghdadi qaddasa-l-Lahu sirrah
(32) Syekh Ismaa’il Muhammad ash-Shirwani qaddasa-l-Lahu sirrah
(33) Khas Muhammad Shirwani qaddasa-l-Lahu sirrah
(34) Syekh Muhammad Effendi al-Yaraghi qaddasa-l-Lahu sirrah
(35) Sayyid Jamaaluddiin al-Ghumuuqi al-Husayni qaddasa-l-Lahu sirrah
(36) Abuu Ahmad as-Sughuuri qaddasa-l-Lahu sirrah
(37) Abuu Muhammad al-Madanii qaddasa-l-Lahu sirrah
(38) Sayyidina Syekh Syarafuddin ad-Daghestani qaddasa-l-Lahu sirrah
(39) Sayyidina wa Mawlaana Sultan al-Awliya Sayyidi Syekh ‘Abd Allaah al-Fa’iz ad-Daghestani qaddasa-l-Lahu sirrah
(40) Sayyidina wa Mawlaana Sultan al-Awliya Sayyidi Syekh Muhammad Nazhim al-Haqqaani qaddasa-l-Lahu sirrah

Syahaamatu Fardaani
Yuusuf ash-Shiddiiq
‘Abdur Ra’uuf al-Yamaani
Imaamul ‘Arifin Amaanul Haqq
Lisaanul Mutakallimiin ‘Aunullaah as-Sakhaawii
Aarif at-Tayyaar al-Ma’ruuf bi-Mulhaan
Burhaanul Kuramaa’ Ghawtsul Anaam
Yaa Shaahibaz Zaman Sayyidanaa Mahdi Alaihis Salaam 
wa yaa Shahibal `Unshur Sayyidanaa Khidr Alaihis Salaam

Yaa Budalla
Yaa Nujaba
Yaa Nuqaba
Yaa Awtad
Yaa Akhyar
Yaa A’Immatal Arba’a
Yaa Malaaikatu fi samaawaati wal ardh
Yaa Awliya Allaah
Yaa Saadaat an-Naqsybandi

Rijaalallaah a’inunna bi’aunillaah waquunuu ‘awnallana bi-Llah, ahsa nahdha bi-fadhlillah .
Al-Faatihah













































Mawlana Shaykh Qabbani

www.nurmuhammad.com |

 As-Sayed Nurjan MirAhmadi

 

 

 
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C E R M I N * R A H S A * E L I N G * W A S P A D A

Rabu, 27 Agustus 2008

Meditasi Sufi

Ilustrasi Langkah demi Langkah Mengenai Meditasi Sufi

oleh: as-Sayyid Nurjan Mirahmadi
Alih bahasa: Syekh Soetono

Sasaran dan maksud dari muraqabah/meditasi/rabithah syarif adalah untuk memperagakan kehadiran terus-menerus ke dalam realitas syekh. Semakin seseorang memelihara pelatihan ini, semakin terungkapkan manfaatnya dalam kehidupan sehari-harinya sampai pada titik dia mencapai tataran fana dalam hadirat Syekh.

Orang harus tahu betul bahwa syekh adalah jembatan antara ilusi dan realitas dan dia berada di dunia ini hanya untuk tujuan itu. Jadi syekh adalah seutas tali yang khas yang diulurkan kepada setiap orang yang mencari kebebasan (dari ilusi), karena hanya syekh yang dapat memberikan layanan sebagai penghubung antara seseorang yang masih terikat kepada dunia dengan Hadirat Ilahi.

Agar menjadi fana di hadapan dan keberadaan syekh adalah menjadi fana dalam kenyataan, dalam Hadirat Ilahi, karena memang sesungguhnya di situlah dia berada.

Langkah 1

Bayangkan dirimu berada di hadapan syekh. Sampaikan salammu. Tutup matamu. Pandanglah melalui mata hatimu. Jangan mencari raut muka, melainkan hanya auranya saja, ruhaniah.




Sebagai awal, murid dapat memulai praktik muraqabah ini untuk jangka waktu pendek, antara 5 sampai 15 menit, dan secara bertahap menjalaninya menuju jangka waktu yang lebih panjang, bahkan merentang hingga berjam-jam sekali sesi.

Yang terpenting adalah bahwa seseorang mempertahankan sebuah praktik yang konsisten untuk mendapatkan manfaat dari praktik tersebut. Jauh lebih baik dan bijaksana untuk bertahap pada sesi yang pendek secara harian daripada disiplin dan praktik yang acak.

Sebuah upaya kecil yang dilakukan secara konsisten akan menghasilkan kemajuan luar biasa dalam waktu yang singkat.

* Ambillah wudhu dan shalat 2 rakaat (tahiyatul wudhu).
* Ucapkan Kalimat Syahadat (3 kali): Asy-hadu an laa ilaaha illa-llah wa asy-hadu anna Muhammadan `abduhu wa rasuuluh
* Istighfar (100-200 kali): Astaghfirullah al `Azhiim wa atuubu ilayh
* Surat al-Ikhlash (3 kali): Qul huwa-llaahu ahad/ Allaahu Shamad/ Lam yalid wal lam yuulad/ wa lam yakul- lahuu kufuwan ahad
* Surat al-Fatiha
* Mencari dukungan dan kehadiran Mawlana Syaikh Hisyam Kabbani dengan mengucapkan: �Madad ya Sayyidi, Madadul-Haqq�
* Minimal 200 kali mengulang kalimat dzikir, �Madadul-Haqq, Madadul-Haqq

Langkah 2

Mata tertutup, mohon izin untuk menyambung cahaya beliau kepada hatimu dan cahayamu kepada hati beliau. Bayangkan sebuah kontak dua arah dan kemudian, baca awrad pada langkah 1.




Ketika seseorang duduk bermeditasi dan menutup matanya, dia memfokuskan pikirannya pada satu titik tunggal. Dalam hal ini titik itu biasanya adalah konsep dari mentor spiritualnya; dus dia memfokuskan seluruh kemampuan kesaksiannya memikirkan dengan konsentrasi penuh tentang guru spiritualnya agar mendapatkan gambaran atau citra mentornya pada layar mental, selama dia masih berada dalam status meditasi itu.

Sifat, karakteristik dan potensi yang terkait dengan sebuah citra juga dipindahkan pada layar pikiran ketika citra itu terbentuk pada layar mental dan pikiran menerimanya sesuai dengan itu.

Sebagai contoh, seseorang sedang memperhatikan api. Ketika gambaran tantang api itu dipindahlan ke layar pikiran, suhu dan panas api itu terekam oleh pikiran.

Seseorang yang hadir dalam sebuah taman menikmati kesegaran dan kesejukan pepohonan dan tanaman dalam taman itu untuk menciptakan gambaran itu semua pada layar pikirannya.

Begitu juga ketika gambaran mentor spiritual dipindahkan pada layar pikiran, Ilmu yang Dihadirkan yang beroperasi dalam diri guru spiritual, juga ikut dipindahkan dengan gambaran itu dan pikiran murid secara bertahap menyerap hal yang sama.

Langkah 3

Duduk bersimpuh, yang rapi, tetap bersimpuh, mata tertutup, tangan di tempat, mulut tertutup, lidah ditekuk ke atas, napas terkendali, telinga mendengar al-Quran, Shalawat atau suara sendu. Ruang gelap.



Meditasi, memikirkan tentang mentor spiritual, sebuah upaya untuk memfokuskan dengan konsentrasi pikiran kita kepada seseorang, sehingga citranya dapat dipantulkan secara berulang pada layar pikiran kita, (maka) kita terbebaskan dari keterbatasan indera.

Makin sering sebutir pikiran di tayangkan pada layar mental, makin jelas pula formasi (pembentukan) sebuah pola dalam pikiran itu. Dan, pola pikiran demikian ini, dalam istilah spiritualitas disebut 'pendekatan pikiran�.

Ketika kita membayangkan mentor spiritual atau �Syaikh�, sebagai sebuah hal dari hukum eternal, ilmu Elohistic Attributes yang beroperasi dalam Syaikh dipantulkan pada pikiran kita dengan ulangan yang berkali-kali menghasilkan pencerahan pikiran dari murid dengan cahaya yang berfungsi dalam diri Syaikh dan dilimpahkan kepadanya.

Pencerahan hati murid berusaha mencapai tataran atau tahap Syaikhnya. Dalam Sufisme, keadaan ini disebut 'kedekatan�, �afinitas' (nisbat). Cara terbaik dan telah teruji untuk menikmati kedekatan, menurut spiritualitas, adalah hasrat kerinduan dari cinta.

Pikiran Syaikh terus-menerus mentransfer kepada murid spiritualnya sesuai dengan kobaran cinta dan rindu akan Syaikh, yang mengalir di dalam diri murid dan datang suatu saat ketika cahaya beroperasi dalam diri Syaikh yang sesungguhnya adalah pantulan Tampilan Ilahiah yang Indah yang dipindahkan kepada murid spiritual itu.

Hal ini memungkinkan murid spiritual untuk membiasakan diri dengan Cahaya Gemilang dan Tampilan Indah. Keadaan ini, dalam istilah sufisme disebut 'Menyatu dengan Syaikh� (Fana fi Shaykh).

Cahaya Syaikh dan Tampilan Indah gemilang yang beroperasi dalam diri Syaikh bukanlah ciri pribadi Syaikh. Sebagaimana halnya murid spiritual, yang dengan perhatian dan konsentrasi penuh dedikasi, menyerap (asimilasi) ilmu dan ciri khas Syaikhnya, maka Syaikh juga menyerap ilmu dan busana Nabi dengan dedikasi pikiran dan konsentrasi penuh.
Langkah 3a

Posisi duduk: Posisi Teratai (yoga Lotus),

Wudhu adalah kunci sukses. Kapal Nabi Nuh as. melawan banjir kelalaian. Kebersihan adalah dekat dengan iman (ilahiah). Ingat bahwa bukanlah saya yang menghitung bahwa saya adalah bukan apa-apa, saya dan aku harus melebur kedalam dia. Syaikhku, Rasulku, menggiring kepada Rabbku.



Dzikir dengan penolakan (laa ilaaha) dan pembenaran (illa Allah), dalam tradisi Masyaikh Naqsybandi, mensyratkan bahwa murid (sang pejalan) menutup matanya, menutup mulutnya, menekan giginya, melekatkan lidahnya ke langit-langit mulutnya, dan menahan (mengatur) napasnya.

Dia harus membaca dzikir itu melalui hatinya, dengan penolakan dan pembenaran, memulainya dengan kata LAA ("Tidak"). Dia mengangkat "Tidak" ini dari titik (dua jari) di bawah pusar kepada otaknya.

Ketika mencapai otaknya kata "Tidak" mengeluarkan kata ILAAHA ("sesembahan"), bergerak dari otaknya ke bahu Kanan, dan kemudian ke bahu Kiri di mana dia menabrak hatinya dengan ILLALLAH ("kecuali Allah").

Ketika kata itu mengenai hatinya energi dan panasnya menjalar/memancar ke sekujur tubuhnya. Sang pejalan yang telah menyangkal semua yang berada di dunia ini dengan kata-kata LAA ILAAHA, membenarkan dengan kata-kata ILLALLAH bahwa semua yang ada telah dilenyapkan di Hadirat Ilahi.
Langkah 3b

Posisi Mulut dan Lidah
Menutup matanya,
Menutup mulutnya,
Menekan giginya,
Melekatkan lidahnya pada langit-langit mulutnya, dan menahan napas.
(Secara perlahan-lahan memperlambat napas dan getaran jantungnya).



Tangan membawa rahasia yang dahsyat, mereka itu seperti antena parabolamu, pastikan bahwa mereka itu bersih dan berada dalam posisi yang semestinya.

Jadi ketika kamu memulai dengan tanganmu itu, menggosok-gosoknya, ketika mencucinya dan menggosok gosoknya untuk mengaktifkan mereka, itu adalah tanda dari (angka) 1 dan 0, dan kamu sedang mengaktifkan proses kode yang diberikan Allah I melalui tangan itu. Kamu mengaktifkan mereka.

1. Mereka memiliki titik sembilan peluru yang terdiri dari keseluruhan sistem, seluruh tubuh. Ketika kamu menggosok jari-jari itu, sesungguhnya kamu mengaktifkan 99 Asma-ul�husna Allah.
2. Dengan mengaktifkan mereka, kamu mengaktifkan 9 titik dalam tubuhmu.
3. Dan ketika mengaktifkan mereka, itu adalah seperti menghidupkan receiver (pada radio/tv), energi mengalir masuk, itu mulai berfungsi untuk dapat menerima, memecahnya dalam bentuk kode digital yang dipancarkan keluar seperti gambar atau suara sebagaimana kita kenal di zaman ini (radio dan tv).
4. Demikian juga halnya dengan tangan yang saling mengelilingi, itulah mengapa ketika kita menggosok-gosokkan dan membuka mereka, mereka mulai bertindak seperti lingkaran satu terhadap lainnya, menampung apapun energi yang datang, dan mereka ini mengelolanya. Lihatlah pada bagian Rahasia Tangan.

Langkah 4

Posisi Tangan:
Jempol dan telunjuk memperagakan posisi "Allah Hu" untuk kuasa/kekuatan terbesar.

Tangan diberi kode dengan kode angka arab, tangan kanan "18", tangan kiri "81" masing-masing dijumlahkan keduanya menjadi 9 dan dua 9 menjadi 99.

Tangan diberi karakter dengan Asma-ul�husna Allah. Dan nama ke-99 dari Rasul adalah Mustafa..

(lebih banyak lagi di depan)...



Bernapas dengan Sadar ("Hosh dar dam")

Hosh artinya "pikiran" Dar artinya "dalam" Dam artinya "Napas"

Itu artinya, menurut Mawlana Abdul Khaliq al-Ghujdawani (q), bahwa "Misi paling penting bagi pejalan dalam thariqat ini adalah menjaga napasnya, dan dia yang tidak dapat menjaga napasnya, akan dikatakan tentang orang itu, 'dia telah tersesat/kehilangan dirinya.'"

Syah Naqsyband berkata, "Thariqat ini dibangun di atas (dengan pondasi) napas. Jadi adalah sebuah keharusan untuk semua orang menjaga napasnya di kala menghirup dan membuang napas, dan selanjutnya untuk menjaga napasnya dalam jangka waktu antara menghirup dan membuang napasnya."

"Dzikir mengalir dalam tubuh setiap makhluk hidup oleh keharusan (kebutuhan) napas mereka � bahkan tanpa kehendak � sebagai sebuah tanda/peragaan ketaatan, yang adalah bagian dari penciptaan mereka.

