Each level of sound
corresponds to a level of existence,
and one's experience of sound
depends upon the refinement of one's
consciousness.
It takes a realized consciousness
to experience the full range of sound,
the full range of existence.
The seers who can comprehend
the four stages of sound
are known as Manishis.
The higher three forms of shabda
are described in the Rig Veda as hidden in "guha",
or within the self,
whereas the forth is the external manifested speech,
known as laukika bhasha.
These four levels of sound correspond
to four states of consciousness.
Para represents the transcendental consciousness.
Pashyanti represents the intellectual consciousness.
Madhyama represents the mental consciousness.
And Vaikhari represents the physical consciousness.
These states of consciousness correspond
with the four states known technically as
jagrat, svapna, sushupti, and turiya -
or the wakeful state,
the dreaming state, the dreamless state,
and the transcendental state.
Shabda-brahman in its absolute nature
is called para.
In manifestation the subtle is always the source of
the gross, and thus from para-vak manifests
the other three forms of sound.
Though the manifestation of sound takes place
from para-vak down to vaikhari-vak
(or fine to gross),
in explaining these stages we
will begin from the external vaikhari-vak,
as that is the sound we all have most experience of.
Vaikhari-vak is the grossest level of speech,
and it is heard through the external senses.
Svaki nivo zvuka odgovara
nivou postojanja,
a nečiji doživljaj zvuka
ovisi o profinjenosti nečije svesnosti.
Potrebna je svesnost na nivou spoznaje
da bi se iskusio čitav opseg zvuka,
čitav opseg postojanja.
Oni koji vide, koji mogu razumeti
četiri nivoa zvuka
poznati su kao Maniše – veliki mudraci
Tri viša oblika šabde opisane su u Rig Vedi
kao skriveni u "guhi", ili unutar jastva,
dok je četvrti
vanjski manifestovani govor,
poznat kao laukika bhasha - (običan govor)
Ova četiri nivoa zvuka se podudaraju
sa četiri stanja svijesti.
Para predstavlja transcendentalnu svesnost.
Pashyanti predstavlja intelektualnu svesnost.
Madhyama predstavlja mentalnu svesnost.
A Vaikhari predstavlja fizičku svesnost.
Ova stanja svesti se podudaraju
sa četiri stanja koja su tehnički poznata kao
jagrat - budno stanje - Vaikhari
svapna - stanje sanjanja - Madhyama
šušupti - stanje bez snova - Pashyanti
turiya - transcendentalno stanje - Para
Šabda-brahman u svojoj apsolutnoj prirodi
naziva se para.
Taj suptilni zvuk je uvek izvor grubog,
i tako iz para-vaka se manifestuju
ostala tri oblika zvuka.
Iako se zvuk manifestuje od para-vaka
do vaikhari-vaka
(ili finog do grubog),
objašnjenje ovih raznih zvukova
započećemo od vanjskog vaikhari-vaka,
jer je to zvuk s kojim svi imamo najviše iskustva.
Vaikhari-vak je najgrublji nivo govora
i on se čuje kroz vanjska čula.
 When sound comes out through the mouth
as spoken syllables
it is called as vaikhari.
Madhyama-vak is the intermediate unexpressed
state of sound, whose seat is in the heart.
The word Madhyama means "in between" or "the
middle". The middle sound is that sound
which exists between the states of sushupti and
jagrat. Madhyama-vak refers to mental speech,
as opposed to external audible speech.
It is on this level that we normally experience
thought. Some hold that wakeful thought is still on
the level of vaikhari.
In the manifestation process,
after sound has attained the form of pashyanti-vak,
it goes further up to the heart
and becomes coupled with the assertive
intelligence, being charged with the syllables a, ka,
cha, tha, ta, etc.
At this point it manifests itself
in the form of vibratory nada rupa madhyama-vak.
Only those who are endowed
with discriminative intelligence
can feel this.
On the levels of madhyama and vaikhari,
there is a distinction between the sound and the
object. The object is perceived as
something different from the sound,
and sound is connected to an object
mostly by convention.
Pashyanti-vak is the second level of sound,
and is less subtle than para-vak.
Pashyanti in Sanskrit means
"that which can be seen or visualised".
In the pashyanti stage
sound possesses qualities such as color and form.
Yogis who have inner vision
can perceive these qualities in sound.
On this stage the differences between
language do not exist,
as this sound is intuitive
and situated beyond rigidly defined concepts.
Zvuk koji izlazi kroz usta
kao izgovoreni slog
se zove vaikhari.
Madhyama-vak je srednje neizraženo stanje zvuka,
čije je sjedište u srcu.
Riječ Madhyama znači "između" ili "sredina".
Srednji zvuk je onaj zvuk
koji postoji između stanja šušupti i jagrat.
