Places to visit in Shirdi - Temple Complex Shirdi

The Saibaba temple is situated in the heart of Shirdi village spreading in approximately 200sqmts, attracting thousands of pilgrims from across the world. The temple premises has several of important sites connected to Saibaba of Shirdi that are venerated by all the devotees. Here we are discussing the important sites inside the complex of Shirdi Saibaba temple.

Khandoba Temple

Khandoba temple holds a special place in Shirdi, since this was the site which saw the coming of Saibaba in his tender years dressed in kafni. It is believed that when this young man, with flowing beards and sparkling eyes, approached the temple premises as one of the guest of a wedding party, the temple priest Mhalsapati greeted him as 'Ya Sai'. This name led to the appellation and evolution of one of the most admired spiritual gurus of India.

Earlier the temple lay on the periphery of the village and Khandoba was the tutelary deity of the Mhalsapati family. Peaceful and secluded ambience of the temple impressed Saibaba. At the entrance to the temple is a large banyan tree which is mentioned in the 'Shri Sai Satcharitra' as the place where the bullock cart halted. It is now commemorated with a small shrine and 'padukas' or footwear of Saibaba lay at its base.

Gurusthan

Gurusthan means the place of the Guru. It is significant because here Saibaba spent most of his time here, when he first came to Shirdi. It is also the same place where, according to Saibaba, the tomb of his own guru was located by the Neem tree. The neem tree is still extant in the Gurusthan and there is also a pair of marble padukas on a pedestal, a 'Shivalinga' and a statue of Baba. A small dhuni on a stand is kept in front of the shrine, which is lit on Thursday and Friday. Gurusthan is a wonderful place sit and meditate in peace that generates an inner peace leading to unison with Sai Baba.

Samadhi Mandir

Samadhi Mandir houses Saibaba's tomb and was originally constructed as a wada (large private house) during Saibaba's last years. The Samadhi Mandir has the statue of Saibaba all in white marble sitting in relaxed, natural and majestic demeanor gazing at the millions of devotees who throng the temple for his blessings.

The daily routine of the temple resumes at 5 in the morning with Bhoopali, a morning song, and closes at 10 in the night after the Shej aarati is sung. Only on three occasions the temple is kept open overnight i.e. on Gurupurnima, Dassera, and Ramnavmi. Every Thursday and on each festival, a Palakhi with Baba's photo is taken out from the temple.

Dwarkamai

Dwarkamai in one of the cherished treasure troves of Shirdi associated with Saibaba. When Shri Sai Baba came to Shridhi with a marriage procession, he stayed at Dwarkamai and remained there till the very end of his life. It is situated on the right of the entrance of Samadhi Mandir. Here Saibaba used to heal the sufferers and the sick.

Dwarkamai used to be an old mosque in a very bad shape. Saibaba restored its sanctity turning it into Dwarkamai. It has a portrait of Saibaba and a big stone where he used to sit. Dwarkamai has the Kolamba, water pot and the grinding stone associated with Saibaba. It also has a chariot and a palkhi.

Chavadi

Chavadi literally means village office. In Shirdi Sai temple Chavadi is located on the right side of Dwarkamai. Saibaba used to alternatively sleep in Chavadi, during the last decades of his life. Chavadi is open to devotees from 5am to 9pm. Inside the Chavadi there is large portrait of Saibaba. It also has a wooden bed on which Saibaba was given his last bath before passed away in Dwarkamai. The building also has the framed photo of the cross-legged Saibaba which is taken out on procession on festivals and each Sunday.

Lendi Gardens

Lendi is an important place where Saibaba used to spend his time everyday. It has some tombs, a shrine and a perpetually burning lamp lit by Saibaba and placed between the two trees he planted.

All Sai devotees should utilize Shri Sai Satcharitra in the following manner:

All Sai devotees should utilize Shri Sai Satcharitra in the
following manner:

Get the book, Shri Sai Satcharitra in whatever language one choose
to read. Neatly wrap it in a piece of cloth, and place it near
Baba's photograph or idol with due sanctity.

Whether at home or elsewhere, one should always read a few pages of
the book every night before going to sleep. Every devotee should try
to keep Baba as the last thought before going to sleep.

During a crisis it should be read devoutly for a week, as is
mentioned in Shri Sai Satcharitra. If possible reading should begin
on a Thursday or on some other special day, such a Ramnavmi,
Dussehra, Gurupurnima, Janmashtami, Mahashivratri, Navratri, etc.
After its completion on the seventh day, one should feed the poor
and destitute either in the Temple or at home or wherever possible.

One should read it sitting in some isolated corner in the Temple or
in front of Baba's statue or photograph/painting . If other people
are present, then it should be read to them as well. Group reading
should always be encouraged.

Wherever and whenever possible, it should be read continuously from
sunrise to sunset in the Temples on auspicious days. Devotees may be
asked to read in turns, as in done in chanting the holy name i.e.
Naamjap. Encourage children to read this book. Question-answer
competitions based on Shri Sai Satcharitra can be organized in
Temples.

Shri Sai Satcharitra should be read to the devotees who are sick,
aged and those nearing death as much as possible. All of them will
get peace.

Shri Sai Satcharitra is reasonably priced book and is easily
available in Shirdi. Therefore, any devotee visiting Shirdi must
bring few copies with him to distribute among the people free of
cost.

At times of stress and agony, if one sincerely searches for the
answers from Shri Sai Satcharitra he will not only find the answers
but also solace. His faith will grow in Baba.

May Shri Sainath reveal the Divine knowledge and mysteries contained
in this book to the devotees in the same manner in which He had
inspired Hemadpant to write this book. Shri Sai Satcharitra should
be considered by all devotees as the Gita,Bible, and Holy Quran.

Bow to shri sai - peace be to all
sai ram

CENTRAL RAILWAYS ADVERTISEMENT OF SAI EXPRESS

OM SAI RAM
here is an advertisement of Central Railways published in The Times of India Newspaper on 21/03/2009 on the overwhelming response by Devotees thronging to go to Shirdi by Saiexpress.

Sai Prasadalya

Thousands of Sai Baba devotees receive Anna Dana

Shirdi (Maharashtra) , Wed, 18 Mar 2009

Shirdi (Maharashtra) , Mar.18 (ANI): Tens of thousands of devotees of Sai Baba were recently given Anna Dana at the annual prasadalaya function here, taking forward a tradition first started by the Sai Baba himself.