Melalui napas mereka, bunyi huruf "Ha" dari Nama Ilahiah Allah dibuat setiap kali membuang dan menghirup napas dan itu adalah sebuah tanda dari Jati Diri (Dzat) Gaib yang berfungsi untuk menekankan Kekhasan Allahu Shamad. Maka adalah penting untuk hadir dengan napas seperti itu, agar supaya menyadari (merasakan) Jati Diri (Dzat) Maha Pencipta."

Nama 'Allah' yang meliputi sembilan puluh sembilan Asma-ul�husna terdiri atas empat huruf: Alif, Lam, Lam dan Ha yang sama �dengan suara napas - (ALLAH I).

Kaum Sufisme mengatakan bahwa Dzat Allah yang paling gaib mutlak dinyatakan oleh huruf terakhir itu yang dibunyikan dengan vokal Alif, "Ha". Ini mewakili Gaib Absolut Dzat-Nya Allah I.

Memelihara napasmu dari kelalaian akan membawa mu kepada Hadirat sempurna, dan Hadirat sempurna akan membawamu kepada Penampakan (Visi) sempurna, dan Penampakan sempurna akan membawamu kepada Hadirat (Manifestasi) Asma-ul�husna Allah I yang sempurna.

Allah membimbingmu kepada Hadirat Asma-ul�husna-Nya, karena dikatakan bahwa, "Asma Allah adalah sebanyak napas makhluk".

Hendaknya diketahui oleh semua orang bahwa melindungi napas terhadap kelalaian sungguh sukar bagi para pejalan. Maka mereka harus menjaganya dengan memohon ampunan (istighfar) karena memohon ampunan akan membersihkannya dan mensucikannya dan mempersiapkan sang pejalan untuk (menjumpai) Hadirat Benar (Haqq) Allah di setiap tempat.

Langkah 5

Bernapas

Menghirup melalui hidung - Dzikir = "Hu Allah", bayangkan cahaya putih memasuki tubuh melalui perut.

Menghembus � melalui hidung - Dzikir= "Hu", bayangkan hitamnya karbon monoksida, semua perbuatan dosamu dikuras / didorong keluar dari dirimu.



"Pejalan yang bijak harus menjaga napasnya dari kelalaian, seiring dengan masuk dan keluarnya napas, dengan demikian menjaga hatinya selalu dalam Hadirat Ilahi;

dan dia harus menghidupkan napasnya dengan ibadah dan pengabdian dan mempersembahkankan pengabdiannya itu kepada Rabbnya dengan segenap hidupnya, karena setiap napas yang dihisap dan dihembuskan dengan Hadirat adalah hidup dan tersambung dengan Hadirat Ilahi.

Setiap napas yang dihirup dan dihembuskan dengan kelalaian adalah mati dan terputus dari Hadirat Ilahi."

Untuk mendaki gunung, sang pejalan harus melintas dari dunia Bawah menuju Hadirat Ilahi. Dia harus melintas dari dunia ego keberadaan sensual (sensasi) menuju kesadaran jiwa terhadap Al Haqq.

Untuk membuat kemajuan dalam perjalanan ini, sang pejalan harus membawa gambaran Syaikhnya (tasawwur) ke dalam hatinya karena itu adalah cara paling kuat untuk melepaskan diri dari cengkeraman sensualnya.

Dalam hatinya Syaikh menjadi cermin dari Dzat Absolut. Jika dia berhasil, kondisi penisbian diri (ghayba) atau "absensi" dari dunia sensasi muncul dalam dirinya.

Sampai kepada tahap bahwa keadaan ini menguat dalam dirinya dan keterikatannya kepada dunia sensasi melemah dan menghilang, dan fajar dari Level Hilang Mutlak- Tidak Merasa- Selain Allah mulai menyinari dirinya.

Derajat tertinggi dari maqam ini disebut fana'.

Demikianlah Syah Naqsyband berkata, "Jalan terpendek kepada sasaran kita, yaitu Allah mengangkat tabir dari Dzat Wajah-Nya Yang Ahad yang berada dalam semua makhluk ciptaan-Nya.

Dia melakukan itu dengan (melalui) maqam ghayba dan fana', sampai Dzat Agung (Majestic Essence) menyelimutinya dan melenyapkan kesadarannya akan segala sesuatu selain Dia. Inilah akhir perjalanan untuk mencari Allah dan awal dari perjalanan lainnya."

"Pada akhir Perjalanan Pencarian dan Level Ketertarikan datanglah Level Perendahan Diri dan Penihilan.

Sasaran ini adalah untuk segenap ummat manusia sebagaimana disebut Allah dalam al-Qur'an, 'Aku tidak menciptakan Jinn dan Manusia kecuali untuk beribadah kepada-Ku.' Beribadah di sini berarti Ilmu Sempurna (Ma`rifat)."

Langkah 6

Mengenakan �busana� Syaikh:


3 tahap perjuangan yang berkesinambungan:
- Memelihara Cintanya (Muhabbat),
- Memelihara Kehadirannya (Hudur),
- Melaksanakan Kehendaknya atas diri kita (Penihilan atau Fana).



Kita memiliki cinta kepadanya, jadi kini kenakanlah Cahayanya dan selanjutnya bayangkan segala sesuatunya dari titik (sudut) ini, dengan busana yang kita kenakan itu. Ini adalah penopang hidup kita.

Kamu tidak boleh makan, minum, shalat, dzikir atau melakukan apapun tanpa membayangkan bayangan Syaikh pada kita. Cinta ini akan menyatu dengan Hadirat Ilahi, dan ini akan membuka pintu Penihilan ke dalam-Nya.

Semakin seseorang menjaga ingatan untuk mengenakan busana dengan dia (Syaikh) semakin meningkatlah proses penihilan itu berlangsung. Kemudian penuntun itu akan meninggalkan dirimu di hadirat Rasul Allah Sayyidina Muhammad. Di mana sekali lagi kamu akan menjaga cinta kepada Rasul (Muhabbat), menjaga Hadiratnya (Hudur). Laksanakan kehendaknya atas diri kita (Penihilan atau Fana).

Fana fi Syaikh, Rasulullah, Allah
Penihilan Fana

Dalam keadaan spirit murid menyatu dengan spirit Syaikhnya, kemampuan Syaikh akan diaktifkan dalam diri muridnya, karena itu Syaikh menikmati kedekatan Nabi. Dalam situasi ini, dalam istilah sufisme disebut �Penyatuan dengan Rasul � (Fana fi Rasul).

Ini adalah pernyataan Nabi, "Aku seorang manusia seperti kamu, namun aku menerima wahyu'. Jika pernyataan ini dicermati, kita melihat bahwa kemuliaan Nabi terakhir ini adalah bahwa beliau menerima wahyu dari Allah, yang mencerminkan Ilmu-ladduni, ilmu yang diilhamkan langsung oleh Allah, Pandangan yang Indah dari Allah dan Cahaya Gemilang ke dalam hati Nabi.

Dalam keadaan 'Penyatuan dengan Nabi' seorang murid karena emosinya, kerinduannya dan cintanya secara sedikit demi sedikit, langkah demi langkah, berasimilasi dan mengenali ilmu Nabi Suci.

Kemudian datanglah saat paling berharga, saat yang ditunggu-tunggu, ketika ilmu dan pelajaran ditransfer dari Nabi Suci kepadanya sesuai dengan kapasitasnya.

Murid itu menyerap karakter Nabi Suci sesuai dengan kemampuan dan kapasitasnya dan karena kedekatannya dengan Nabi Suci dan dukungannya dia dapat mencapai keadaan ketika dia mengenali Rabbil �Alamin, ketika Dia menguraikan dalam al-Qur�an, �Ya, sesungguhnya Engkau adalah Rabbi!�

Kedekatan ini, dalam sufisme disebut �Penyatuan dengan Allah' (Fana fi-llah) atau singkatnya wahdat. Setelah itu, jika seseorang dikaruniai dengan kemampuan, dia akan membuat eksplorasi di daerah yang tentangnya cerita (narasi) tidak lagi memiliki kata-kata untuk menjelaskannya, karena kepekaan dan kehalusan situasinya.

Langkah 7



Menjadi sesuatu yang tidak ada, kendaraan sebening kristal untuk siapa pun yang ingin mengisi keberadaanmu dari Allah swt. Malikul Mulk.

Sumber :http://abuumar.multiply.com/journal/item/181/Langkah-Langkah_Meditasi_Sufi

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Sabtu, 23 Agustus 2008

BEBUKANE SEMEDI

Para aji sepuh ingkang satuhu pana ing pamawas miwah lebda ing pitutur,

Manawi boten klentu kula sampun nate ngedumel ing mriki ukara ingkang ungelipun makaten: "Kaweruh bab ngelmu [kabatosan] punika manawi taksih saking piwulangipun asanes, utawi piwulangipun buku-buku, punika taksih dereng kenging dipunpercados wetah, jalaran piwulang wau sayektosipun namung ancer-ancer minangka kangge cocogan ing tembe."

Sampun kalimrah tumraping bangsa Wetanan nindakaken laku prihatin, anggentur tapa brata, semedi, lsp. minangka panembungipun dhateng Gusti Kang Murbeng Dumadi. Tamtu, prayoginipun panjenengan sampun namung maos andharan kula kemawon, nanging sumangga sami sesarengan ngangkah sageda sumerab lan ngalami semedi ingkang sanyata punika. Manawi kita dereng sumerab semedi ingkang nyata, punika ateges kita dereng pikantuk pangawikan pribadi, basa kemplingipun self-knowledge. Lan samangsa dereng damang dhateng pribadi kita piyambak-piyambak, 'aku'-nipun piyambak-piyambak, semedi punika boten ngemu teges punapa-punapa. Manawi boten wonten tegesipun, lha rak mudakir, eh mubadzir ta? Lajeng kados pundi caranipun semedi ingkang leres lan ngemu teges punika?

Lenggah ing pojokan patamanan pinggir margi merana seorang diri menanti pujaan hati utawi kliyek-kliyek ing pasareyan ngenteni mudhune ponang wahyu lenga tala, punika rak boten teges semedi ta? Makaten punika wau leregipun namung nggelengaken cipta, tegesipun misah. Kula saged mesthekaken yen wonten sawatawis tiyang ingkang nyobi ngecakaken semedi kanthi cara-cara wau.

Panjenengan ngangkah nggelengaken cipta, ning nggagas sawijining lesan [objek] lan pikiran panjenengan klambrangan mrika-mrika, punapa malih kanthi mripat merem melek kedhip-kedhip kemuayu kados Yong Ma, panjenengan pidih sagedipun gumeleng. Samangsa kandhas ing sedya, lajeng panjenengan ndonga umik-umik. Dados manawi tiyang saestu pangangkahipun badhe mangertos kados pundi ta semedi ingkang leres punika, tiyang kedah sumerab kalintuning tanduk ingkang kita wastani semedi. Sampun tetela yen nggelengaken cipta punika sanes semedi.

Panjenengan ngangkah badhe nggelengaken cipta dhateng sawijining lesan, ning pikir panjenengan slewengan dhateng barang sanes, temahan dumados cengkah-cinengkah, benceng kajeng ajegan. Yen pancenipun makaten badhe katujokaken dhateng satunggiling lesan, ananging pikir boten purun, nyleweng dhateng sanes. Cobi sapunika panjenengan waspadhakaken, ing salebeting lampah nggelengaken cipta makaten punika, ing ngriku rak ketingal mengku patrap mageri pribadi, dados nyimpang saking tujuwan.

Samangke nyandhak bab ndonga. Cetha bilih ndonga punika wonten wohipun. Upamia boten makaten, mangsa puruna tiyang pinten-pinten ndonga. Kados-kados ing salebeting ndonga pikir lajeng kadamel kendel [kendel=lerem; dede kendel=wani]. Kanthi ngucapaken tetembungan ajeg wongsal-wangsul pikir lajeng dados lerem, sarta ing salebeting lerem wau lajeng wonten pitedah, sawangan utawi wangsulan. Ning, makaten punika inggih taksih kalebet peranganing karti sampekaning pikir.

Jalaran, gunggung kepruk sarana dedonga panjenengan saged damel lereming pikir. Sarta ing dalem lerem wau, wonten wangsulan sandhi jumedul saking raos ingkang boten kawedhar dalah ingkang kawedhar. Ning, makaten punika inggih taksih kawengku ing kawontenan ingkang boten suka pangertosan.

Semedi punika sanes panembah [panembah dhateng pamanggih, gegambaran, utawi kapitadosan] amargi samukawis gegubahaning pikir, punika taksih kalebet ewoning brahala. Saged ugi tiyang boten mangeran dhateng reca, jalaran dipun manah yen pakarti punika nasar saking nalar, kapilare, lan gugon tuhon.

Semedi kanthi mundi-mundi barang gegubahaning pikir, pepetan, pamanggih, rama, begawan, kyai, selebritis, lsp., punika inggih sanes semedi ingkang nyata. Cethanipun, punika namung sawenehing lampah ngoncati dhiri pribadi. Patrap ngoncati makaten wau pancen asring saged damel pemareming manah. Ning, inggih taksih ewoning ngoncati.

Pangangkah saged dados tiyang utami kanthi pambubidaya ingkang tanpa kendhat [ngangkah badhe dados tiyang utami sarana masuh dhiri sarana pangatos-atosing pamerdi dhateng dhiri pribadi tuwin sanesipun], punika inggih sanes semedi ingkang nyata.

Kathah ingkang kawilet ing lampah makaten wau. Sarehning punika wau boten mbuka pangertosan kita tumrap kajatening pribadi, pramila lampah punika wau sanes margi ingkang anjog dhateng saleresipun. Pepunthonipun, punapa ta dhasar panjenengan kangge mawas ing saleresipun manawi tanpa pangawikan pribadi?

Bilih tanpa pangawikan pribadi, sadaya ingkang panjenengan tindakaken punika namung badhe manut dhasaring pangangen-angen kita, manut tanggaping cipta ingkang sampun mawa corek.

Tanggaping cipta ingkang mawa corek makaten punika sanes semedi. Ning, sagedipun tiyang sumerab ing tanggaping cipta [tegesipun saged kraos dhateng mobah-mosiking pikir lan raos], punika tanpa ngemohi lan tanpa nanggapi [basa monceripun without condemnation and justification]. Pasrah bongkokan wis apa jare kono, ngantos estu tuhu pramana dhateng mobah-mosiking pribadi, polahipun pribadi. Lha, inggih punika margi ingkang saged anjog dhateng semedi ingkang nyata.

Semedi punika boten ateges kedah nilar bebrayan lho! Bebrayan sampun dipuntilar piyambakan, mangke ndhak sakit rindu. Semedi punika lampah ingkang tundhonipun mbuka pangertosan dhiri pribadi. Bilih tiyang sampun wiwit sumerab ing dhiri pribadi [boten namung ing raos ingkang kawedhar, nanging ugi peranganing dhiri pribadi ingkang tan kawedhar], lha ingriku punika bebukaning kahenengan.