Madhyama-vak se odnosi na mentalni govor,
za razliku od vanjskog zvučnog govora.
Na tom nivou obično imamo iskustvo misli.
Neki smatraju da je misao u budnom stanju
još uvijek na nivou vaikhari-vak.
U procesu njenog ispoljavanja,
nakon što zvuk dobije oblik pašjanti-vaka,
on ide dalje do srca
i spaja se sa pouzdanom inteligencijom,
ispunjen slogovima a, ka, ča, tha, ta, itd.
tada se zvuk se manifestuje
u obliku vibracionog nada rupa madhyama-vaka.
To mogu da osete samo oni
koji su obdareni
diskriminativnom inteligencijom.
Na nivoima madhyame i vaikharija
postoji razlika između zvuka i objekta.
Predmet se doživljava
kao nešto što se razlikuje od zvuka,
a zvuk je povezan s objektom
uglavnom zbog ustaljenog pravila.
Pašyanti-vak je drugi nivo zvuka
i manje je suptilan od para-vaka.
Pashyanti na sanskrtu znači
"ono što se može videti ili da se vizualizuje".
Na nivou pašyanti,
zvuk posjeduje odlike poput boje i oblika.
Jogiji koji imaju unutrašnji vid
mogu da opaze ove odlike u zvuku.
Na ovom nivou razlike između
govorrnog jezika ne postoje,
jer je ovaj zvuk intuitivan
i smešten je izvan strogo definisanih pojmova.
On the stage of pashyanti-vak,
speech is intuitively connected to the object.
There is near oneness
between the word and
the experience described.
Pashyanti-vak is the finest impulse of speech.
The seat of pashyanti is in the navel or the
Manipura Chakra. When sound goes up to the navel
with the bodily air
in vibratory form
without any particular syllable (varna),
yet connected with the mind,
it is known as pashyanti-vak.
Para-vak is the transcendent sound.
Para means highest or farthest,
and in this connection it indicates that sound
which is beyond the perception of the senses.
Para-vak is also known as "rava-shabda" -
an unvibratory condition of sound
beyond the reach of mind and intelligence
(avyakta), only to be realized by great souls,
parama-jnanis.
On the stage of para-vak
there is no distinction between the object and the
sound. The sound contains within it all the qualities
of the object.
In terms of the universal cosmology,
vaikhari, madhyama and pashyanti
correspond respectively to bhuh, bhuvah, and svah.
The para-shabda ultimately corresponds to the
Lord's tri-pada-vibhuti.
Within the pashyanti-vak exists the nature's iccha-
shakti, or the power of will.
Within the madhyama-vak exists the nature's jnana-
shakti, or the power of knowledge.
And within the vaikhari-vak exists the nature's
kriya-shakti, or power of action.
The pranava, or the syllable "om",
is the complete representation of the four stages of
sound and their existential counterparts.
The existential realities are
the physical (sthula)
Na nivou pašjanti-vaka,
govor je povezan sa objektom
neposrednim saznanjem.
Skoro da postoji jedinstvo,
između reči i opisanog iskustva.
Pashyanti-vak je najfiniji pokretač govora.
Sedište pašjantija je u pupku ili Manipura čakri.
Kada se zvuk uzdigne do pupka
pomoću telesnih vazduha (prana)
u obliku vibracije
bez ikakvog posebnog sloga (varna),
a ipak je povezan je sa umom,
taj zvuk je poznat kao pašjanti-vak.
Para-vak je transcendentalni zvuk.
Para znači najviši ili najudaljeniji
i s tim u vezi ukazuje na onaj zvuk
koji je izvan opažanja čula.
Para-vak je poznat i kao "rava-shabda" -
nevibrirajuće stanje zvuka
izvan dometa uma i inteligencije (avyakta),
koji spoznaju samo velike duše, parama-jnaniji.
Na nivou para-vaka
nema razlike između predmeta i zvuka.
Zvuk sadrži u sebi sve odlike nekog objekta.
….
U smislu univerzalne kosmologije,
vaikhari, madhyama i pašyanti
se odnosi na bhuh, bhuvah i svah.
I konačno para-shabda se odnosi na
Gospodovu tri-pada-vibhuti.
Unutar pašjanti-vaka je iča-šakti
ili snaga volje.
Unutar madhyama-vaka je jnana-shakti,
ili snaga znanja.
A unutar vaikhari-vaka je kriya-shakti,
ili snaga djelovanja.
….
Pranava, ili slog "om",
potpun je predstavnik četiri nivoa zvuka
i njihovih egzistencijalnih kopija.
Egzistencijalne stvarnosti su
fizička (sthula)
which is connected to the vaikhari-shabda,
the subtle (sukshma)
which is connected to the madhyama-shabda,
the causal (karana)
which is connected with the pashyanti-shabda,
and the transcendental (para)
which is related to the para-shabda.