Devotees accepted the delicious prasad at a nominal rate. Sources at the Shree Sai Baba Sansthan Trust said, nearly 1.5 crore devotees benefited from the prasad and the meals that were served.

The trust spends Rs.25 crore annually on the prasadlaya. The donation is considered very valuable in today's age, which is known as KALYUG in the Hindu mythological context.

According to the trust, one should constantly endeavor to donate and help the needy, especially those who are suffering from hunger and malnutrition.

Legend has it that Sai Baba used to feed the hungry in his own unique way, taking the whole process to a spiritual plane.

He used to prepare the food himself, and ground the spices on a grinding stone. He also used to purchase foodgrains that were to be cooked and subsequently distributed by him personally.

The trust is really a place of faith for all Sai Baba devotees. They relish their food, which can be procured for as little as Rs.5 per person and Rs.2 for a child.

On any given normal day, 35,000 to 40,000 devotees attend the activities at the Sai Baba Trust. During occasions like festivals and vacations, the number goes up to 70,000 or 80,000.

One hall can accommodate up to 5,000 devotees, and a meal often includes servings of rice, roti, dal, two vegetables and a sweetmeat.

Free provision of food is given to the poor, blind, the physically challenged and hermits.

The prasadalaya purchases the foodgrains once a year, and it includes 9000 quintals of wheat, 5,500 quintals of rice, 6,500 quintals of besan, 9,500 quintals of sugar, and 11,000 quintals of tur dal, besides 6,200 quintals of vegetables which are stored in the cold storage of the trust. Another 2000 quintals of food grains is also purchased every year.

The prasadalaya operates for twelve hours every day and has 474 workers., 404 of whom are permanent.

The prasadalaya is the largest of its kind in India. A one storeyed building which has been built on seven acres of land at a cost of Rs.20 crores. (ANI)

Bow to shiri sai - peace be to all

Baba's Mosque(Dwarkamai) INTRODUCTION

INTRODUCTION

"Highly merciful is this masjid ayi. Once a person climbs into her lap, all their troubles are over."
Sri Sai Baba

Arriving at the mosque for the first time, you may be rather surprised. Was this simple, unadorned structure really the home of "God on earth"? Was this really the centre from which so many miraculous events sprang? Could such a modest building have been the scene of the highest spiritual instruction that flowed forth in almost as many different forms as the number of visitors seeking it?

With its corrugated iron roof and rough stone walls, the mosque could never be described as grand. Yet, in spite of this - or rather, because of this - it seems to have suited Baba very well. Describing himself as a simple fakir, Baba was a model of dispassion and non-attachment. His personal possessions amounted to little more than a few pieces of cloth, some chillim pipes, a stick, a begging bowl, and a change of kafni - and not always even that. Whenever his devotees wanted to refurbish the mosque, Baba resisted, saying that it was not necessary, although basic repair work was gradually carried out.

To the devotees of Sai Baba, Dwarkamai is one of the treasures of Shirdi. The spirit of tolerance, acceptance and welcome for all is very much alive. Baba has said that merely going inside the mosque will confer blessings, and the experiences of devotees confirm this. Sai Baba respected all religions and creeds, and all had free access to the mosque. It is typically unique of Sai Baba that he regarded a place of worship - the mosque - as a mother. He once told a visitor, "Dwarka-mai is this very mosque. She makes those who ascend her steps fearless. This masjid ayi is very kind. Those who come here reach their goal!" As Sri Babuji has observed, "The Islamic concept of the masjid as the solemn court of the sovereign Creator has been transformed by Sri Sai Baba in his own unique and inimitable way, into the loving lap of a doting mother, the masjid ayi."

On entering the mosque, one is struck by its powerful atmosphere and the intensity and absorption with which visitors are going about their worship. Another point we notice is the great diversity of devotional expression. Some people will be kneeling before Baba's picture or making offerings, others will be praying before the dhuni (perpetually burning sacred fire), some may be doing japa or reading from sacred texts, and others will be sitting in contemplation.

If we spend some time here we may become aware of a mysterious phenomenon. The "ayi" aspect of the masjid reveals itself in a number of ways and we feel we are sitting in Baba's drawing room. See that child over there happily crawling around with a toffee in its mouth, or her sister colouring a comic book? And what about that old man complaining to Baba about his aches and pains, or that woman sitting with her son on her lap telling him a story? Opposite is a large family group. The grandmother has a tiffin tin, and having offered some to Baba, she walks around giving a handful of payasam (sweet rice) to everyone in the mosque. We almost feel we are receiving prasad from Baba himself, and perhaps we are then reminded of some of the stories in Baba's life in which devotees brought offerings, or when he affectionately distributed fruit or sweets with his own hands. The atmosphere is so homely in this abode of Sai-mavuli! But what is perhaps more remarkable, is that this homeliness co-exists with a powerful experience of the sacred and transcendent. The spirit is profoundly moved by "something" - something indefinable, something great, something mysterious, something magnetically attractive.

As we explore Sai Baba's Shirdi, this aspect of Baba - at once the concerned mother and the Almighty - is shown again and again. Many devotees relate to Baba as a mother, and many as a God supreme. That these two are so perfectly synthesized in Baba - see his care for both the smallest domestic detail as well as the ultimate spiritual attainment - is perhaps the most beautiful and unique aspect of Shirdi Sai.

When Sai Baba moved into this mosque it was an abandoned and dilapidated mud structure, much smaller than the one we see today. In fact, it extended only as far as the steps and wrought iron dividers enclosing the upper section, with the rest of the area an outside courtyard. There were no iron bars around the mosque or the dhuni as there are today, and according to Hemadpant, there were "knee-deep holes and pits in the ground"! Part of the roof had collapsed and the rest was in imminent danger of following, so it was a rather hazardous place to live! Once when Baba was sitting in the mosque, eating with a few devotees, there was a loud crack overhead. Baba immediately raised his hand and said, "Sabar, sabar," ("Wait, wait"). The noise stopped and the group carried on with their meal, but when they got up and went out, a large piece of the roof came crashing down onto the exact spot where they had been sitting!

Baba's devotees sometimes pestered him to allow them to renovate the mosque but his initial response was always to refuse. For him there was no need for any alterations. Once, in the mid-1890s, a devotee had some building materials delivered to the mosque with the intention that they should be used for repair work, but Baba had them redirected to a couple of local temples that were in need of restoration.