Pikir ingkang kakendelaken sarana peksan, sarana tiru-tiru, punika boten kendel [lerem]. Punika pikir ingkang kandheg. Punika sanes cipta ingkang awas ing pangawikan, tan ika iki, sarta gampil nggraita ing pambudi.

Semedi punika mbetahaken tansah awas lan pamawas, tansah kraos ing saben tembung, pikir lan raos, ingkang medharaken kajatenipun pribadi kita ingkang kawedhar dalah ingkang boten kawedhar. Ing sarehne makaten punika sakelangkung rungsitipun, mila kathah ingkang milih ngoncati lampah semedi, lajeng pados sadhengah kasenengan barang ingkang nggendeng manah.

Ning, samangsa tiyang mangertos bilih pangawikan pribadi punika bebukaning semedi, prakawis punika lajeng dados sakelangkung wigatos sarta damel sengseming manah. Awit, gunggung keprukipun [wiwit mau kok keprukan terus ta ya!] bilih tanpa pangawikan pribadi, mokal panjenengan badhe kasembadan saged nindakaken ingkang panjenengan wastani semedi ingkang leres lan ngemu teges.

Ning, manawi panjenengan taksih leket ing agami/kapracayan panjenengan, rekening panjenengan, tetumpakan panjenengan, griya panjenengan, utawi kosokwangsulipun, panjenengan babarpisan nyingkur samukawis kadonyan, utawi, saged ugi panjenengan taksih leket dhateng pamanggih [feeling panjenengan nggeleng mriku, temahan pamanggih-pamanggih wau dados dhasaring gegubahan panjenengan ingkang saya mindhak-mindhak], sampun samesthinipun punika sanes semedi ingkang leres.

Kados atur kula ing inggil, bilih pangawikan pribadi punika minangka bebukaning semedi. Tanpa pangawikan pribadi, tangeh sagedipun semedi. Manawi tiyang punika saya lebet pangawikaning ing dhiri pribadinipun, angen-angenipun dados lerem lan lugu kendel, saged nglalekaken kajatenipun.

Kendelipun punika boten kadamel, boten kapeksa awit saking melik ganjaran swarga utawi saking ajrih neraka. Ing riku lajeng wonten kahenengan, lah ing ngriku ngalelanipun Ingkang Sanyata, Kasunyatan, The Reality.

Ning, kahenengan ing riku sanes kahenengan cara Islam, Kristen, Buddha, utawi Hindu. Kahenengan ing riku punika kahenengan ingkang boten kenging kawastanan. Mila, bilih panjenengan ngambah margining kahenengan cara Islam, Kristen, Buddha utawi Hindhu, tangeh sagedipun kendel. Dados, manawi tiyang nedya manggih Kasunyatan, kedah nyingkur babarpisan wewatesanipun, punapa Islam, Kristen, Hindu, Buddha, utawi golongan sanesipun.

Manawi perlunipun namung nyantosakaken dhedhasaranipun [i.e. agama/kapracayan panjenengan] sarana semedi, sarana mituhu ing tuladha isining kitab-kitab utawi dhawuhing ika iki, punika tumraping kula pribadi namung badhe damel kandheg lan bawuring cipta. Lan kula boten saged mesthekaken saestu punapa ingkang dipunpingini ing akathah, awit pancen gampil damel patuladhan lajeng dipunpituhu. Ning, manawi tiyang ngangkah badhe luwar saking dhedhasaripun, punika mbetahaken pamawas ingkang tanpa kendhat dhateng sesrawungan.

Samangsa sapisan kemawon sampun kasil saged ngambah ing kahenengan makaten wau, temahan tuwuh kawignyan bawa anggit ingkang boten kados salimrahipun. Ning, kahenengan punika boten saged ginayuh punapa malih dipuntiru, manawi makaten lajeng ical. Panjenengan boten saged dumugi ingriku sarana ngambah margi pundi kemawon.

Sagedipun kadumugen, namung manawi larahing pribadi dipunmangertosi, sarta pun pribadi dalah sadaya pakartinipun lan kajuliganipun sampun telas. Angen-angen sampun boten nggubah, punika dhatengipun bawa anggit [dumadi]. Awit saking makaten wau, pikir kedah dados prasaja, angen-angen kedah tentrem.

Ning, tembung 'kedah' punika estunipun boten leres. Ungel-ungelan 'pikir kedah dados prasaja, angen-angen kedah tentrem', punika mengku suraos pameksa. Angen-angen punika saweg tentrem samangsa boten dipunpeksa, nembeh sadaya pakartining pribadi saged kendel.

Manawi sadaya polahipun pribadi punika sampun kendel, lha ing ngriku saweg wonten kehenengan. Kahenengan makaten punika semedi ingkang sanyata. Inggih salebeting kahenengan ingkang makaten wau ngalelanipun Kasunyatan.

Well, ... just an idea from a child who is traveling from the world of appearances to the world of Reality. Do not struggle. Go with the flow of things. And you will find yourself at one with The mysterious unity of the Universe.

Wong kang ambudi daya kalawan anglakoni tapa utawa semedi kudu kanthi kapracayan kang nyukupi apa dene serenging lan kamempengan anggone nindakake. Atine kudu santosa temenan supaya wong kang nindakake sedyane mau ora nganti kadadeyan entek pengarep-arepe yen kagawa saka kuciwa dening kahanane badhane. Wong mau kudu nindakake pambudi dayane luwih saka wewangening wektu saka katamtuwaning laku kang dikantekake marang sawiji-wijining mantram lan ajaran ilmu gaib, awit gede-gedening kangelan iku ora kaya wong kang gagal anggone nindakake lakune. Rasa kuciwa kang mangkono bakal nuwuhake rasa prihatin lan getun, nganti andadekake ciliking ati lan enteking pangarep-arep. Sawise wong mau entek pangarep-arepe lumrahe banjur trima bali bae marang panguripan adat sabene, marem mung dadi wong lumrah maneh.

Kawruhana, wong kang lagi miwiti ngyakinake ilmu gaib sok-sok dheweke mesthi nemoni kagagalan-kagagalan kang nuwuhake rasa kuciwa. Sawijining wewarah kang luwih becik tumrap wong kang lagi nglakoni kasutapan, iya iku ati kang teguh santosa aja kesusu-susu lan aja gampang jeleh lan nglokro. Ngemungake wong kang nduweni katetepan ati lan santosaning sedya sumedya ambanjurake ancase, iya iku wong kang bakal kasembadan sedyane. Wong ngyakinake prabawa gaib iku anduweni kekarepan supaya dadi manungsa temenan kang diendahake dening wong akeh, ana ing ngendi wae anggone nyugulake dhirine, temahan diwedeni ing wong akeh, panguwuhe gawe kekesing wong, yen anyentak dadi marakake njepiping lan gawe ketir-ketir cilik atine, ditresnani ing wong akeh, pitembungane digatekake lan pakartine diluhurake ing wong akeh, iya pancen nyata wong liyane mesthi tunduk marang sawijining wong kang kebak ngelmu.

Wong ahli kasutapan tansah yakin anggone ngumpulake kekuwatan gaib ing dalem dhirine. Ana paedahe kang migunani banget manawa wong nindakake pambudi daya kalawan misah dheweke ana ing papan kang sepi karana tinimune kekuwatan gaib, iku sok-sok tinemu dhewekan ana ing sepen. Wong ahli kasutapan kudu budidaya bisane nglawan marang nepsune kekarepan umum (kekarepan wong akeh kang campur bawur ngumandang ana ing swasana). Kalawan tumindak mangkono wong ahli kasutapan mau dadi nduweni pikiran-pikiran kang mardhika. Iya pikiran-pikiran kang mangkono iku kang bisa nekakake kasekten gaib.

Sangsaya akeh kehing kang kena tinindhes, uga sangsaya gedhe tumandhoning kekuwatan gaib kang kinumpulake. Kekuwatan gaib iku tansah makarti tanpa kendhat enggone mujudake sedya lan nganakake kekarepan. Wong ahli kasutapan kudu anduweni ati kang tetep lan kekarepan kang dereng, kalawan ora maelu marang anane pakewuh-pakewuhe lan kagagalan-kagagalaning. Kasekten iku kaperang ana rong warna, iya iku kasekten putih (White Magic) utawa kasekten ireng (Black Magic). Awit saka anane perangan mau banjur dadi kanyatan yen perangan kang sawiji iku becik, dene perangan liyane ala.

Kasekten putih iku satemene ilmu luhur wis mesthi bae kapigunakake mligi kanggo kaslametane wong akeh. Dene kasekten ireng iku ilmu kang kapigunakake luwih-luwih kanggo nelukake kalayan paripaksa, sarta bakal anjalari kacilakaning wong liya. Ananing sakaro-karone saka sumber kang padha, sarta sakaro karane iku padha dipigunakake kalawan aran kang padha, nganggo asmane gusti. Tinemune ilmu-ilmu kasekten kalawan kekuwataning pikiran iku manawa kagolongake meleng sawiji bisa nuwuhake kekuwatan kaya panggendeng kang rosa banget tumrap marang apa bae kang dipikir lan disedya.

Wong kang nglakoni tapa kalawan nindakake laku-laku kang tinemtokake wis mesthi bae gumolonging pikirane bebarengan padha kumpul dadi siji sarta katujokake marang apa kang disedya. Kalawan mangkono iku kekuwatan daya anarik migunakake sarosaning kekuwatane banjur anarik apa kang dikarepake. Swasana kang katone kaya dene kothong bae iku satemene ana drate rupa-rupa.

Samengko upamane banjur ana sawijining wong kang lagi tapa kalawan duwe sedya supaya andarbeni daya prabawa kang luwih gedhe sarta anindakake sakehing kekuwatan pikiran kalawan ditujokake marang sedyane mau nganti nuwuhake daya prabawa. Kekuwataning daya anarik saka pikiran iku banjur anarik dzat ing swasana kang pinuju salaras karo daya prabawa mau kalawan saka sathithik sarta sareh. Dzat daya prabawa kang ing swasana iku katarik mlebu ing dalem badhane wong kang lagi tapa mau. Kalawan mangkono dzat prabawa iku dadi kumpul ing dalem badhane wong kang anarik dzat, nganti tumeka wusanane badane wong mau bisa ngetokake daya prabawa kang gedhe daya karosane.

Wong kang andarbeni ilmu kang mangoko iku dadi sawijining wong kang sakti mandraguna. Tumrap wong-wong kang nglakoni tapa ditetepake pralambang telu : Dhiyan, Jubah lan Teken. Dhiyan minangka pralambanging pepadhang, tumrap kahanan kang umpetan utawa gaib. Jubah minangka dadi pralambange katentremaning ati kang sampurna, dene Teken minangka dadi pralambange kekuwatan gaib.

Ing dalem sasuwene wong nglakoni tapa iku prelu banget kudu migateake marang sirikane, kayata : wedi, nepsu, sengit, semang-semang lan drengki. Rasa wedi iku sawijining pangrasa kang luwih saka angel penyegahe. Menawa isih kadunungan rasa wedi ing dalem atine wong ora bakal bisa kasembadan apa kang nedya digayuh. Rasa wedi njalari wong dadi ora bisa nduweni budi daya apa-apa.

Sajrone nglakoni tapa utawa salagine ngumpulake kekuwatan gaib, ati mesthi kudu tetep tentrem lan ayem sanadyan ana kadadeyan apa wae. Yen atine nganti gugur, kasutapane iya uga dadi gugur lan kudu lekas wiwit maneh. Gegeman kalawan wadi sakehing ilmu gaib kang lagi pinarsudi, luwih becik murih nyataning kasekten tinimbang karo susumbar kalawan kuwentos kaya kenthos.

"Nepsu" iku marakake lungkrah dayane kekuwataning batin. "Semang-semang" iku andadekake ati kang peteng ora padhang terang. "Sengit utawa drengki" iku uga dadi mungsuhing kekuwatan gaib. Wong kang lagi nindakake katamtuwan ing dalem kasutapan kudu kalawan ati kang sabar anteng lan tetep. Patrape badhan kang kaku lan kagugupan kudu didohake .

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Aja sok singsot
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Aja duwe lageyan sok nethek-nethek kalawan driji tangan marang meja kursi utawa papan liyane.
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Aja ngentrok-entrokake sikil munggah mudhun.
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Aja sok anggigit kukuning dariji tangan.
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Aja mencap-mencepake lambe.
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Aja molahake lidhah lan andilati lambe.
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Aja narithilake kedheping mata.
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Ngedohake sakehing saradan utawa bendana kang ora becik, kayata glegak-glegek molah-molahake sirah, kukur-kukur sirah, ngangkat pundhak lan liya-liyane sabangsane saradan kabeh.

Satemene perlu banget nyirnakake kekarepan drengki. Karep drengki iku banget nindhih marang dhiri pribadi. Ana maneh drengki iku kaya anggawa sawijining pikulan abot kang tansah nindhes marang dhiri lan sarupa ana barang atos medhongkol angganjel pulung ati. Drengki lan meri iku mung anggawa karugiyan bae tumrap kita, ora ana gunane sathithik-thithika. Salawase wong isih anduweni pangrasan karep drengki lan meri, iku ora bakal bisa tumeka kamajuwane tumrap dunya prabawaning gaib.

Ora mung tumindak tumrap sawijining wong bae bisa maluyakake wong liya kalawan kekuwatan gaib, nanging uga tumindak tumrap sawijining wong maluyakake dhiri pribadi kalawan kekuwatan iku. Bisane maluyakake larane wong liya, mesthine kudu ngirima kekuwatan waluya marang sajroning badhane wong kang lara. Manawa wong gelem naliti yen wong iku bisa ngumpulake kekuwatan gaib ing dalem badhane dhewe lan ngetokake sabageyan kekuwatan gaib kawenehake marang wong liyane, mestheni uwong bisa ngreti yen arep migunakake kekuwatan iku nganggo paedahe dhiri dhewe uga luwih gampang.

Supaya bisa nindakake pamaluya marang dhirine dhewe kalawan sampurna, wong ngesthi kudu mangerteni cara-carane maluyakake panyakit. Iya iku cara-cara kang katindakake kanggo maluyakake wong liya lan wusanane ambudidaya supaya bisa migunakake obah-obahan iku marang awake dhewe.

Kawitane wong kudu nindakake patrape mangreh napas. Dene carane ngatur napas iku kaprathelakake kalayan ringkes kaya ing ngisor iki :

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Mardhika ing panggonan kang sepi.
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Lungguha ing sawijining palinggihan kang endhek lan kepenak, sikil karo pisan tumapak ing lemah.
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Badhan kajejegake lan janggute diajokake.
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Benik-beniking klambi kang kemancing padha kauculan, sabuk uga diuculi supaya sandhangan dadi longgar lan kepenak kanggo ambegan ngatur mlebu metune napas.
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Pikiran katarik mlebu, supaya luwar saka sakehing geteran pikiran kaya saka ing jaba.
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Sakehing urat-urat kakendhokake.
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Banjur narika napas kalawan alon lan nganti jero banget, diampet napase sawatara detik (kira-kira 6 detik) lan wusanane napas diwetokake uga kalawan sareh.

Anujokna gumolonging pikiran kalawan ngetut marang napas kang mlebu metu iku kalawan giliran. Cara nindakake napas kaya ing ngisor iki :

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Narik napas kalawan alon lan nganti jero ing sabisane, nganti dhadha mekar lan weteng dadi nglempet.
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Nahan napas iku kira-kira nem detik utawa luwih suwe ing njero paru-paru, dhadhane cikben lestari mekare, lan wetenge cikben lestari nglempetake. Kalawan mangkono iku gorong dalaning napas tansah tetep menga.
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Ambuanga napas kalawan alon nganti entek babar pisan, nganti dhadha dadi kempes lan weteng dadi mekar.
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Banjur marambah-rambah matrapake mangkono iku suwene kira-kira saka lima tumeka limolas menit utawa luwih suwe nganti bisa nemoni pangrasa anteng lan tentrem ing sajroning badhan.

Carane matrapake kasebut ing dhuwur iku sawijining cara kanggo napakake napas, iki kena lan kudu ditindakake saben dina telung rambahan, dening sapa bae kang nglakoni tapa supaya oleh ilmu gaib. Daya kang luwih bagus, iya iku miwiti makarti miturut pituduhan. Aja weya nalika nindakake patrap kanggo napakake napas iku.

Cara matrapake tumindaking napas iku kena uga ditindakake kalayan leyeh-leyeh mlumah: ngendhokake sakabehing urat-urat, nyelehake tangan sakarone pisan ing sadhuwuring weteng lan nindakake lakuning napas miturut patrap mau.

Banjur matrapa lakuning napas sawatara rambahan miturut aturan. Gawe segering utek lungguha kalawan jejeg lan nyelehna tangan karo pisan ing sandhuwuring pupu kiwa tengen: mripat mandheng marang arah ing ngarep kalawan tetep: sikil karo pisan tumadak ing lemah. Kalawan jempol tangan tengen anutup lenging grana sisih tengen lan anarika napas liwat lenging grana sisih kiwa, wusana nglepasake jempol iku banjur ambuwang napas lan nutupa lenging grana kiwa kalawan driji narika napas liwat lenging grana tengen, lepasna driji panutup iku lan ambuwanga napas. Mangkono sabanjure kalawan genti-genten kiwa lan tengen.

CARANIPUN NGRACUT HAWA NAPSU



Nglampahi gesang ing satengahing bebrayan agung punika pancen gampil-gampil awrat. Kawastanan awrat manawi pikiran punika kadhisikan ketliweng amargi kagubel ing hawa kamurkan lan napsu angsa-angsa. Kosokwangsulipun, kawastanan gampil manawi kita punika sampun saged menggalih klawan manah ingkang mardhika. Liripun boten sulap dhateng sorot gebyaring tata lair lan sasaged-sagedipun kedah sumingkir saking sadaya aling-aling ingkang ngalang-alangi jablasing pamawas ingkang wening.

Inggih jablasing pamikir ingkang menep punika ingkang aran budi sejati, inggih punika dhaya pamikir ingkang hambabaraken wohing wawasan ingkang mulus, resik lan wening kadya toya, kalis saking sadaya rereged lan blenthoning si 'aku'. Bab punika ing jagading pewayangan cundhuk kaliyan wewatakenipun Sang Arya Bratasena ingkang resik lan wening kagambaraken kadya anting-anting apanunggul sotya maniking banyu, inggih punika tentreming batos ingkang dumunung wonten ing sireping karep.

Kekajengan utawi karep punika kedah dipun sirep, tegesipun boten sisah tansah dipun turuti amargi kridhaning karep punika sayekti anglangut tanpa tepi, tebih saking pakeming urip sejati. Samangsa teksih dereng saged oncat saking anggenipun dados abdinipun kamelikan, punapa dene namung nuruti puwa-puwaning manahipun, tiyang punika gesangipun nglengkara manahipun badhe saged rumaos jenjem tentrem.

Manawi kekajengan dipun uja tamtu boten bakal wonten mendhanipun kapara malah sangsaya ndadra tanpa wangenan. Lir pindhanipun kadya agni murub siniram lenga patra tamtu badhe tansaya awrat panyirebipun. Kawontenan ingkang kados makaten punika hanjalari kathah tiyang ingkang lajeng nyingkur dhateng Pangeranipun, sadaya polah tingkahipun sarwa-sarwi nyimpang saking kautaman. Sanadyan ta dedeg piyadegipun katingal gagah prakosa, nanging kabatosanipun sok kopong kadya kapangan bubuk [renget].

Tansah ngujeri iketaning kawaspadhan lan kaprayitnan batos ngadhepi kalamangsa ingkang kados punapa kemawon [kadosta mangsa bungah utawi manawi pinuju nandhang susah], punika dados sarat ingkang premana minangka sanguning tiyang anglampahi gesang ing satengahing bebrayan agung. Punapa malih manawi pinuju kesandhung lan kejeglong ing kawontenan ingkang boten damel renaning penggalihipun, adhakanipun jin setan iblis bekasakan sami jejogedan ngiming-iming kanikmatan ingkang sarwa ngenyutaken, nanging sejatosipun kebak duraka. Inggih kawontenan ingkang kados makaten punika ingkang lajeng dados sumber dunungipun tiyang ingkang gampil lirwa ing kaprayitnan lan wekasanipun dados batur ingkang tansah tutut marang pangojok-ojok nindhakake pakarti ingkang luwih dening nistha.

Tiyang punika manawi kepingin gesangipun saged tentrem lan rahayu, prayoginipun samya anggadhahi sesipatan lan pandamel patang prakara inggih punika:

Sepisan, netepi wajibing ngaurip lan sumereb ing wates-watesing hak wewenangipun.

Kaping kalih, tumemening ati nyebabaken keplasing wawasan dados jembar lan padhang ngegla.

Kaping tiga, enthengan nindhakaken amal, dedana dhateng sesami tumitah anebihi saking suprih pamrih pribadi. Dhasaripun sampun mengku keyakinan utawi piyandel manawi satingkah polahipun manungsa punika nadyan disingid-singidaken kados punapa kemawon tamtu kadenangan dening Gusti Kang Maha Ngawuningani.

Ingkang pungkasan, welas asih. Sesipatan punika manjing ing alusing bebuden linambaran raos tresna lan remen ngaling-alingi cacading sanes amrih boten nandhang wirang lan rumeksa badhanipun piyambak sampun ngantos kawirangan ugi.

Hewadene hawa napsu ingkang sampun kalajeng mubal punika boten waged dipun sirep kanthi kekerasan, rodha peksa, utawi dipun ampet punapa dene kanthi dipun legani. Bilih dipun ampet, temahan badhe mbledhos [muntab]. Bilih dipun prusa, temahan mingser gantos warni, manahipun tetep peteng, tambah reribed enggal ingkang tanpa wusana. Bilih dipun legani, temahan ndadi, ngambra-ambra. Nah rak boten gampil ta? Jalaran ingkang nglegani, ingkang ngampet lan ingkang ngrudha peksa punika inggih bangsanipun hawa napsu piyambak.

Tuk, winih lan oyoting hawa napsu punika pun sayektosipun inggih 'aku' kita piyambak, inggih punika pun 'rasa pangrasa bisa apa-apa lan kuwasa apa-apa' kita punika, ingkang thukul, semi lajeng ngrembaka jalaran pangantha-antha kita piyambak. Wagedipun sirep saestu, bilih 'latuning rasa bisa apa-apa, kuwasa apa-apa' ingkang dumunung wonten telenging manah kita punika, kita sirep kanthi raos andhap asor ingkang sakalangkung ngambang, mawi raos saking raos ingkang dumunung wonten ing telenging manah, adhedhasar boten ngemohi kanyataning lelampahan kita ingkang nedheng kita tampi.

Ngrembag perkawis andhap asor, adatipun manungsa kepingin angsal papan ingkang langkung inggil tinimbang tiyang sanesipun. Manahipun mongkog manawi angsal pangalembana saking tiyang sanes. Inggih watak ingkang kados makaten punika ingkang anjalari boten gampil anggenipun nglampahi gesang kanthi andhap asor. Watak makaten wau sejatosipun saged andadosaken manungsanipun gampil semplah kados blarak garing manawi kanyatanipun beda kaliyan kekajenganipun, laraping pasemonipun lajeng peteng lir pendah mendhung ngendhanu nguras sakehing pangimpen kang muspra.

Boten kirang-kirang kadadosan ing ngalam donya punika ingkang rujak sentul, satunggal ngaler satunggal ngidul, trajang tinajrangan sander sinander. Kala-kala ngangge dhupak-dhinupakan lan sineling goco-ginoco, bithi-binithi, jotos-jinotos, dugang-dinugang, tendhang-tinendhang, srampang-sinrampang lan jejak-jejakan. Gesang punika pancen kebak pesaingan, tiyang sami mbudidhaya sageda ngawonaken tiyang sanesipun, mila boten aneh manawi jagad punika boten nate tentrem. Sadaya kedah katampi kanthi manah ingkang sabar lan jembar. Wong ngalah luhur wekasane. Kanjeng Nabi Muhammad nate dhawuh "Wong ngalah iku kelangan, nanging ngrasakake sarining rasa kang mulya. Wong ngalap menang iku antuk [oleh], nanging mung ngrasakake rasa kang mung sepele lan panas."

Kawuningana bilih jihad ingkang paling utama punika merangi hawa napsunipun piyambak. Punika boten namung cundhuk kaliyan Hadist Riwayat Bukhari lan Muslim kados kacuplik ing ngajeng wau, nanging ugi saged dipun gathukaken kaliyan pangandikanipun Sang Resi Wiyasa saking pedhalangan Cintakapura. Kinten-kinten makaten ringkesanipun:

"Aja kaget para wayahku Pandhawa, kowe kabeh padha sumurupa. Aku nampa pralambang saka dewa, antarane Pandhawa lan Kurawa wus kaweca bakal manjing dadi satru bebuyutan. Ing mbesuk kowe bakal nemoni paprangan gedhi disekseni jagad gumelar sinebut Baratayuda Jaya Binangun."

"Sapa kang bakal menang, Mbah Wiyasa? Pandhawa apa Kurawa?" pitakenipun Harya Bimasena.

Resi Wiyasa njawab ririiih biyanget:

"Mangertiya ya ngger wecaning jawata, kang bakal unggul yaiku para satriya kang awatak sabar, santosa, lila, lan legawa. Mula wayahku, kowe kabeh bisoa nyirep hardhaning kanepson, dimen bisa uwal saka sambekalaning lelakon."

Teksih kalajengaken anggenipun Resi Wiyasa paring wejangan, ing ngandhap punika ingkang prelu dipun wigatosaken, makaten:

"Elinga ya ngger, tedhasing panggayuh mono kudu linambaran weninge karsa alelandhesan kadhewasaning kapribaden. Kowe iku satriya tedhaking narendra mara tapa lan turasing handhana warih. Ngrumangsanana lamun sira iku titahe Hyang Widhi Wasesa Tunggal. Kowe wajib sumungkem lan wedi, asih marang Sesembahanmu. Suwunen sih lan kamurahane kanthi nalongsa."

"Poma den eling ngger, kasembadaning panggayuh mono ora mung cukup disaranani nangis lan donga wae. Hananging kudu kok udi kanthi anggelar nalar lan tumandhanging karya. Lamun kowe wis pana ing budhaya, dhuh ngger, ora-orane yen kowe kasoran, dak pepuji amrih kowe kang bakal unggul ing palagan Baratayuda Jaya Binangun."

Dados boten cekap namung luhur ing budi, nanging ugi kedah luhur ing pakarti. Boten cekap namung becik ing lambe, nanging ugi becik ing gawe. Boten namung kandheg ing wejangan, nanging ugi dipun kantheni tumandang. Boten namung wasis paring amanah, nanging ugi kebak tulusing pratingkah. Boten namung micara nanging ugi makarya. Cekakipun luhur njawi lan lebetipun, boten namung kandheg ing gagasan, nanging nuladhani ing sakabehing laladan.

Gumolonging patrap kados ngendikanipun Resi Wiyasa wau saged nuwuhaken sikep madhep manteb lan jejeg netebi dhawuhing Gusti Kang Akarya Jagad sarta anebihi sadaya pepacuhipun, tansah eling lan saged nglarasaken tumindhak kaliyan kedale pangucap, angleluri watak sabar marang sakabehing pacoban ingkang tumiba, boten kepranan dhateng sakabehing gugon tuhon utawi anut grubyug, resik ing panyana, sepi ing pangira ala sarta lumuh ngupadi alaning liyan, lega lan narima dhumawahing pandum kanthi boten nglirwakaken sengkuting pambudi dhaya. Inggih sikep makaten wau ingkang saged mbikak olah kridhaning raos eling saged njegur tumut lelumban ing tatanan pasrah tanpa sumendhe dhateng resiking nalar lan pamikir. Saben tiyang sageda nindhakaken patrap kangge ngawekani laku supados jumbuh kaliyan gegayuhan sarta nuwuhaken katentreman lan karahayon, ingkang banget saged hambiyantu nuwuhaken larasipun bebrayan agung.

Hewadene ingkang dados bibit lan sumbering grenjet murungaken sedya punika adatipun tuwuh saking remen ngendhe-endhe laku. Ngendhe-endhe nandhangi sabarang gawe njalari kencenging tekad tansaya dangu dados kendho, temahan nukulaken watak sungkanan, boten antepan lan kesed. Kesed marake turu kepati. Jeneng tanpa guna anggenipun sampun pinaringan nyawa boten nglenggahi wajibing ngaurip. Urip punika tegesipun rak tumandhang.

Pareng njih, Mastoni sampun manjang siti.*
*manjang siti = layah = Mastoni sampun sayah

Sumber : http://artindonesia.org/pawartos_jawi_cuklacukli_ngracuthawanapsu.htm
http://artindonesia.org/pawartos_jawi_cuklacukli_bebukanesemedi-1.htm
http://artindonesia.org/pawartos_jawi_cuklacukli_bebukanesemedi-2.htm

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Al Fatiha

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Rasa

Oleh : Rifti

Sebelum saya menjelaskan masalah rasa lebih lanjut, sebaiknya kita mendasari
pembicaraan ini dengan QS.surat Al hijr : 29;

Maka apabila Aku telah menyempurnakan kejadiannya , dan telah meniupkan kedalamnya RUH-KU, maka tunduklah kamu kepadanya dengan bersujud.