Later, Nana Chandorkar and Nana Nimonkar were determined that some reconstruction should go ahead, while Baba appeared to be equally adamant that it should not, although he eventually gave permission for it through the intervention of Mhalsapati. At first, whatever work was done, Baba would undo. It seems not an uncommon occurrence with Baba that whenever a new proposal was put forward, particularly with regard to renovation, he would first oppose it, often vehemently, even violently, before eventually acquiescing and allowing the work to go ahead. Eventually the construction team resorted to working at night, and then only on those alternate nights when Baba slept in the Chavadi.

By about 1912 the renovation work was complete and all that remained to be done was the metal roofing for the courtyard. For this, one of Baba's most intimate devotees, Tatya Kote Patil, and some others, arranged for materials to be brought from Bombay. They then set about the work, including digging a trench for the erection of some iron poles, without asking Baba's permission.

When Baba returned from the Chavadi to the mosque and saw what was happening he appeared to be furious, demanding, "What is going on? Who has done this?" He promptly ripped out the poles with his own two hands (though it had taken several people to carry them), and threw stones at the labourers to drive them away. Then he grabbed Tatya by the scruff of his neck until he was unable to speak and almost choking, and violently berated him.

Most of the labourers fled in terror and Tatya was left with Baba. Despite his precarious predicament and Baba's vehement objection to the project, Tatya insisted that the work should be done. Baba threw him to the ground, snatched off the turban that Tatya always wore, flung it into the trench and set fire to it. Still Tatya insisted on the need to make repairs and vowed that he would never wear a turban again until the work was complete. Baba finally relented and by evening had cooled down sufficiently to call Tatya and tell him to again put on a turban. Tatya, however, refused. Eventually, in his loving concern, Baba gave money to someone to bring new cloth and himself tied a new turban on his steadfast devotee.

Some time after this event, Kakasaheb Dixit replaced the original mud floor with tiles and the work was complete.

When Sri Sai Baba moved into the mosque permanently, he had already been in Shirdi for a number of years, staying mostly under the neem tree, with an occasional night at the mosque or in the near vicinity. It could be said that Baba's settling in the mosque marked a turning point in his life, or rather, in that of the village itself, as the shift brought him into closer contact with the local people.

Although Baba had been healing people since his early days in Shirdi and was sometimes called "Hakim" (Doctor), it was a specific and dramatic event which brought him to the attention of the local populace, and it took place in the mosque. Throughout his life Baba displayed a fondness for lights and lamps and would regularly light panatis (small earthenware pots with cotton wicks and oil) in the mosque and certain local temples, in accordance with the Hindu and Muslim view that places of worship should be illuminated at night. For this he depended on the generosity of a few local shopkeepers from whom he used to beg oil. One day, however, his suppliers brusquely refused to give him any oil, claiming that they were out of stock. Baba took this calmly and returned to the mosque empty-handed. The shopkeepers followed him in the gathering gloom, curious to see what he would do. What they witnessed brought them to their knees in awe and wonder. Baba took some water from the pot kept in the mosque, and put it in the jar he used for collecting oil. Shaking it up he drank the oily water, then took another jar of water and filled the four lamps with it. Next he lit the lamps, and - to the shopkeepers' astonishment - they not only burned, but remained alight all night. Afraid of being cursed by a man of such powers, the shopkeepers begged Baba's forgiveness. This was freely given, but Baba pointed out the importance of speaking the truth - if they did not want to give, they should simply say so directly and not lie about it.

The wondrous nature of this event, which is said to have taken place in 1892, and the many such leelas which followed, precipitated an influx of visitors to the Shirdi mosque that has never stopped growing. To this day, lamps are burnt continually in Dwarkamai, providing us with an unbroken link to Baba and the lamps that he himself started and lovingly kept alight.

During Baba's time Dwarkamai was always referred to simply as "the masjid" or mosque. The name "Dwarkamai" came into popular vogue only after Baba passed away but was first coined when a devotee once expressed a wish to make a pilgrimage to Dwarka, a town in Gujarat sacred to Krishna. Baba replied that there was no need to go as that very mosque was Dwarka. "Dwarka" also means "many-gated", and "mai" means mother, hence "the many-gated mother" (and Baba did often call it the "masjid ayi"). The author of the English adaptation of Shri Sai Satcharitra, N. V. Gunaji, identifies another definition of Dwarka as given in the Skanda Purana - a place open to all four castes of people (Brahmins, Kshatriyas, Vaishyas and Sudras) for the realization of the four corresponding aims of human existence (i.e. moksha or liberation, dharma or righteousness, artha or wealth, and kama or sensual pleasure). In fact, Baba's mosque was open not only to all castes, but also to untouchables and those without caste. All these interpretations of the name are appropriate for Sai Baba's mosque, but the association that is dearest to the heart of a sentimental Sai devotee is that pointed out by Sri Babuji - dwar-ka-mai: the mother (mai) waiting at the door (dwark) to nourish her child. Just as a loving mother will allow her child to continue playing happily until he or she gets weary or hungry, and will then offer whatever her child needs, so our motherly Sai Baba is waiting to receive us.

Appropriately, Dwarkamai remains open all night (the lower level, that is) so we may go there at any time. During festivals and weekends the mosque may be deluged by devotees, but at other times, especially late at night, it will be less crowded. Three days a year, during the festivals of Ramnavami, Gurupoornima and Vijayadasami, the upper level is also kept open for twenty-four hours continuously.

The Dhuni

For many visitors, the dhuni is the most significant part of Dwarkamai, as it is so intimately associated with Baba. The dhuni is the sacred, perpetually burning fire that Baba built and which has been maintained ever since, though today the fire is much bigger and is enclosed behind a wire cage.

The maintenance of a dhuni is important in several traditions, including Zoroastrianism, Sufism and Hinduism (especially the Nath sect). Fire was also important to Baba, as wherever he stayed - whether under the neem tree, in the forest, or in the mosque - he always kept a dhuni. Baba, however, was not bound by any convention or set rules, nor did he worship the fire. He simply maintained it, using it for his own particular and mysterious purposes. There were none of the classic restrictions around Baba's dhuni. Baba did not prevent others from touching it - indeed, villagers would sometimes come to take embers with which to kindle their own household fires, and whenever Radhakrishnayi used to spring-clean and whitewash the mosque at festival times, she would move the dhuni into the street outside. Baba did not confine himself to burning only wood on the dhuni, but would throw his old clothes on it once they were worn out, and he would adjust the fire with his foot. (In Indian culture it is considered disrespectful to touch or point to anything with the foot.) One day, the fire in the mosque got wildly out of control, with flames leaping up to the roof. None of those present with Baba dared say anything to him but they were nervous. Baba responded to their uneasiness, not by prayer or supplication, but by majesterially rapping his satka (stick) against a pillar and ordering the flames to come down and be calm. At each stroke the flames diminished and the fire was soon restored to normal.