Berbicara mengenai rasa, sulit bagi sebagian orang memahaminya dengan baik, karena
terkadang bahasa tidak mampu mengungkapkannya makna rasa yang sebenarnya. Namun kita bisa memahami jika mengerti asal kejadian manusia. Yang pada awalnya menusia tidak memiliki rasa "ADA". Setelah dihembuskan ruh-Ku, manusia itu merasakan "ADA" Ruh-Ku ini menjadi sumber konflik antara kita. Sehingga banyak yang tidak berani membahas apa itu "RASA JATI", Dalam surat Al isra’:85 " katakan bahwa ruh itu amar Tuhanku " ada yang menterjemahkan bahwa ruh itu adalah rahasia Tuhanku.

Didalam Alqur’an surat Al Qiyamah:14, Akan tetapi di dalam diri manusia ada Bashirah ( rasa tahu )

Baiklah saya akan mencoba merunut asal rasa itu dari fisik yang kita rasakan sekarang.

Apabila panca indra seseorang mengamati dan menangkap perangsang dari luar, maka perangsang ini oleh pancaindra diubah menjadi tenaga listrik yang disebut kesan. Kesan ini dikirim melalui syaraf tepi kepada syaraf pusat. Syaraf pusat lalu memberi perintah-perintah melalui syaraf tepi kepada urat daging untuk melaksanakan perintah. Bila syaraf pusat tidak memberikan perintah ,maka urat daging tak mungkin bergerak. Dengan demikian tidak terjadi suatu perbuatan.


Sampai mana arus itu mengalir, sampai itu pula kesadaran kita mencapai tingkatannya. Oleh sebab itu kesadaran manusia bertingkat-tingkat.

1. Jika arus ini mengalir sampai hanya pada pangkal otak, kesadaran nya dinamai kesadaran pendahuluan. Ini terdapat pada bayi atau hewan yang berderajad rendah,

2. Jika arus ini dapat mengalir sampai kepusat kesadaran dan pusat ingatan, maka dinamakan kesadaran sederhana. Contoh: anak-anak pada masa usia 1-6 tahun, bangsa-bangsa primitif, dan binatang-binatang yang berderajat lebih tinggi

3. Kalau arus bio-electric dapat bergerak samapai ke pusat akal dan pusat kemauan, berarti bahwa seseorang telah menemukan "AKU" nya. Mengenai ini dapat dilihat pada anak-anak yang mencapai akhir masa hayatinya (pubertas) . dalam keadaan serupa ini kesadarannya disebut kesadaran diri-sendiri

4. Apabila manusia di dalam sadarnya dapat berhubungan dengan rohaninya, maka kesadarannya meningkat menjadi kesadaran luhur (kesadaran jiwa). Kalau hubungannya sudah konstan , tetap, tingkah lakunya pun menunjukkan ketulusan hati yang dalam. Terhadap kesadaran ini dapat kita saksikan pada orang-orang yang menjalankan zuhud (melepas segala ikatan materi), dan sudah sampai ke derajat yang mukhlasin.

5. Lebih jauh lagi, bilamana kesadarannya sudah dapat menghubungkan diri kepada dzat mutlak (meta kosmos), maka disebut kesadaran Ruh (AKU SEJATI) atau rasa jati. , yaitu rasa yang hakiki yang mengetahui semua rasa (alam), Aku inilah yang mengetahui segala rasa, sedih, rasa takut, rasa marah, rasa benci, rasa capek, rasa lapar, rasa ngantuk dan seluruh alam rasa. Sebab semuanya tidak ada manfaatnya jika sang Aku tidak ada.

Sebelum anda menyadari rasa jatinya , anda mengira sakit itu yang merasakan adalah tubuh ini, kemudian kita merunut keatas, dari sentuhan fisik yang dihantar oleh bioelectric yang menghasilkan kesan ditangkap oleh pangkal otak ..dari pangkal otak kita menyadari siapa yang merasakan setelah sampai pada pusat otak !! Ialah AKU sejati yang melihat (merasakan ) itu, ialah pusat pengetahuan tentang rasa, dia berada meliputi fisik bukan didalam fisik. Sehingga jika sang Aku telah meninggalkan fisik maka rasa itu tidak ada dalam fisik ini (mati) , anda perhatikan saat orang tidur ..walaupun otak dia tetap bekerja,namun Aku tidak merasakan lagi sebagai fisik ini..akan tetapi pindah dari kesadaran fisik menuju kesadaran jiwa, begitu seterunya .

Mungkin dibawah ini membantu menambah pengertian atas rasa tadi :

Sebelum anda bisa mengendarai (menyetir) mobil, menurut perasaan anda mobil itu besar sekali dan jalanan sepertinya sangat sempit, sehingga tampak terpisah antara mobil dan pikiran..anda menjadi gugup saat berpapasan dengan pengendara sepeda motor

Lama- kelamaan rasa anda meluas meliputi body mobil, seakan tubuh anda menjadi mobil itu sendiri, sehingga jika berjalan kencangpun terasa mengikuti irama perasaan anda. Reflek otak anda menggerakkan rem, kopling, wiper, bunyi knalpot, dan getaran mobil, sehingga jika ada sesuatu yang ganjil terhadap bunyi mesin itu terasa menyentuh langsung kepada perasaan anda (otak). Jika mobil itu terantuk batu yang besar .ADUH !! anda merasakan kesakitan. Mengapa anda yang menjerit kesakitan ..padahal anda dengan mobil itu berbeda..anda bukanlah sebuah mobil itu. Siapa yang merasakan enak tidaknya membawa mobil .mobil itu tidak bisa merasakan apa-apa. tapi saya bisa merasakan mobil itu enak atau tidak ..itulah gambaran rasa jati ..asalnya segala rasa, yang meliputi segala sesuatu.

Sumber : http://rifti.blogsome.com/2006/04/13/rasa/


Serat Dewa Ruci

This version of the "Dewa Ruci" is taken from the Sêrat Cabolek (The Book of Cabolek), and is popularly thought to have been written by Raden Ngabehi Yasadipura I, the pioneer of modern Javanese verse, who died in 1729.



This is only one of the many versions of the story, which is also a very popular shadow theater story, often performed under the name Bima Suci (The Holy Wêrkudara, by which is intended the Dewa Ruci), in that after his enlightenment Wêrkudara changes his name to Bima.



This is a truncated version, leaving out Wêrkudara's trials under a wicked guru who intends him harm and confining itself to the encounter between the rude knight Wrêkudara and his inner self, or spirit, the Dewa Ruci. Dewa means something akin to "Hindu god," while ruci, according to the dictionary, means "quick to anger." This appears not to fit, except that Bima does mean "frightening," so the word is sometimes explained as "little" or as a synonym of rucira, which means "shining" or "beautiful to look at."

This translation is based on the Sufi concept underlying the text of tripartite man made up of body (raga), soul (pramana), and spirit (suksma) equivalents of the Javanese jasmani or wadhag, napsu, and roh. The Dewa Ruci is seen as the embodiment of the spirit, which guides the body and soul of the seeker, symbolized by Wêrkudara, to an understanding of the Perfection of Life and Mystic Union with the Divine.


CANTO VIII.
In the Dhandhanggula Meter


1. (14)

Wuwusira Dewa Suksma Ruci,
The Dewa Ruci -- the human spirit -- said:
payo Wêrkudhara dipun-enggal,
"Come, Wêrkudhara, hurry,
manjinga garbengong kene,
enter into my abdomen here."
Wrêkudhara gumuyu,
Wêrkudhara laughed
pan angguguk turira aris,
a restrained laugh and said softly:
dene paduka bajang,
"As for you, my lord, you’re a midget,
kawula gêng luhur,
[while] I am great and tall,
inggih pangawak parbata,
a veritable man-mountain.
saking pundi margine kawula manjing,
From what direction is there a way for me to enter?
jênthik mangsa sêdhênga.
Not even my little finger could possibly manage it."
NOTE: Wêrkudhara or Wrêkudhara is the youthful name of Bima, the hero of this tale, before the experience of *unio mystica* described in this passage.


2. (15)

Angandika malih Dewa Ruci,
Again the Dewa Ruci spoke:
gêdhe êndi sira lawan jagad,
"Which is larger, you or the world?"
kabeh iki saisine,
All its contents here,
kalawan gunungipun,
with its mountains,
samodrane alase sami,
seas, and forests
tan sêsak lumêbuwa,
would not be overcrowded if they entered
guwa garbaningsun,
my abdomen."
Wrêkodhara duk miyarsa,
Wêrkudhara, when he heard [this],
êsmu ajrih kumêl sandika turneki,
seemed frightened and calmly expressed his humble agreement.
mengleng sang Ruci Dewa.
The Dewa Ruci bent sideways.
3. (16)

Iki dalan talingan ngong kering,
"Here is the way -- [through] my left ear."
Wrêkodhara manjing sigra-sigra,
Wêrkudhara hastened inside.
wus prapteng sajro garbane,
Once within the [god’s] abdomen
andulu samodra gung,
he saw a great sea,
tanpa têpi nglangut lumaris,
shoreless. He went away, almost out of sight,
lêyêp adoh katingal,
until he was like something seen far off in a half-sleeping state.
Dewa Ruci nguwuh,
The Dewa Ruci called out:
heh apa katon ing sira,
"Hey, what do you see?"
dyan sumahur sang Sena aturna têbih,
Then Sena replied from a distance,
tan wontên katingalan.
"There’s nothing to be seen.

4. (17)

Awang-awang kang kula-lampahi,
"The spaces I’m passing through
uwung-uwung têbih tan kantênan,
are empty and unimaginably vast.
ulun saparan-parane,
No matter where I go,
tan mulat ing lor kidul,
I can’t tell north from south;
wetan kilen datan udani,
I can’t tell east from west.
ngandhap nginggil ing ngarsa,
Nadir from zenith, front
kalawan ing pungkur,
from back,
kawula botên uninga,
I can’t distinguish.
langkung bingung ngandika sang Dewa Ruci,
I’m totally confused." Said the Dewa Ruci,
aja maras tyasira.
"Don’t let yourself feel uneasy."

5. (18)

Byar katingal ngadhêp Dewa Ruci,
Suddenly seeing he was face to face with the Dewa Ruci,
Wêrkodhara sang wiku kawangwang,
Wêrkudhara looked closely at the holy ascetic
umancur katon cahyane,
radiating visible light,
nuli wruh ing lor kidul,
and then knew north from south.
wetan kilen sampun kaeksi,
East from west he could distinguish,
nginggil miwah ing ngandhap,
zenith from nadir.
pan sampun kadulu,
All were now apparent.
lawan andulu baskara,
And, seeing the sun,
eca tyase miwah sang wiku kaeksi,
he was in delight, with the holy priest visible
aneng jagad walikan.
inside the parallel universe.

6. (19)

Dewa Ruci Suksma angling malih,
The Dewa Ruci -- the human spirit -- spoke once more:
aywa lumaku anduduluwa,
Don’t move around. Observe
apa katon ing dheweke,
what is appearing to you.
Wrêkodhara umatur,
Wêrkudhara said,
wontên warni kawan prakawis,
There are four colors
katingal ing kawula,
appearing to me.
sadaya kang wau,
All the things [I saw] before
sampun datan katingalan,
are now invisible.
amung kawan prakawis ingkang kaeksi,
I see only four things:
irêng bang kuning pêthak.
black, red, yellow, [and] white.
7. (20)

Dewa Ruci Suksma ngandika ris,
The Dewa Ruci -- the human spirit -- spoke softly:
ingkang dhingin sira anon cahya,
The light you saw first --
gumawang tan wruh arane,
very clear -- whose name you did not know --
pancamaya puniku,
the five radiances --
sajatine ing tyas sayêkti,
is the reality of the true mind,
panguriping sarira,
the self’s life-giver.
têgêse tyas iku,
The meaning of mind,
ingaranan mukasipat,
is that which is called *mukasipat* (the foremost of attributes)
kang anuntun marang sipat kang linuwih,
which leads to the excellent attributes,
kang sajatining sipat.
which are the most genuine of attributes.
8. (21)

Mangka tinula aywa lumaris,
But weigh it, don’t go running off.
awasêna rupa aja samar,
Observe the colors. Don’t be afraid.
kawasaning tyas êmpane,
The power of mind, its function,
tingale tyas puniku,
is its ability to see,
anêngêri maring sajati,
to discern that which is genuine.
enak sang Wrêkodhara,
Wêrkudhara was delighted
amiyarsa wuwus,
to hear those words.
lagya mesêm tyas sumringah,
He smiled. He was relieved.
dene ingkang irêng abang kuning putih,
As for the black, red, yellow, [and] white,
iku durgamaning tyas
they are dangerous obstacles to the mind.
9. (22)

pan isining jagad amêpêki,
Why, they fill to overflowing all that is in the world --
iya ati kang têlung prakara,
those three [aspects of] mind do

pamurunging laku dene,
those wasters of ascetic practices -- as for
kang bisa pisah iku,
those who can separate [from] them,
pasthi bisa amor ing gaib,
such persons can definitely unite with the unseen.
iku mungsuhing tapa,
Those [three are] enemies of meditation,
ati kang têtêlu,
the three [aspects of] mind,
irêng abang kuning samya,
the black, red, [and yellow]
ingkang nyêgah cipta karsa kang lêstari,
which interrupt the steadiness of the hope of and the wish for
pamoring suksma mulya.
union with the Spirit of Glory.
10. (23)

Lamun nora kawilêt ing katri,
“unimpeded by the three,
yêkti sida pamoring kawula,
certainly union of the subject [with his lord], will occur
lêstari ing panunggale,
[in an] everlasting oneness.
poma den-awas emut,
Above all, beware [of them], be conscious
durgama kang munggeng ing ati,
of the obstacles present in the mind.
pangwasane wêruha,
Observe the [particular] power
siji-sijinipun,
of each.
kang irêng lêwih prakoswa,
The black is the most powerful.
panggawene asrêngêng sabarang runtik,
Its way is to express every kind of anger and greed,
andadra ngambra-ambra.
making them worse and worse, spreading [them] ever wider.
11. (24)

Iya iku ati kang ngadhangi,
That is the mind that blocks off
ambuntoni maring kabêcikan,
goodness and makes it futile.
kang irêng iku gawene,
That is the work of the black one.
dene kang abang iku,
As for the red one,
iya tuduh nêpsu tan bêcik,
it advises [acting out] bad cravings (*nafs*).
sakehing pipinginan,
All cravings
mêtu sangking iku,
arise from it.
panasten panasbaranan,
Incitements to jealousy, fits of fury,
ambuntoni maring ati ingkang eling,
shut off the [part of] mind [still] in touch
maring ing kawaspadan.
with awareness of hidden things.
12. (25)

Dene iya kang arupa kuning,
As for the yellow,
kuwasane nanggulang sabarang,
its power is to overcome any
cipta kang bêcik dadine,
good impulses that might arise.
panggawe amrih tulus,
Any good deeds --
ati kuning ingkang ngandhêgi,
it is the yellow mind that halts them.
mung panggawe pangrusak,
Destructive deeds alone
binanjur jinurung,
does it perform and approve.
mung kang putih iku nyata,
Only the white is genuine --
ati antêng mung suci tan ika-iki,
the peaceful mind, entirely pure, without caprice --
prawira karaharjan.
[and] has the courage [to achieve] well-being.
13. (26)

Amung iku kang bisa nampani
“alone is able to receive
ing sasmita sajatining rupa,
true indications about the reality behind appearances.
nampani nugraha gone,
It is where grace is received [and]
ingkang bisa tumanduk,
that which can arrive at
kalêstaren pamoring gaib,
everlasting union with the unseen.
iku mungsuh titiga,
It opposes the [other] three.
tur samya gung agung,
Though all are of the same size, greater
balane ingkang titiga,
[are] the armies of the three.
ingkang putih tanpa rowang amung siji,
The white has no supporter, is alone,
mila anggung kasoran.
and so is always defeated.
14. (27)

Lamun bisa iya nêmbadani,
If you can clear away
marang susukêr têlung prakara,
the dirt of the three,
sida ing kono pamore,
then your union will really take place
tanpa tuduhan iku,
without [any need for] guidance
ing pamoring kawula Gusti,
about the union of subject and Lord.
Wêrkudhara miyarsa,
Wêrkudhara, hearing [this],
sêngkud pamrihipun,
[felt] his intention grow keen,
sangsaya birahenira,
increasing his craving
kacaryan ing kauwusaning ngaurip,
[for the] happiness of life’s goal --
sampurnaning panunggal.
total union [with the divine].
15. (28)

Sirna patang prakara na malih,
When the four had vanished,
urub siji wêwolu warnanya,
a single flame [appeared], of eight colors.
sang Wêrkudhara ature,
Wêrkudhara asked:
punapa wastanipun,
What is the name
urub siji wolu warni,
of the one flame of eight colors?
pundi ingkang sanyata,
Which is genuine?
rupa kang satuhu,
Which color is the true one?
wontên kadi rêtna muncar,
There is something like gleaming jewels.
wontên kadi maya-maya angebati,
There is something bright and clear and like lightning,
wêneh abra markata.
giving off emerald flashes.
16.(29)

Marbudengrat Dewa Ruci angling,
The world’s enlightener, the Dewa Ruci, said:
iya iku kêjatining tunggal,
“[the flame] is the reality of union.
saliring warna têgêse,
It means that all things
iya na ing sireku,
are present within you,
tuwin iya isining bumi,
and all on earth
ginambar angganira,
is represented in your being.
lawan jagad agung,
Between the macrocosm
jagad cilik tanpa beda,
and the microcosm there is [now] no difference.
purwa ana lor kidul wetan puniki,
[This is ] the reason there begins to be a north, south, east
kilen ing luhur ngandhap.
and west to [your] zenith and nadir
17. (30)

Miwah irêng abang kuning putih,
As well as the black, red, yellow, [and] white,
iya panguripe ing buwana,
the givers of livelihood to the world.
jagad cilik jagad gêdhe,
The microcosm and macrocosm
pan padha isinipun,
have the same content.
tinimbangkên ing sira iki,
[All have] their counterpart within you.
yen ilang warnaning kang,
If the forms vanished,
kabeh jagad iku,
the whole world,
saliring reka tan ana,
all thought and aim, would cease to be,
kinumpulkên ana rupa kang sawiji,
[and] would be combined into a unity
tan kakung tan wanudya.
neither male nor female
18. (31)

Kadya tawon gumana puniki,
Like a bee larva
ingkang asawang puputran dênta,
resembling an ivory doll.
lah payo dulunên kuwe,
Come, look at this.
Wêrkudhara andulu,
Wêrkudhara looked at
ingkang kadya puputran gadhing,
something resembling an ivory doll.
cahya mancur kumilat,
A bright light shone [from it],
tumeja ngunguwung,
radiating all about it.
punapa inggih punika,
Is this
warnaning dat kang pinrih dipun-ulati,
the essence I was directed to seek,
kang sayêktining rupa,
the reality of form?
19. (32)

Anauri aris Dewa Ruci,
The Dewa Ruci replied softly,
dudu iku ingkang sira-sêdya,
It is not that which you are seeking:
kang mumpuni ambêk kabeh,
that which knows all natures
tan kêna sira-dulu,
you cannot see.
tanpa rupa datanpa warni,
[It has] no form, no shape,
tan gatra tan satmata,
no body; [it’s] invisible,
iya tanpa dunung,
[and is] without spatiality,
mung dumunung mring kang awas,
residing only in those who can see the invisible.
mung sasmita aneng ing jagad ngêbêki,
Only its signs and portents fill the world.
dinumuk datan ana.
[If] you reach out to touch it, it isn’t there
20. (33)

Dene iku kang sira-tingali
So that which you see,
kang asawang puputran mutyara,
which appears like a pearly doll
ingkang kumilat cahyane,
radiating flashes of light,
angkara-kara murub,
blazing steadily,
pan pêrmana arane iki,
is called the soul,
uripe kang sarira,
the life of the self,
pêrmana puniku,
The soul
tunggal aneng ing sarira,
is one with the self,
nanging datan milu suka lan prihatin,
but does not take part in pleasure or discomfort.
ênggone aneng raga
The place of those is in the body.
21. (34)

Datan milu turu mangan nênggih,
“It does not take part in sleeping or eating;
iya nora milu lara lapa,
nor does it participate in any kind of suffering.
yen iku pisah ênggone,
If it separates itself,
raga kari ngalumpruk,
the body collapses, helpless.
yêkti lungkrah badanereki,
The body becomes truly without force.
yaiku kang kuwasa,
It is what has the power
nandhang rahsa iku,
to sustain the unseen [innermost self].
inguripan dening suksma,
Enlivened by the human spirit,
iya iku sinung sih anandhang urip,
or in other words, enabled [by it] to sustain life,
ingakên rahsaning dat.
it is acknowledged to be the innermost aspect of essence.
22. (35)

Iku sinandhangakên sireki,
It is what is made to enclothe you,
nanging kadya simbar neng kakaywan,
but, like a clinging vine on a tree,
aneng ing raga ênggone,
its location is on the body,
uriping pêrmaneku,
whose life this soul is
inguripan ing suksma nênggih,
[which is in turn] given life by the human spirit,
misesa ing sarira,
which rules the self.
pêrmana puniki,
The soul,
yen mati milu kalêswan,
in death, also becomes helpless
lamun ilang suksmane sarira nuli,
once its spirit is separated from it, but still
uriping suksma ana.
the spirit retains life.
23. (36)

Sirna iku iya kang pinanggih,
When [the soul] is gone, what is encountered
uriping suksma ingkang sanyata,
is the true life of the spirit.
kaliwat tan upamane,
This is something extreme in its incomparability.
lir rahsaning kamumu,
Like the taste of Chinese taro (it cannot be described).
kang pramana anêrsandhani,
The soul leans [on the spirit].
tuhu tunggal pinangka,
They are truly from the same source.
jinatên puniku,
Thus did he explain.
umatur sang Wêrkudhara,
Wêrkudhara asked:
inggih pundi warnine dat kang sayêkti,
Which, then, is the true ipseity?
Dewa Ruci ngandika.
The Dewa Ruci replied:
24. (37)

Nora kêna iku yen sira-prih,
It is not allowed for you to aim at this.
lawan kahanan sêmata-mata,
It depends entirely on [your] state,
gampang-angel pirantine,
on the capacity or incapacity of your soul’s faculties.
Wêrkudhara umatur,
Wêrkudhara said,
kula nuwun pamêjang malih,
I beg for more teaching.
inggih kêdah uninga,
I need to know
babar pisanipun,
everything to the fullest.
pun patik ngaturken pêjah,
I am willing to die.
ambêbana anggen-anggen kang sayêkti,
I am begging for the basic truths
sampun tuwas kangelan.
lest all my efforts be in vain.
25. (38)

Yen mêkatên kula botên mijil,
Otherwise I’ll refuse to come out [of you].
sampun eca neng ngriki kewala,
I’m already in sheer delight right here.
botên wontên sangsarane,
There are no hardships.
tan niyat mangan turu,
I have no need to eat or sleep.
botên arip botên angêlih,
I’m neither sleepy nor hungry.
botên ngraos kangelan,
I feel no difficulties.
botên ngêrês linu,
I have no fear or sadness, no aches,
amung nikmat lan manpangat,
but only delight and well-being.
Dewa Ruci lingira iku tan kêni,
The Dewa Ruci said: That is not allowed
yen nora lan antaka.
unless [you] die [first].
26. (39)

Sangsaya sihira Dewa Ruci,
The compassion of the Dewa Ruci grew
marang kang kaswasih ing panêdha,
for the piteous petitioner.
lah iya den-awas bae,
All right. Just beware
mring pamuruning laku,
of the potential for failure on the way.
aywa ana karêmireki,
Let there be no sensual pleasures.
den-bênêr den-waspada,
Be serious. Beware
pênganggêpireku,
of assumptions.
yen wus kasikêp ing sira,
If once you achieve your goal,
aja umung den-nganggo parah yen angling,
don’t be a chatterbox. Use common sense when speaking,
yeku reh pipingitan.
for this is knowledge that must be protected.
27. (40)

Nora kêna yen sira-rasani,
It is not permitted for you to discuss it
lan sêsama-samaning manungsa,
with others
kang nora lan nugrahane,
who have not been given the grace.
yen ana nêdya padu,
If you desire to discuss this,
angrasani rêrasan iki,
to discuss this subject,
ya têka kalahana,
overcome [the desire].
ywa kongsi kabanjur,
Don’t give in to it.
aywa ngadekkên sarira,
Do not think highly of yourself.
yen karakêt marang wisaning ngaurip,
If you are in the grip of that poison of life,
balik sikêpên uga.
then overcome it.
28. (41)

Datan waneh sangkanira nguni,
Your first origin was certainly
tunggal sapakêrtining buwana,
in union with the world’s every action.
pandulu pamiyarsane,
[The world’s] seeing and hearing
wus aneng ing sireku,
are now within you,
pamyarsane yang suksma jati,
the hearing of the true human spirit --
iya tan lawan karna,
not with ears,
ing pandulunipun,
its seeing
iya tan kalawan netra,
not with eyes.
karnanira netranira kang kinardi,
[The world’s] ears and eyes are doing it.
anane aneng sira.
They are within you.
29. (42)

Lairing suksma aneng sireku,
The outer of the [true] human spirit is within you.
batinira kang ana ing suksma,
It is your inner aspect which is in the human spirit.
kaya mangkene patrape,
Here is how this works:
kadya wrêksa tinunu,
Like wood burned.
ananing kang kukusing gêni,
The presence of the smoke from the fire,
iya kalawan wrêksa,
is because of the wood.
lir toya lan alun,
Like water and its ripples.
kadya menyak lawan puhan,
Like cream and milk.
raganira ing reh mobah lawan mosik,
Your body is under a law. Its movements and actions
sarta lawan nugraha,
are all divine gifts.
30. (43)

Yen wruh pamore kawula gusti,
Once you have witnessed the union of Lord and Vassal --
sarta suksma kang sinêdya ana,
by means of the human spirit, what you desire is present,
de warna neng sira gone,
because the place of all things is within you.
lir wayang sarireku,
You are like a shadow puppet.
saking dhalang solahing ringgit,
The movements of shadow puppets are from the puppet-master.
mangka panggung kang jagad,
As for the shadow-stage, it is the world.
liring badan iku,
Your true state is [now]
amolah lamun pinolah,
that you move [only] if you are moved
sapolahe kumêdhep myarsa ningali,
in all you do -- blinking, hearing, seeing,
tumindak lan pangucap.
walking, and speaking
31. (44)

Kawisesa amisesa sami,
The moving and being moved are the same
datan antara pamoring karsa,
there is no empty space between the combined wills.
jêr tanpa rupa rupane,
Their form is to be formless.
wus aneng ing sireku,
They are within you
upamane paesan jati,
like a faithful mirror.
ingkang ngilo ywang suksma,
The one looking in is the true human spirit.
wayangan puniku,
The reflection
kang ana sajroning kaca,
in the glass
iya sira jênênge manusa iki,
is you, what is called the human being,
rupa sajroning kaca.
a form in a looking glass.
32. (45)

Luwih gêngnya kalêpasan iki,
This release is very great.
lawan jagad agêng kalêpasan,
It is a release greater than the world,
kalawan luwih lêmbute,
and [yet] very soft.
salêmbutaning banyu,
No matter how soft water may be,
mapan lêmbut kamuksan ugi,
release is softer.
luwih alit kamuksan,
Release is very small.
saaliting têngu,
As tiny as a mite may be,
pan maksih alit kamuksan,
release is still tinier.
liring luwih amisesa ing sêkalir,
Truly it has great power over all things.
liring lêmbut alitnya.
Truly it is soft and fine.
Bisa nuksma ing agal myang alit,
It can penetrate coarse and fine,
kalimputan kabeh kang rumangkang,
including all crawlers,
kang gumêrmêt ya tan pae,
and creepers as well.
kaluwihan satuhu,
[This is] something truly great,
iya luwih dera nampani,
much greater than just accepting [knowledge from others].
tan kêna ngandêlêna,
(You] are not permitted to rely on
ing warah lan wuruk,
[mere] guidance and teaching.
den-sangêt panguswanira,
Be very serious in the way you use this.
badanira wasuhên pragnyana ngungkih,
Purify yourself and be cautious in going after it.
wruha rungsiding tingkah.
Know the obstacles to putting it into practice.
34. (47)

Wuruk iku pan minangka wiji,
Teaching is like a seed.
kang winuruk upamane papan,
The taught is like a place.
pama kacang lan kêdhêle,
Suppose peanuts and soybeans
sinêbarna ing watu,
are strewn on stone.
yen watune datanpa siti,
If the stone has no soil on it
kodanan kêpanasan,
[though] rained on and exposed to sunlight,
yêkti nora thukul,
it’s certain they won’t sprout.
lamun sira bijaksana,
If you are wise,
tingalira sirnana ananireki,
[you’ll] put aside your own sight
dadi tingaling suksma.
and let it become the human spirit’s sight.
35. (48)