When Baba returned from his morning begging rounds with a cloth bag of food and a tin pot of liquids, he would first offer some of it at the dhuni before taking any himself. We may not be able to discern exactly why or how Baba used the dhuni, but it is evident that despite the apparent informality around it, the fire was an important part of his routine. According to the Shri Sai Satcharitra, the fire symbolized and facilitated purification and was the focus of oblations, where Baba would intercede on behalf of his devotees. Once when Baba was asked why he had a fire, he replied that it was for burning our sins, or karma. It is reported that Baba would spend hours sitting in contemplation by the dhuni, facing south, especially early in the morning after getting up and again at sunset. Mrs Tarkhad, who had Baba's darshan regularly, says that at these times "He would wave his arms and fingers about, making gestures which conveyed no meaning to the onlookers and saying 'Haq' which means God."

The spot where Baba used to sit is marked by a small pair of silver padukas. Look carefully - on the floor just in front and to the right of the dhuni - for they are easy to miss. We feel awed when we see the padukas and reflect on what issued from here - this was the spot where Baba stood and sat, his finger on the pulse of the universe, controlling, effecting, giving, protecting, never resting but constantly seeing to the needs of his devotees, for as he said, "If I don't take care of my children night and day, what will become of them?"

Today the dhuni is maintained in a carefully designed structure lined with special fire-bricks, in the same place that Baba used to have it. Baba made an intriguing comment about this spot, saying that it was the burial place of one Muzafar Shah, a well-to-do landowner, with whom he once lived and for whom he had cooked. This is recorded in Charters and Sayings, but as so frequently when Baba speaks about his personal history, we do not know to which life he was referring.

In 1998 the Sansthan undertook the rebuilding of the dhuni pit and re-designed the chimney to its current distinctive shape.

Bow to Shri Sai - Peace be to all

Puja Pillar

Puja Pillar

Just in front of the dhuni, on the right as you face it with your back to the portrait, you will see a painted wooden supporting pillar; the silver padukas are at the bottom of it. This pillar played a small but significant part in the history of Sai worship. H. V. Sathe has described how there were no Gurupoornima celebrations until the day that Baba sent for Dada Kelkar and said, "Don't you remember that today is Gurupoornima?" Pointing to the pillar in the mosque, Baba told him, "Go and bring puja material and worship that post!" From then on, according to Sathe, the practice of celebrating Gurupoornima by worshipping Baba was continued.

The correlation of the pillar, which is essential to the construction's stability, and the guru, is a pertinent one for devotees. Today when we look at this post it appears so ordinary and unremarkable, yet it stands in Baba's mosque, and is a reminder of the early days of a most extraordinary and remarkable movement. From our own experience, we can imagine the keen emotions of those early devotees, eager to offer worship to their beloved gurudeva, yet at the same time, uncertain of how Baba would receive it and whether he would allow it. Remembering this, looking at the pillar today may evoke a feeling of affinity with and appreciation for those early pioneers along the path of Sai.

The nimbar

The nimbar

On the western wall of the mosque - in the direction of Mecca - is a nimbar or niche, with a set of lamps in front of it. The nimbar is a standard feature of all mosques, but the lamps were put there by Baba. In Dwarkamai this spot, which is near where Baba used to sit, is decorated with a garland of flowers.

The Shri Sai Satcharitra relates that it was here that Baba used to have his midday meal, sitting behind a curtain with his back to the nimbar, and a row of devotees on either side of him. This is also the place where Baba would sleep with his head pointing towards the nimbar, with Mhalsapati on one side of him and Tatya Kote Patil on the other.

Baba occasionally did namaz (ritual prayers) here and Muslims would sometimes come for this purpose. A group of elders once came from the local Muslim headquarters of Sangamner, a town about fifty kms away, to investigate Baba following complaints of his heterodoxy from local Muslims. When they arrived they found Baba smearing fresh cowdung paste on the floor (a common practice in rural India). After answering their questions Baba suggested they do namaz together as it was already noon. Seeing the wet floor and their own clean clothes, they hesitated. "If you do namaz with a clean heart, no dirt will stick to you," counselled Baba. "Let's start...Allah Malik." The men had no choice but to kneel down. Afterwards they were astonished to see their clothes still in pristine condition. They concluded that Baba was a great saint and therefore no formal procedures were necessary for him.

The Grinding stone and bag of wheat

A grinding stone - a common household item in rural India - is kept in the north corner of the western wall. Baba apparently had two or three such stones (another is on display in the Samadhi Mandir) which, on occasion,

he used for grinding wheat. The most famous of these became the inspiration for Hemadpant's celebrated Shri Sai Satcharitra. It is described as follows:

One morning, some time after the year 1910, while I was in Shirdi, I went to see Sai Baba at his mosque. I was surprised to find him making preparations for grinding an extraordinary quantity of wheat. After arranging a gunny sack on the floor, he placed a hand-operated flour mill on it and, rolling up the sleeves of his robe, he started grinding the wheat. I wondered at this, as I knew that Baba owned nothing, stored nothing and lived on alms. Others who had come to see him wondered about this too, but nobody had the temerity to ask any questions.

As the news spread through the village, more and more men and women collected at the mosque to find out what was going on. Four of the women in the watching crowd forced their way through and, pushing Baba aside, grabbed the handle of the flour mill. Baba was enraged by such officiousness, but as the women raised their voices in devotional songs, their love and regard for him became so evident that Baba forgot his anger and smiled.

As the women worked, they too wondered what Baba intended doing with such an enormous quantity of flour...They concluded that Baba, being the kind of man he was, would probably distribute the flour between the four of them...When their work was done, they divided the flour into four portions, and each of them started to take away what she considered her share.

"Ladies, have you gone mad!" Baba shouted. "Whose property are you looting? Your father's? Have I borrowed any wheat from you? What gives you the right to take this flour away?"

"Now listen to me," he continued in a calmer tone, as the women stood dumbfounded before him. "Take this flour and sprinkle it along the village boundaries."

The four women, who were feeling thoroughly embarrassed by this time, whispered among themselves for a few moments, and then set out in different directions to carry out Baba's instructions.