Rupanira swaranira nuli,
Then your form and voice
ulihêna mring kang duwe swara,
should be given back to their owner
jêr sira ingakên,
for you are acknowledged
sisilih kang satuhu,
[to be only] the representative of the true [owner].
nanging aja duwe sireki,
Just have no
pakarêman kang liya,
delights other
marang sang ywang luhur,
than in the Most High.
dadi sarira bêthara,
For you have become a god.
obah osikira wus sah dadi siji,
Your actions are definitely at one [with His].
ja roro anggêpira.
Let there be no duality in your outlook.
36. (49)

Yen duweya anggêp sira kaki,
If you, my boy, have any notion
ngrasa roro dadi maksih uwas,
of duality, then you are still in doubt.
kêna ing rêngu yêktine,
You are still subject to anger and resentment.
yen wis siji sawujud,
If everything has become one,
sakarêntêging tyasereki,
[then] all the things you think of,
apa cinipta ana,
whatever you have in your mind,
kang sinêdya rawuh,
all that you wish, will come [to you],
wus kawêngku aneng sira,
Already under your control,
jagad kabeh jêr sira kinarya yêkti,
[will be] everything in the world, for you’ll have been made
gêgênti den-asagah.
His representative [and] be willing.
37. (50)

Yen wus mudhêng pratingkah kang iki,
Once you have mastered this way of acting,
den-awingit sarta den-asasab,
keep it protected, hide it.
ngandhap-asor pênganggone,
Use it with humility.
nanging ing batinipun,
Keep it to yourself.
sakarêntêg tan kêna lali,
You must never forget your deep purpose.
laire sasabana,
In your outer life, hide it.
kawruh patang dhapur,
Four kinds of knowledge
padha anggêpên sadaya,
treat seriously, all [four].
kalimane kang siji iku pêrmati,
There is a fifth, the most important,
kanggo ing kene kana.
for use here and in the next world.
38. (51)

Liring mati sajroning ngaurip,
Like death in life
iya urip ing sajroning pêjah,
or, in other words, life in death --
urip bae salawase,
it is life only, forever and ever.
kang mati iku nêpsu,
It is the desires (*nafs*) that die.
badan lair kang anampani,
It’s the outer self that endures this.
kêtampan badan nyata,
What is received by the true self
pamore sawujud,
is union with all existence.
pa gene ngrasa matiya,
That is what is felt in death.
Wêrkudhara tyasira padhang nampani,
Wêrkudhara’s mind was filled with clarity when he perceived
wahyu prapta nugraha.
the divine revelation, as the grace came upon him.
39. (52)

Lir sasangka katawêngan riris,
Like the moon dimmed by light rain
praptaning wahyu ngima nirmala,
was the coming of the revelation, like a pure rain cloud.
sumilak ilang rêgêde,
He became bright and clean as the dirt vanished.
angling malih turnya rum,
In his sweet, slow voice, again spoke
Dewa Ruci manis aririh,
the Dewa Ruci, softly and gently:
tan ana aji paran,
No magic spells of any kind [are needed].
kabeh wus kawêngku,
All is under your control.
tan ana ingulatana,
There is nothing more to look for.
kaprawiran kadigdayan wus kawingking,
You’ve already mastered courage and invincibility,
kabeh rehing ngayuda.
all which concerns warfare.
40. (53)

Têlas wulangira Dewa Ruci,
The Dewa Ruci’s teachings were ended.
Wêrkudhara ing tyas wus tan kewran,
Wêrkudhara had no more problems on his mind.
wus wruh ing anane dhewe,
He now knew himself.
ardaning swara muluk,
United with [the Dewa Ruci] he rose up in the air.
tanpa êlar anjajah bangkit,
Without wings, [he] rose up and glided over
sawêngkon jagad raya,
the whole earth.
angga wus kawêngku,
He had mastered his self.
pantês prêmatining basa,
In the fitting language of literature
saenggane sêkar maksih kudhup lami,
he was like a flower long in bud
mangke mêkar ambabar,
which had opened and was spreading its petals.
41. (54)

Wuwuh warnane lan gandaneki,
His color and fragrance intensified.
wus kêna kang panca-rêtna mêdal,
Now that the five jewels were his, he emerged.
wus salin alamipun,
[He] had changed worlds.
angulihi alame lami,
[He now] returned to his previous world.
Dewa Ruci wus sirna,
The Dewa Ruci was gone.
mêngkana winuwus,
Thus has been related [the story]
tyasira Sang Wêrkudhara,
of how Wêrkudhara’s mind
lulus saking gandane kêsturi jati,
thanks to the scent of true screw-pine blossoms,
pêpanasing tyas sirna.
had lost its heat.
42. (55)

Wus lêksana salêkêring bumi,
Now the whole world was happy.
ujar bae wruh patakanira,
and talked of nothing but the sight of the emblems
nir ing wardaya malane,
of the cleansing of his mind from [all] stain --
mung panarima mungguh,
there being nothing [present to him] but surrender --
kadyanggane nganggo sutradi,
like his being dressed in fine silk,
maya-maya kang sarira,
his being beautiful and glowing;
rehnya kang saryalus,
his deportment’s polish and fineness,
sinukma mas ingêmasan,
his being adorned with gold,
arja sotya-sinutya manik-minanik,
covered with jewels of all kinds.
wruh pakenaking tingkah.
The sight of the embellishments of his movements
43. (56)

Mila sumping bra puspa krêna di,
Such as beautiful, shining flowers behind his ears,
winarnendah kinteki sumêkar,
beautifying this poem by being told of,
kêsturi jati namane,
[the blossoms] called screw pine,
pratandha datan korup,
a sign of not being on the wrong path.
kang pangwikan kênaka lungid;
[and] the sight of his sharp thumbnail
angungkabi kabisan,
revealing powers --
kawruh tan kaliru,
knowledge free from error --
poleng bang bintulu lima,
[and] the checkered pattern of red, black, yellow and white, [adorned] with five monster faces,
pan winarna uraga milêt tulyasri,
[and] a beautiful coiling dragon pattern;
lancingan kampuhira.
[on his] his trousers and waistcloth.
44. (57)

Mangka pangemut katon ing nguni,
These were reminders of what had appeared earlier,
titiga duk sajroning kang garba,
the three colors [seen] in the abdomen of
Dewa Ruci pamengête,
the Dewa Ruci. [these] reminders
bang kuning irêng iku,
[were] the red, yellow, and black
pamurunge laku ngadhangi,
[of the] destroyers of good actions, in waiting,
mung kang putih ing têngah,
[with] only the white as a barrier
sidaning pêngangkuh,
against the uprising of arrogance.
kalimeku kang ginambar,
The five symbolized
wus kaasta sanalika aywa lali,
that he had now conquered them in one moment, lest he forget
ulun tuhu ambêknya.
that he [now] had the nature of a true vassal
45. (58)

Saking sangête karya ling-aling,
As a result of his having seriously erected a screen,
pambengkase sumêngah jubriya,
a protection, against pride and self-importance.
kaesthi siyang dalune,
Night and day it was his intention [to keep far from them].
pan kathah gennya ngrungu,
Much had he heard
pratingkahe para maharsi,
of the deeds of great priests
kang sami kaluputan,
who went astray
ing pangangkuhipun,
because of their arrogance.
pangancabing kawruhira,
Their courage and daring in seeking illumination
wus abênêr wêkasan mati tan dadi,
had been excellent, yet the process had stopped [in them], with no results.
kawilêt ing tatrapan.
[They’d been] seduced by [false] methods.
46. (59)

Ana ingkang mati dadi pêksi,
Some have [the process] stop and turn [as it were] into birds.
amung milih pencokan kewala,
All they [then] do is choose perches
kayu kang bêcik warnane,
in beautiful-looking trees [like]
angsana naga-santun,
wood rose, cobra’s saffron,
tanjung ana bulu waringin,
Spanish cherry, *bulu*, [and] banyans
kang ana pinggir pasar,
that grow around the edge of the market.
êngkuk mangruk-mangkruk,
[Those] cardinal birds, perching high above,
angungkuli wong sêpasar,
reach heights far above the market folk,
mindha-mindha kamukten sapele pinrih,
[and] in this guise seek trivial comforts,
kêsasar kabêlasar.
having gone totally astray.
47. (60)

Ana ingkang anitis para ji,
There are others who, taking up with kings,
sugih raja-brana miwah garwa,
are rich in goods and wives.
ana kang milih putrane,
There are others who choose [kings’] sons
putra kang arsa mêngku,
sons who will rule in the future.
karêmane wong siji-siji,
It is the keen desire of each [of them]
samyantuk kaluwihan,
to acquire something that sets him above others
ing panitisipun,
in his career.
yen mungguh sang Wêrkudhara,
As for Wêrkudhara,
dêrêng arsa amung amrih ing pribadi,
he had no [such] desires, but only to be himself.
sêdayeku ingaran.
All such [desires] are called
48. (61)

Titaning kang wadaka kang pêsthi,
Being left behind, being a loser destined
durung jumênêng jalma utama,
not yet to be noble human being.
ingkang mêngkono anggêpe,
Such as have those attitudes [nonetheless]
pêngrasane anêmu,
in their feelings having found
suka sugih tan wruh ing yêkti,
happiness and riches, do not know the truth of the matter,
yen uga nêmu duka,
[which is] that they have found sorrow.
kêbanjur kalantur,
They stray further and further from their original aim.
saênggon nitis kewala,
They search in all directions, over and over,
tanpa wêkas kangelan tan nêmu hasil,
in endless frustration, never meeting success.
tan bisa babar pisan.
They simply cannot find it.
49. (62)

Karêmane wong sawiji-wiji,
The keen desires of each individual
durung wêruh sampurnaning tunggal,
who does not yet know the perfection of union,
ing pati sanggon-ênggone,
when death comes might [lead him] anywhere.
anitis dadi kuwuk,
[He might] incarnate in a wildcat,
kuru gudhig pilêrên mising,
skinny, scabrous, drooling, shitting,
matane karo wuta,
blind in both eyes,
tan wêruh dêlanggung,
not knowing the way.
ngrungu ana pitik sata,
Hearing a rooster,
pinaranan kang duwe ayam ningali,
[and] going for it, it’s seen by the rooster’s owner
ginitikan ing doran.
and beaten with a mattock handle.
50. (63)

Ana ingkang anyakrabawani,
There are those who are thinking about
iya pakarêman duk ing donya,
their keen pleasures in the world
ing pati maring tibane,
when their time comes to die.
ing kono karêmanipun,
Their keen desires
nora kuwat parêng ing pati,
are unable to accept death.
keron pan kêsamaran,
They peer out and see only obscurity,
mangsah wowor sambu,
They battle they know not what.
abote ulah kamuksan,
The hard part of release
nora kêna toleh anak lawan rabi,
is that one may not remember children and wife
sajrone mrih wêkasan.
in the process of meeting one’s end.
51. (64)

Yen luputa patakaning bumi,
If one is to be free from the world’s dangers.
lêhêng siyeng aja dadi jalma,
then it’s better not to be born as a human being.
sato gampang pratikêle,
Animals have easy rules to live by.
sirnane tanpa tutur,
Their dying is without any awareness.
yen wis aris bênêr ing kapti,
If [a person] is really patient,
langgêng tanpa kêrana,
permanently, without interest in
angga buwaneku,
[or] delight in worldly matters,
umênêng tan kadi sela,
still, but not like a rock,
ênêngira apan ora kadi warih,
still, but not like water either,
wrata tanpa tuduhan.
he will develop without the need to be instructed.
52. (65)

Len ing pandhita ana nganggêpi,
Other priests there are who attempt
ing kamuksan nênggih pêksanira,
[to obtain] release by force.
anjungkung kasutapane,
They concentrate their minds in meditation.
nyana kêna den-angkuh,
They think they can be arrogant [in this]
tanpa tuduh mung tapaneki,
[and obtain results] without teaching, by going apart alone,
tanpa wit puruhita,
without first becoming the pupil of a teacher.
suwung anyaruwung,
[They are] empty, making a sound like the wind.
mung têmên kaciptanira.
Only their will is strong.
durung antuk wuruk pratikêl sayêkti,
They do not receive teaching of the true law.
pêngangkuh lalawora.
They are full of pride, and fruitless.
53. (66)

Tapanira kongsi ngraga runting,
Their austere practices make them fragmented.
wus mangkana gennya mrih kamuksan,
That is the way they seek release.
datanpa tutur sirnane,
But without guidance it comes to nothing.
kêmatêngên tapa wuk,
They become overripe in meditation and grow rotten,
den-pratikêl ingkang lêstari,
[when] what they sought was eternity.
tapa iku minangka,
Asceticism is
rêragi pan amung,
no more than the spiced fried coconut,
ngelmu kang minangka ulam,
while knowledge is the meat.
tapa tanpa ngelmu iku nora dadi,
Austere practices without knowledge come to nothing
yen ngelmu tanpa tapa.
while knowledge without austere practices
54. (67)

Cêmplang-cêmplang nora wurung dadi,
Though it may be flavorless -- must come to fruition.
angsal sampun wudhar ing tatrapan,
As long as one is free from methods,
kêcagak sagung bekane,
and all difficulties are kept away by a barrier,
sayêkti dadosipun,
there will certainly be success.
apan akeh pandhita sandi,
There are many secret gnostics
wuruke sinatêngah,
who teach half what they know
marang sabatipun,
to their disciples.
sabate landhêp priyangga,
The disciples are very sharp.
kang linêmpit winudhar raose nuli,
What is folded up they unfold the secrets of, then
ngaturkên gurunira.
they tell the teacher.
55. (68)

Pamudhare sung graitaneki,
Their unfoldings have insights to give,
nguni-uni durung mambu warah,
though they have never even smelled [a place of] study before.
saking tan eca manahe,
Because they feel uneasy,
katur ing gurunipun,
they tell their teacher.
langkung ngungun milu nganggêpi,
Deeply impressed, [the teacher] takes what they say as true
sinêmantakkên lawan,
and regards them as
pandhita gung-agung,
great ascetics,
wus pasthi anggêp kang nyata,
accepting their opinions as true,
iku wahyu nugraha dhawuh pribadi,
as divine revelations, blessings, messages received by them.
sabat ingakên anak.
These students are regarded as their own children --
56. (69)

Sinunga-sunga anggung tinari,
[They are] given presents and always consulted about their preferences.
maring guru yen arsa mêmêjang,
They go to the spiritual teacher when he teaches
tan têbih sinandhing gone,
and sit very near him.
sabat kang têmah guru,
It is the pupil who becomes the teacher,
guru dadya sabat ing batin,
the teacher inwardly becoming the pupil,
lêpas ing panggraita,
attaining high levels of understanding.
nanduk sarta wahyu,
equally divinely inspired.
iku utama kalihnya,
This is best, considering.
kang satêngah pandhita durung sayêkti,
half the spiritual teachers are not yet genuine,
kasêlak piyangkuhnya.
because their arrogance makes them want to progress too fast.
57. (70)