Since I was witness to this incident, I was naturally curious as to what it signified, and I questioned several people in Shirdi about it. I was told that there was a cholera epidemic in the village, and this was Baba's antidote to it! It was not the grains of wheat which had been put through the mill but cholera itself which had been crushed by Sai Baba, and cast out from the village of Shirdi.

To this day, a grinding stone is kept in the mosque with a sack of wheat beside it, as it was in Baba's time. This tradition goes back many years and is associated with an early devotee of Baba's, Balaji Patil, who was dedicated to Baba's service, cleaning the mosque every day and the streets through which Baba passed (this service was later taken over by Radhakrishnayi). Balaji was a farmer from Nevasa. Once there was a dispute between himself and the landowner, as Balaji claimed the property as his own. Balaji suggested that they go to Baba for arbitration and abide by his decision and the owner agreed to do so. Upon their entering the mosque Baba immediately called out to Balaji to return the land. Balaji used to offer all of his crop to Baba and only when Baba had accepted a part of it would he take the remainder for his livelihood. He maintained this practice thoughout his life and it was continued by his son after he died.

These days a bag of wheat is kept in a glass case by the grinding stone throughout the year, and is replaced annually on the festival of Ramnavami.

Baba's portrait

om sai ram

Baba would spend much of his time in the mosque sitting in front of the dhuni, often with his arm leaning on a little wooden balustrade. A large portrait of Baba, sitting in the same posture, is now to be found here. The picture is kept on a throne-like platform and is the focus of worship, just as Baba himself was when he sat here. Baba sits relaxed and calm, looking out at us with a warm, welcoming, almost amused expression; at the same time the gaze is both penetrating and searching. On seeing the finished work, Baba is reported to have said, "This picture will live after me."

Of the few pictures there are of Baba, we feel we could be looking at a different person in each of them. In satsang Sri Babuji once described the phenomenon of the ever-changing features of a saint's face which he likened to a river: when we watch a flowing river, in one way it is the same river, and in another way it is always different, the water always moving. The saint is one whose actions are free from the influences of past or future. In this way, he is constantly being reborn, each moment a fresh moment, each moment a fresh life! That is why we never get tired of looking at a saint's face - there is always something new in it.

Something of that freshness is evident when we look at the portrait here. No matter how many times we take its darshan, we feel that Baba is greeting us anew. For that, we are indebted to the artist, S. R. Jaikar, from Bombay. The original picture was painted under commission from a close devotee (M. W. Pradhan). At first, Baba did not give permission for the work, claiming that he was just a simple beggar and fakir and what was the point of painting such a person. It would be better for Shama (who relayed the request to Baba) to get his own portrait done, suggested Baba! Luckily for future gen-erations, though, Baba later relented and Jaikar actually painted four pictures, one of which was touched by Baba.

The picture was installed in Dwarkamai after Baba's maha- samadhi. The painting that we see now is a recent copy of Jaikar's original, which was moved to a Sansthan office to preserve it from the drying effects of the dhuni. It can currently be viewed in the Museum Hall adjacent to Dixit Wada.

In front of the portrait is a pair of silver padukas which was installed later. Here it may be worth adding a note about the significance of padukas. They are used throughout India, but particularly in the Datta cult in Maharashtra. Padukas may be a pair of carved "footprints" or a pair of shoes used by the saint. It is the former which we mostly see in Shirdi. Padukas signify the presence of the saint - wherever the feet are, the rest of the body will be! - and thus they are revered.

In Dwarkamai alone, there are five sets of padukas, symbolizing Baba's presence and aiding us in remembrance and worship. Taking the lowest part of the saint's body, we touch it with the highest part of our own (the head) as a gesture of obeisance and respect, in an act of namaskar. When we bow down we are adoring our Beloved, affirming our hallowed connection, and in this way, asking for continued blessings. Sri Babuji elucidates the meaning of namaskar as follows: "The term is said to be a compound of three root words: na (=no) + mama (=I) + aaskaara (=scope) =no scope for the 'I'. Thus it is a state of mind in which the self is effaced by an expressive recognition of the divine magnitude. To bear such a self-effacing feeling in mind is true namaskar ...namaskar symbolizes the state of the ego's readiness to lose itself... [and] is not a mere deferential gesture of greeting, [but] a meaningful technique handed down by the masters of mystic wisdom as a means of effacing the ego."

Baba's photograph and the stone

On the eastern wall, opposite the steps leading up to the dhuni, hangs a large framed picture of what is probably the most famous image of Baba. It is a painting of an original black-and-white photograph.

Baba is seated on a large stone with his right leg crossed over the left thigh, his left hand resting on the crossed foot. He is wearing a torn kafni, a headscarf knotted over his left shoulder, and he sits relaxed yet alert, leaning forward slightly. His expression is at once intense, all-knowing and compassionate, but above all, unfathomable. To Sai devotees, this is probably the most familiar image of Baba. Consequently, many believe that this posture was a common one of Baba's. Some suggest that Baba adopted this pose deliberately, as in Indian iconography it represents sovereignty, and is associated with gods and maharajahs (and some draw parallels with Dakshinamurti who also sits facing south with one leg crossed over the other). Others say that it has no special significance and that it was not Baba's typical posture. Whatever the facts, the picture is treasured by Sai devotees as one of only six or seven photos that we have of Baba.

Until Baba sat on it, the stone was used by devotees for washing their clothes (remember that in those days, the mosque consisted of only the raised area around the dhuni, so the stone was outside). One day Baba happened to sit down on it and someone took the opportunity to photograph him. Once he had sat on it, the stone was considered sacred and no longer used for washing. It is that stone, set with a pair of marble padukas, which is now under Baba's photo. The owner of the original painting of this photo, D. D. Neroy from Bombay, gave the painting to his guru, Kammu Baba, who later gave it to the Sansthan. It is likely that this was the picture that the Sansthan gave as a model to the sculptor who carved Baba's statue for the Samadhi Mandir.

Devotees meditate on and worship this picture. Baba has said that there is no difference between his physical self and his image. Indeed, he even proved this on a number of occasions. When Balabua Sutar came to see Baba for the first time in 1917, Baba said that he had known him for four years. This puzzled Sri Sutar, but then he remembered that he had prostrated before a picture of Baba in Bombay four years previously, and it was that to which Baba was alluding. Even more dramatically, Baba once came to Hemadpant in a vision and told him he would be coming for lunch that full moon festival day. In an extraordinary chain of events, a picture of Baba was unexpectedly delivered to Hemadpant's house just as the midday meal was about to be served!

The cooking hearth and the wooden post

To the left of the courtyard area of the mosque is the small hearth where Baba sometimes used to cook. Like most things here, it is now enclosed in a wire cage but in Baba's time and until recently it was, of course, open.

Here Baba would occasionally prepare large quantities of sweet milk-rice, pulao and other food for distribution among visitors. He would supervise the whole process himself, including shopping, grinding spices, and chopping the ingredients. The food was cooked in huge copper pots � enough for 50-200 people � which are now on display in the Samadhi Mandir.

An outstanding aspect of Baba's cooking style was that rather than use a ladle or a spoon, he would stir the scalding food with his bare hand, without causing himself any injury. The Shri Sai Satcharitra describes tenderly and in great detail how and what Baba would cook, "then with his own hands, serve very lovingly to all, with great respect. And those desirous of eating would happily partake of the food till quite full, even as Baba pressed them to have more, saying affectionately, 'Take, take some more!' Oh, how great must have been the merit of those who partook of this most satisfying meal! Blessed, blessed were those to whom Baba served himself." The author adds that once the number of visitors became very large and the quantity of food offerings also increased, Baba cooked less often. Baba never gave up the custom of begging for his food throughout his long life.

Beside the stove is a three-foot tall wooden post, which Baba would lean against while cooking. Though it is unremarkable looking, it is thought to be invested with healing properties since Baba once advised a close devotee (Sai Sharananand, then Vaman Patel) suffering from a severe pain in his knee to touch the post with his knee and then do pradakshina around it. The devotee did this and the pain disappeared. To this day, people with bodily aches and pains also like to lean against the post as a means of receiving Baba's blessing for their healing.

Padukas where Baba used to stand

Padukas where Baba used to stand

Just behind the cooking area is the place where Baba would stand, usually before going to Lendi, leaning against the mud wall. He would call out to villagers in a friendly way, "How are you?" "How's the crop coming along?" "How are your children doing?" Following Baba's mahasamadhi, a pair of padukas was installed in this spot and a small shrine placed over them. In the wall above is a smaller set of padukas where he is said to have leaned his arm.

The bell

Hanging to the left as you enter Dwarkamai is a bell. This is rung three times a day, at 4.00 a.m. 11.30 a.m. and 8.30 p.m. If it rings at any other time it is taken as an alarm signal, and villagers will rush to Dwarkamai to find out what the trouble is.

Some people say that Baba put the bell here himself. Certainly we know that it was there during his lifetime as there is reference to it in Shri Sai Satcharitra. When Baba sent Hemadpant to talk with Shama, just as Shama had finished relating a beautiful leela to him, "the bell in the mosque began to ring, proclaiming that the noon worship and arati ceremony had begun. Therefore Hemadpant and Shama hurried to the mosque."

Shyam Sunder Hall/Old Parayana Hall

Adjoining the eastern wall of Dwarkamai is what was, until 1999, a parayana hall, or reading room (the entrance is outside the mosque around the left-hand corner as you come out). When Sai Baba was living in Dwarkamai, there was a collection of sheds where the current building now stands, part of which was used as a school. Madhav Rao Deshpande, alias "Shama" (Baba's nickname for him) was a teacher there. He was one of Baba's earliest devotees and became one of the most intimate. Shama reported that there was a small window in the dividing wall through which he sometimes used to peep at Baba and "I realized that he had remarkable powers and began to have faith in him."

The ardent devotee, Radhakrishnayi, who was instrumental in developing Baba's Sansthan, probably stayed in one of these sheds when she first came to Shirdi. Baba used to send visitors to her and referred to her room as "the school". Abdul Baba also lived here for a while. In the few years before Baba's mahasamadhi, part of the building was used as a stable for Shyam Sunder, Baba's celebrated and beloved horse. It was built with the money donated (500 rupees) by a grateful Sakharam Aurangabad-kar from Sholapur, whose wife had given birth to their first child after twenty-seven years of marriage, once she had resorted to Sai Baba.

The building is now used as a storeroom and a new Parayana Hall on the west side (beside Lendi Gardens) has been built as part of the new complex. It is open from 5 a.m. to 8 p.m.

Before leaving the mosque, let us sit for a few moments in this sacred abode of Baba. While doing so, we may recall Baba's loving and reassuring words: "As soon as one climbs the steps of the mosque, suffering due to karma is over and joy begins... She will save anyone who is in danger...Whoever sleeps in her shade will attain bliss...enter this masjid ayi and your goal will be achieved..."

Sri Babuji draws our attention to a peculiar but quietly spectacular feature of Dwarkamai: although the mosque may be full of people, activity and noise, when we sit here we feel that we are in a pool of silence and alone with Baba. Somehow, the noise is not a disturbance to us, and despite the comings and goings, we feel unusually still and peaceful.

GOOD LUCK TO ALL STUDENTS: SAI BABA

BABA KNOWS EVERY THING

SHRADHAA AND SABURI

Dasganu’s kirtans had an electric effect. At the Koupineshwar temple in
Thane, Dasganu performed a kirtan. One Mr. Cholkar, a devoted listener
at the kirtan, was so moved that he prayed to Baba for a permanent job.
Cholkar mentally told Baba that he would come to Shirdi and distribute
sugar candy in Baba’s name if he got the job. Cholkar got the job by
Baba’s grace. Now Cholkar had to take a trip to Shirdi and distribute
sugar candy. To save for the Shirdi trip, Cholkar started having tea
without sugar. Then, as per his vow, Cholkar came to Shirdi, fell at Baba’s
feet and said that he was very pleased with His darshan and his desires
were fulfilled that day. Then, without any mention of Cholkar’s vow, Baba
casually said to Bapusaheb Jog “Give him cups of tea fully saturated with
sugar” (Chapter 15)
(Baba knows everything. He knows the untold story of Cholkar having tea
without sugar for saving money. Baba wanted by His words to create faith
and devotion in Cholkar’s mind)
(This is very important for us to remember. Baba knows whatever
we vow. Through Cholkar’s story Baba is sending us, todays
devotees, a message

AIRPORT IN SHIRDI

Here is a cut out details from news paper attached below for devotee's information . Jai Sai Ram .

Lucknow Feb 06, 2009

Ashok Khambekar, Managing Trustee, Shri Sai Baba Sansthan (SSBS), Shirdi (Maharashtra) , who was here in Lucknow to announce Sai Bhakt Sammelan to be organised in Lucknow on March 1 with expected presence of over one lakh devotees, said that such Sammelans would be organised in different parts of the country as this year would mark completion of 100 years of Sai Baba's "Shobha Yatra" from Dwarkamai to Chavdi.