Kudu tinut saujarereki,
Everything they say they insist be followed.
dene akeh lumaku sinêmbah,
Many demand to be bowed down to in homage.
neng pucaking gunung gone,
They settle on mountaintops.
swaranira manguwuh,
Their voices go out,
angêbêki patapaneki,
filling the hermitage.
yen ana wong amarak,
If visitors come,
wêkase abikut,
they become as noisy and busy
lir gubar-beri tinêmbang,
as flat gongs being beaten,
kumêrampyang binubak datanpa isi,
loudly scolding in a meaningless way.
tuna kang puruhita.
Their acolytes pay the price.
58. (71)

Aja kaya mêngkono ngaurip,
That is not to way to be.
badan iku dipun-kadi wayang,
Consider yourself a shadow puppet
kinudang neng panggung gone,
brought to the stage to play a part.
arja têtali bayu,
There is a crowd gathered together.
padhanging kang panggungereki,
The light of the stage,
damar aditya wulan,
the lamp, is the sun and moon.
kêlir ngalam suwung,
The screen is the empty world
kang anangga-nangga cipta,
beyond the reach of the intellect.
gêbog bumi têtêpe adêging ringgit,
The banana stalks in which the puppets are inserted is the earth,
sinangga ingkang nanggap.
supported by the patron of the performance.
59. (72)

Kang ananggap aneng jroning puri,
The patron is inside the palace
datan mosik pangulah sakarsa,
Without [his needing] to move, his will is done completely.
ywang pramana dêdhalange,
The soul is the puppetmaster.
wayang pênggadêgipun,
The puppets are his manifestation.
ana ngidul angalor tuwin,
They are in the south and north.
mangkana kang sarira,
So it is with the self
ing sapolahipun,
in everything it does.
pinolahakên ki dhalang,
It is moved by the puppetmaster.
lumaku yen linakokkên lembyaneki,
It walks if made to walk. It moves its arms
linembehkên ing dhalang.
if the puppetmaster moves them
60. (73)

Pangucape ingucapkên nênggih,
Its speaking is in being made to speak.
yen kumilat kinilatkên iya,
It moves like a strong man, by being made to move.
tinutur anuturake,
It’s made to speak, and that’s its speaking.
sakarsa-karsanipun,
[With] every intention [of the puppetmaster]
kang anonton pinolah sami,
the spectators are manipulated
tinonakên ing dhalang,
and made by the puppetmaster to see a show.
kang ananggap iku,
The patron, who arranged for the performance,
sajagad mangsa na wruh,
in no way can be seen by the world.
tanpa rupa kang nanggap aneng jro puri,
Formless, the patron is inside the palace,
tanpa warna ywang suksma.
without [outward] appearance: the invisible God.
61. (74)

Sang pêrmana denira angringgit,
The way the soul performs the shadow play
ngucapakên ing sariranira,
is by being made to speak out.
tanpa aji sêsanane,
Its [own] teaching would be without value.
wibuh pan ora tumut,
It is powerful because it does not follow
ing sarira upamaneki,
its own self. It can be compared
kang menyak munggeng puhan,
to the cream at the top of the milk,
gêni munggeng kayu,
the fire within the wood.
andrêpati tan katêdah,
Fearless of death, without being taught,
sang pêrmana lir gêsênging kayu panggrit,
the soul is like the fire ignited by a tree’s rubbing,
landhêsan sami wreksa.
rubbing against another tree.
62. (75)

Panggritane polah dening angin,
The tree is moved by the wind.
gêsênging kayu kukuse mêdal,
The wood, igniting, gives off smoke.
datan antara gênine,
There are flames everywhere,
gêni kalawan kukus,
fire and smoke
saking kayu wijile sami,
both issuing from the wood.
wruha eling duk kala,
See, if you remember back
mula-mulanipun,
to the beginning of
kabeh iki kang gumêlar,
all this [world] spread out,
pan saking heb manusa tinitah luwih,
it is by the Hidden One man was made an excellent creature
apan ingakên rahsa.
acknowledged to be the center of all meaning.
63. (76)

Mulya dhewe saking kang dumadi,
Most noble of all creatures,
aja mengeng ciptanira tunggal,
Never lose vigilance; keep your thoughts unfragmented,
tunggal saparibawane,
and your power unfragmented
isining buwaneku,
over everything in the world
anggêp siji manungsa jati,
The oneness of the true human being’s outlook
mêngku sagung kaanan,
envelopes all that befalls
ing manusa iku,
humanity.
den-wruh wisesaning tunggal,
To become aware of the one high power
anuksmani saliring jagad dumadi,
penetrating the whole universe of creation
tekad kang wus sampurna.
is the most perfect of all aims.
64. (77)

Wus mangkana Wêrkudhara mulih,
With that, Wêrkudhara returned.
datan mengeng ing batin gumawang,
He did not relax his vigilance. His inner self was illumined.
nora pangling sarirane,
He did not forget his identity
panuksmaning sawujud,
as the embodiment of all being,
nanging lair sasab piningit,
but outwardly he concealed it.
reh-sareh kasatriyan,
The rules of his knightly caste
linakon winêngku,
he obeyed, and he held in mastery
pamurwaning jagad raya,
that which could initiate all the world.
kalairan batine nora kasilib,
His inner and outer selves were not at odds.
satu menggeng rimbagan.
They were like a newly-stamped brick [still tight] in its mold.
65. (78)

Wêrkudhara lampahira,
Wêrkudhara’s journey
jroning kitha Ngamartadipura,
[took him] into the city of Amarta.
wus panggih kadange kabeh,
[where] he met all his family.
langkung sukaning kalbu,
Joyful of heart
Darmaputra lan para ari,
were Darmaputra and the younger brothers.
ngluwari punaginya,
They fulfilled their vow
bujana anayub,
by holding a banquet with tayub dancing.
tanbuh sukane tyasira,
Their happiness was indescribable
dene ingkang rayi praptane basuki,
that their younger brother had succeeded [in his quest].
sirna subrangtanira.
[and] his deep longing was satisfied.
THE END

Translation by M. M. Medeiros
Literature:

*

Arps, Bernard: The Javanese Shadow Play Dewa Ruci
*

The Dewaruci in Javanist Spiritual and Cultural Praxis and its Subjective Force on Javanese Naval Bureaucracy (Thesis)

Link:

*

CD of Dewa Ruci gamelan performance

Sumber : http://artindonesia.org/pawartos_jawi_sastra_dewaruci.htm


WIRAYAT JATI

Translation by M. M. Medeiros and Mastoni


Anenggih punika pituduh ingkang sanyata, anggelaraken dunung lan pangkating kawruh kasampurnan, winiwih saking pamejangipun para wicaksana ing Nungsa Jawi, karsa ambuka pitedhah kasajatining kawruh kasampurnan, tutuladhan saking Kitab Tasawuf.

Panggelaring wejangan wau thukul saking kaweningan raosing panggalih, inggih cipta sasmitaning Pangeran, rinilan ambuka wedha ing pangandikaning Pangeran dhumateng Nabi Musa, Kalamolah, ingkang suraosipun makaten:

"Ing sabener-benere manungsa iku kanyatahaning Pangeran, lan Pangeran iku mung sawiji."

Pangandikaning Pangeran ingkang makaten wau, inggih punika ingkang kawedharaken dening para gurunadi dhumateng para ingkang sami katarimah puruitanipun.

Dene wonten kawruh wau, lajeng kadhapuk 8 pangkatan, sarta pamejanganipun sarana
kawisikaken ing talingan kiwa.

Mangêrtosipun asung pepenget bilih wedharing kawruh kasampurnan, punika boten kenging kawêjangaken dhateng sok tiyanga, dene kengingipun kawejangaken namung dhumateng tiyang ingkang sampun pinaringan ilhaming Pangeran, tegesipun tiyang ingkang sampun tinarbuka papadhanging budi pangangen-angenipun (ciptanipun).

Awit saking punika, pramila ingkang sami kasdu maos serat punika sayoginipun sinembuha nunuwun ing Pangeran, murih tinarbuka ciptaning saged anampeni saha angecupi suraosing wejangan punika, awit suraosipun pancen kapara nyata yen saklangkung gawat.

Mila kasêmbadanipun saged angecupi punapa suraosing wejangan punika, inggih muhung dumunung ing ndalêm raosing cipta kemawon.

Mila inggih boten kenging kangge wiraosan kaliyan tiyang ingkang dereng nunggil raos, inggih ingkang dereng kepareng angsal ilhaming Pangeran.

Hewadene sanadyana kangge wiraosing kaliyan tiyang ingkang dereng nunggil raos, wedaling pangandika ugi mawia dudugi lan pramayogi, mangertosipun kedah angen mangsa lan empan papan saha sinamun ing lulungidaning basa.

Menggah wontening wewejangan 8 pangkat wau, kados ing ngandhap punika:

Wewejangan ingkang rumiyin, dipun wastani: pitedahan wahananing Pangeran, sasadan pangandikanipun Pangeran dhateng Nabi Muhammad s.a.w. Makaten pangandikanipun:

Sajatine ora ana apa-apa, awit duk maksih awang-uwung durung ana sawiji-wiji, kang ana dhihin iku ingsun, ora ana Pangeran anging ingsun sajatine kang urip luwih suci, anartani warna aran lan pakartiningsun (dat, sipat, asma, afngal).

Menggah dunungipun makaten: kang binasakake angandika ora ana Pangeran anging Ingsun.

Sajatine urip kang luwih suci, sajatosipun inggih gesang kita punika rinasuk dening Pangeran kita, mênggahing warna nama lan pakarti kita.

Punika sadaya saking purbawisesaning Pangeran kita, inggih kang sinuksma, tetep tinetepan, inggih kang misesa, inggih kang manuksma, umpami surya lan sunaripun, mabên lan manisipun, sayekti boten saged den pisaha.

Wewejangan ingkang kaping kalih, dipun wastani: Pambuka kahananing Pangeran.

Pamejangipun amarahakên papangkatan adeging gesang kita dumunung ing dalem pitung kahanan, sasadan pangandikanipun Pangeran dhateng Nabi Muhammad s.a.w. Makaten pangandikanipun: Satuhune ingsun Pangeran sajati, lan kawasan anitahaken sawiji-wiji, dadi padha sanalika saka karsa lan pêpêstheningsun, ing kono kanyatahane gumelaring karsa lan pakartiningsun, kang dadi pratandha.

Kang dhihin,
Ingsun gumana ing dalem awang-uwung kang tanpa wiwitan tanpa wekasan, iya iku alam Ingsun kang maksih piningit.

Kapindho,
Ingsun anganakake cahya minangka panuksmaningsun dumunung ana ing alam pasenedaningsun.

Kaping telu,
Ingsun anganakake wawayangan minangka panuksma lan dadi rahsaningsun, dumunung ana ing alam pambabaraning wiji.

Kaping pat,
Ingsun anganakake suksma minangka dadi pratandha kauripaningsun, dumunung ana ing alaming getih.

Kaping lima,
Ingsun anganakake angen-angen kang uga dadi warnaningsun, ana ing dalêm alam kang lagi kena kaumpamaake bae.

Kaping enem,
Ingsun anganakake budi, kang minangka kanyatahan pencaring angen-angen kang dumunung ana ing dalem alaming badan alus.

Kaping pitu,
Ingsun anggelar warana kang minangka kakandhangan sakabehing paserenaningsun. Kasebut nem prakara ing dhuwur mau tumitah ana ing donya iya iku sajatining manungsa.





Yes, you may trust these premonitions, which describe the essence and extent of knowledge of the prefection of spiritual enlightenment, and this enlightenment eminates from the wise ones of the Isle of Java. It is their desire to reveal the truth of enlightenment as set forth by the Sufistic books.

The revelation of these teachings come from a quite and peaceful mind as you become one with God. Divined through the teachings of the Prophet Moses, God says to his people:

"In truth, mankind is the reality of the Lord, and the Lord is one with mankind."

The word of the Lord is the essence of the message imparted by spiritual teachers to their followers.

These teachings are then divided into 8 levels. The message of each is whispered into the left ears of the faithful.

This practice is observed as a reminder that the teachings of spiritual knowledge should not be revealed carelessly. They should be heard only by those who are open and have been blessed with enlightenment from God.

For this reason, those who are interested in learning about these teachings should pray to God for an open mind so that they may go beyond the texts into an understanding of their deeper meaning. To do otherwise can be truly dangerous.

In order to achieve the complete understanding of these teachings, one must surrender oneself completely to one's own consciousnes.

It is not permissible to discuss these teachings with those who have not had a revelation of spiritual unity and received divine inspiration.

If it is necessary to share these teachings with those who are not yet prepared, then one must exercise great cautions and wisdom by choosing the proper place and time and by carefully explaining the deep symbolism and parables.

As for the eight levels of these teachings, they are as follows:

The first lesson is called:
The knowledge of the the Lord.
One must learn that this great knowledge is delivered through the teachings of the Prophet Muhammad:

"Peace be unto him, In truth nothing existed in the universe, except God. There is no other God. And God exists in utter holiness and perfection throughout all realms of essence, attributes, names, and works."

The importance of what we have just revealed can be understood by the Lord's words "There is no Lord but I."

Life is indeed holy and in truth, our lives are completely imbued with the presence of the Lord in all matter, names, and deeds.

In reality, all life originates from the creation at the hand of God. These creations are inextricably connected in a continuous cycle. For instance, the sun is inseparable from the sunshine, and honey cannot be parted from its sweetness.

The second lesson is a preface which speaks of the existence of God.

It describes our life is divided into seven levels. The Lord told the Prophet Muhammad, "Peace be unto him."He said, "I am the very God, and at My command I have created everything, and it all came into being at once as I ordained and decreed. This creation unfolded at My command and it is a sign."

First,
I was isolated in the heavens, in My untouchable world, without beginning or ending.

Second,
I created light as a spiritual means so that I could manifest Myself and to leave My untouchable realm.

Third,
I created shadows as a means of manifesting Myself in the hidden places of the universe so that I could be present in the genosis of all things.

Fourth,
I gave a living soul to the blood that causes through the world as a sign that I am alive in all things.

Fifth,
I created thoughts as a vehicle for Myself so that I may live in the realm of imagination.

Sixth,
I created the capacity of the mind to discern right from wrong. The mind is the seat of the soul and separate from My presence in the physical body.

Seventh,
I unfolded a screen as a home within which I could rest. All of the six lessons I have stated above were created as a true reflection of the nature of humanity.


Sumber : http://artindonesia.org/pawartos_jawi_sastra_wirayatjati.htm

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