"This year on Dec 10, 100 years of the shobha yatra would be completed as it was first taken out in 1908," he said.

Khambekar said a Rs 303 crore plan had been drawn up for development of the Sai Baba temple at Shirdi under which An Airport, a Hospital and a Guest House would be built.

1. He said over 1,000 acres of land had been acquired by the Civil Aviation Ministry for construction of the airport at Kakde, about 15 kms from Shirdi. The airport would be completed in the next two years, he added.

2. A 334-room guest house costing Rs 17 crore was under construction while Sai Ashram, which could house 16 thousand devotees was being built at a cost of Rs 25 crore.

3. The super speciality hospital was being built at a cost of Rs 22 crore while Rs 35 crore was being spent to construct a "Prasadalaya" (a place where prasad is made) equipped with modern equipment.

About the programme being organised in Lucknow, a statue and paduka (shoes) of Sai Baba would be brought here from Shirdi and a pujan would be held on March 1 in which over one lakh devotees would participate.

"Besides the state Governor and Chief Minister, priests of over 15 Sai temples and people of different religions will be invited to the programme. A debate on national integration will also be held later in the day", Vice President of Shri Shirdi Sai Dham Trust, Lucknow Ajay Kumar Singh Aditya said.

Shri Sai Baba Mandir in Shirdi, Maharashtra received a record secret donations of Rs 81 crore cash, 120 kg gold and 440 kg silver in calendar year 2008.

"Secret donations received by the temple last year is a record in its history. We received Rs 60 crore cash, 104 kg gold and 235 kg silver in 2007 which rose to Rs 81 crore cash, 120 kg gold and 440 kg silver in 2008," Ashok Khambekar, Managing Trustee, Shri Sai Baba Sansthan (SSBS), Shirdi (Maharashtra) told reporters here.

Source : http://news.outlookindia.com/item.aspx?653523

SAI KI MADHURVANI

|| Shri Satguru Sainath Maharaj Ki Jai ||

Mere Marg Par Aake to Dekh,

Tere Sab Maarg Na Khol Du To Kahenaa

Mere Liye Kharch Karke To Dekh,

Kuber Ke Bhandaar Na Khol Du To Kehnaa,

Mere Liye Kadve Vachan Sunkar To Dekh,

Tujh Par Meri Krupaa Na Barse To Kehnaa,

Meri Taraf Aake To Dekh,

Tere Dhyaan Na Rakhu To Kehnaa,

Meri Baat Logose Karke To Dekh,

Tujhe Mulyavaan Na Banaa Du To Kehnaa,

Mere Charitro Kaa Manan Karke To Dekh,

Gyan Ke Moti Tujme Na Bhardu To Kehnaa,

Mujhe Apnaa Madadgaar Banaake To Dekh,

Tujhe Sabki Gulami Se Na Chhuda Du To Kehnaa,

Mere Liye Aasu Bahaake To Dekh,

Tere Jivan Mein Aanand Ke Saagar Na Bahaa Du To Kehnaa,

Mere Liye Kuchh Ban Kar To Dekh,

Tujhe Kimati Na Banaadu To Kehnaa,

Mere Marg Par Nikalkar To Dekh,

Tujhe Shantidoot Na Banaa Du To Kehnaa,

Swayam Ko Nyochhavar Karke To Dekh,

Tujhe Mashhur Na Banaa Du To Kehnaa

Mera Kirtan Karke To Dekh,

Jagat Kaa Vis-smaran Na Karaa Du To Kehnaa,

Tu Mujhe Har Pal Yaad Karke To Dekh,

Teraa Rakshak Na Ban Jaau To Kehnaa,

Tu Mera Bankar To Dekh,

Har Ek Ko Tera Na Banaa Du To Kehnaa,

Tu Mere Naam Ki Ek Maalaa Jap Ke To Dekh,

Tere Vichhaar Pavitra Na Kar Du To Kehnaa,

Tu Dukhiyo Ke Sevaa Karke To Dekh,

Tere Man Mein Shaanti Na Bhar Du To Kehnaa,

Tu Mujhe Apne Ghar Me Bithaake To Dekh,

Tera Ghar Swarg Na Banaa Du To Kehnaa,

Meri Bhabhuti Ka Tilak Karke To Dekh,

Tujhe Divyataa Arpan Na Karu To Kehnaa,

Tu Mera Prasad Grahan Karke To Dekh,

Tere Gharme Anna Kaa Bhandaar Na Bhar Du To Kehnaa ||

SAI KASHT NIVAARAN MANTRA

|| Shri Sadguru Sainath Maharaj Ki Jai ||

Kashto Ki Kaali Chhaaya Dukh Daayi Hai,

Jeevan Mein Ghor Udhaasi Laayi Hai,

Sankat Ko Taalo Sai Duhaai Hai,

Tere Sivaa Naa Koi Sahaayi Hai,

Mere Man Teri Murat Samaayi Hai,

Har Pal Har Skhan Mahimaa Gaayi Hai,

Ghar Mere Kashto Ki Aandhi Aayi Hai,

Aapne Kyu Meri Sudh Bhulaayi Hai,

Tum Bhole Naath Ho Dayaa Nidhaan Ho,

Tum Hanumaan Ho Mahaa Balwaan Ho,

Tumhi Ho Raam Aur Tumhi Shyaam Ho,

Saare Jagat Mein Tum Sabse Mahaan Ho,

Tumhi Mahaakali Tumhi Maa Shaarde,

Kartaa Hu Praarthanaa Bhave Se Taar De,

Tumhi Mohammad Ho Garib Navaaz Ho,

Naanak Ki Vaani Mein Isaa Ke Saath Ho,

Tumhi Digambar Tumhi Kabir Ho,

Ho Budha Tumhi Aur Mahaavir Ho,

Saare Jagat Ka Tumhi Aadhar Ho,

Niraakar Bhi Aur Saakar Ho,

Kartaa Hu Vandanaa Prem Vishwaas Se,

Suno Sai Allaah Ke Vaaste,

Adhro Mein Mere Nahi Muskaan Hai,

Ghar Meraa Banane Lagaa Smashaan Hai,

Rahem Nazar Karo Ujhade Viraan Pe,

Jindagi Savregi Ek Vardaan Se,

Paapo Ki Dhop Se Tan Lagaa Haarne,

Aapkaa Ye Daas Lagaa Pukaarne,

Aapne Sadaa Hi Laaj Bachaae Hai,

Der Naa Ho Jaaye Man Shankaaye Hai,

Dhire Dhire Dhiraj Hi Khotaa Hai,

Man Mein Basaa Vishwaas Hi Rotaa Hai,

Meri Kalpanaa Saakaar Kar Do,

Suni Jindagi Mein Rang Bhar Do,

Dhote-Dhote Paapo Kaa Bhaar Jindagi Se,

Main Haar Gayaa Jindagi Se,

Naath Avgun Ab To Bisaaro,

Kashto Ki Leher Se Aake Ubaaro,

Kartaa Hu Paap Main Paapo Ki Khaan Hu,

Gyaani Tum Gyneshwar Main Agyan Hu,

Kartaa Hu Pag-Pag Par Paapo Ki Bhool Main,

Taar Do Jeevan Ye Charon Ke Dhul Se,

Tumne Ujaadaa Huaa Ghar Basaayaa,

Paani Se Deepak Bhi Tumne Jalaayaa,

Tumne Hi Shirdi Ko Dhaam Banaayaa,

Chhote Gaon Mein Swarg Sajaayaa,

Kasht Paap Shraap Utaaro,

Pren Dayaa Drishti Se Nihaaro,

Aap Kaa Daas Hu Aise Naa Taaliye,

Girne Lagaa Hu Sai Sambhaaliye,

Saiji Baalak Main Anaath Hu,

Tere Bharose Rehtaa Din Raat Hu,

Jaisaa Bhi Hu, Hu To Aapkaa,

Kije Nivaaran Mere Santaap Kaa,

Tu Hai Saveraa Aur Main Raat Hu,

Mel Nahi Koi Phir Bhi Saath Hu,

Sai Mujse Mukh Naa Modo,

Bhich Majdhaar Akelaa Naa Chhodo,

Aapke Charno Mein Base Praan Jai,

Tere Vachan Mere Gurusamaan Hai,

Aapki Raaho Pe Chaltaa Daas Hai,

Khushi Nahi Koi Jeevan Udaas Hai,

Aansu Ki Dhaaraa Hai Dubataa Kinaaraa,

Jindagi Mein Dard, Nahi Gujaraa,

Lagaayaa Chaman To Phool Khilaao,

Phool Khile Hain To Khushbu Bhi Lao,

Kar Do Ishaaraa To Baat Ban Jaaye,

Jo Kismat Mein Nahi Wo Mil Jaaye,

Bitaa Zamaanaa Ye Gaake Fasaanaa,

Sarhade Jindagi Mout Kaa Taraanaa,

Der Ho Gayi Hai Andhere Naa Ho,

Fikr Mile Lekin Fareb Naa Ho,

Deke Talo Yaa Daaman Bachaa Lo,

Hilne Lagi Rahunayee Sambhaalo,

Tere Dam Pe Allah Ki Shaan Hai,

Sufi Santo Ke Ye Bayaan Hai,

Garib Ki Joli Mein Bhar Do Khazaanaa,

Zamaane Ke Waali Karo Naa Bahaanaa,

Dar Ke Bhikhaari Hain Mohtaaj Hai Hum,

Shahanshaahe Aalam Karo Kuch Karam,

Tere Khazaane Mein Allaah Ki Rehmat,

Tum Sadguru Ho Samarth,

Aaye To Dharti Pe Dene Sahaaraa,

Karne Lage Kyun Hum Se Kinaaraa,

Jab Tak Ye Brahmaand Rahegaa,

Sai Teraa Naam Rahegaa,

Chaand Taare Tumhe Pukaarenge,

Janmojanam Hum Raastaa Nihaarenge,

Aatmaa Badlegi Chole Hazaar,

Hum Milte Rahenge Har Baar,

Aapke Kadamo Mein Baithe Rahenge,

Dukhde Dil Ke Kehte Rahenge,

Aapke Marze Hai Do Yaa Naa Do,

Hum To Kahenge Daaman Bhi Bhar Do,

Tum Ho Daataa Hum Hai Bhikhaari,

Sunate Nahi Kyun Arag Hamaari,

Achhaa Chalo Ek Baat Bataa Do,

Kyaa Nahin Tumhaare Paas Bataa Do,

Jo Nahin Denaa Hai Inkaar Kar Do,

Khatm Ye Aapas Ki Takraar Kar Do,

Laut Ke Khaali Chalaa Jaaunga,

Phir Bhi Gun Tere Gaaunga,

Jabtak Kaayaa Hai Tabtak Maayaa Hain,

Isi Mein Dukhon Kaa Mul Samaaya Hain,

Sab Kuch Jaan Ke Anjaan Hu Main,

Allaah Ki Tu Shaan Teri Hu Shaan Main,

Tera Karam Sadaa Sabpe Rahegaa,

Ye Chakra Yug-Yug Chaltaa Rahegaa,

Jo Prani Gaayega Sai Tero Naam,

Usko Mile Mukhti Pohchhe Param Dhaam,

Ye Mantra Jo Prani Nit Gaayenge,

Raahu, Ketu, Shani Nikat Naa Aayenge,

Tal Jaayenge Sankat Saare,

Ghar Mein Daas Vaas Kare Sukh Saare,

Jo Shraddhaa Se Karegaa Pathan,

Us Par Dev Sabhi Ho Prasann,

Rog Samuhh Nasht Ho Jaayenge,

Kasht Nivaaran Mantra Jo Gaayenge,

Pal Mein Dur Ho Sab Paap,

Jo Ye Pustak Nit Din Baache,

Laxmiji Ghar Uske Sadaa Biraaje,

Gyaan Buddhi Praani Vo Paayega,

Kasht Nivaaran Mein Jo Dhyaayega,

Ye Mantra Bhakto Kamaal Karega,

Aaye Jo Anhoni To Taal Dega,

Bhoot-Pret Bhi Rahenge Door,

Is Mantra Mein Sai Sakti Bharpur,

Japte Rahe Jo Mantra Agar,

Jadu Tonaa Bhi Ho Beasar,

Is Mantra Mein Sab Gun Samaaye,

Naa Ho Bharosaa To Aajmaaye,

Ye Mantra Sai Bachan Hi Jaano,

Swayam Amal Kar Satya Pahchhaano,

Sanshay Naa Laanaa Vishwaas Jagaana,

Ye Mantra Sukho Kaa Hai Khazaana,

Is Pustak Mein Sai Kaa Vaas,

Sai Dayaa Se Hi Likh Paayaa Daas ||