These four existential realities
further correspond to the four states of
consciousness.
The sthula sarira,
or physical body,
operates in the state of jagrat (wakeful state).
It is in this realm of consciousness,
and through this body,
that the vaikhari-vak is manifested.
The sukshma-sarira, subtle or psychic body,
operates in the state of svapna.
It is in this realm of consciousness,
and through this body,
that the madhyama-vak is manifested.
The karana-sarira, or causal body,
operates in the state of sushupti, or deep sleep.
It is in this realm of consciousness,
and through this body, that the pashyanti-vak
is manifested.
The para-vak is manifested through
the fourth state of consciousness,
known as turiya.
The sacred syllable "om" is composed of three
matras, namely "a", "u", and "m".
These three matras correspond respectively
to bhuh, bhuvah and svah;
jagrat, svapna and sushupti;
sukshma, sthula and karana; and
vaikhari, madhyama and pashyanti.
Besides these three matras,
the pranava ("a-u-m") is also composed
of a forth constituent,
namely the a-matra or anahata-dhvani -
the non-syllable or unstruck sound.
koja je povezana s vaikhari-šabdom,
suptilna (sukšma)
koja je povezana s madhyama-šabdom,
uzročna (karana)
koja je povezana s pašyanti-shabdom
i transcendentalna ( para)
koji je povezan sa para-šabdom.
Te četiri stvarnosti postojanja
su dalje analogna sa četiri stanja svesnosti.
Sthula sarira,
ili fizičko tijelo,
deluje u stanju jagrat (u budnom stanju).
U ovom domenu svesnosti,
i kroz ovo telo
se manifestuje vaikhari-vak.
Sukšma-sarira, suptilno ili psihičko telo,
deluje u stanju svapne.
U ovom domenu svesnosti,
i kroz ovo tijelo,
manifestuje se madhyama-vak.
Karana-sarira, ili uzročno telo,
djeluje u stanju šušupti ili dubokog sna.
U ovom domenu svesnosti,
i kroz ovo tijelo,
manifestuje se pašjanti-vak.
Para-vak se manifestuje kroz
četvrto stanje svesnosti,
poznato kao turija.
...
Sveti slog "om" sastoji se od tri matre, i to
"a", "u" i "m".
Ove tri matre odgovaraju
bhuh, bhuvah i svah;
jagrat, svapna i sushupti;
sukšma, sthula i karana; i
vaikhari, madhyama i pashyanti.
Pored ove tri matre,
pranava ("a-u-m") je takođe sastavljena
od četvrtog činioca,
naime a-matre ili anahata-dhvani -
zvuka bez sloga ili neuništenja.
NOTE: when all the senses are shut up and the
nerves controlled and the breath suspended
through a yogic process, there arises a spontaneous
sound, within, which is known as
the anahata dhvani .
For our practical understanding,
this a-matra corresponds to the humming sound
after one recites the "om" syllable.
The a-matra represents the transendence,
the turiya, the para-vak.
Thus the syllable om contains all elements of
existence. It is the reservoir of all energies
of the Supreme Lord,
and for this reason Lord Krishna states in the Gita:
om ity ekaksharam brahma
"The single syllable Om is the supreme
combination of letters."
Elsewhere the Lord states:
yad aksharam veda-vido vadanti
"Those knowers of the Vedas
recite Om (akshara)."
Why do they do this?
Because the syllable om is the Supreme Lord
and the potency of all Vedic mantras:
pranava sarva vedeshu
"Within all the Vedas, I am the symbol Om."
Sri Chaitanya Mahaprabhu established
the pranava as the maha-vakya of the vedas,
for within it exist all Vedic hymns (and shabda).
The world itself is a manifestation of this syllable. It
is the sound representation of the Abslute Truth.
The vak is not a manifestation of the material
nature, for the Vedanta sutra 2.4.4 states as follows: jer Vedanta sutra 2.4.4 daje sledeću izjavu:
tat-purvakatvad vacah
BELEŠKA: kad se sva čula zatvore i kontrolira um
kada se prestane sa disanjem
kroz proces joge iznutra se pojavljuje
spontani zvuk koji je poznat kao anahata dhvani.
Za naše praktično razumijevanje,
ova a-matra je slična zujanju
nakon što se izgovori slog "om".
A-matra predstavlja transendenciju,
turiju, para-vak.
Tako slog om sadrži sve elemente postojanja.
To je rezervoar svih energija
Vrhovnog Gospoda,
i iz tog razloga Gospod Krišna u Giti izjavljuje:
om ity ekaksharam brahma
"Slog Om
je vrhunska kombinacija slova."
Na drugom mestu Gospod kaže:
yad akšaram veda-vido vadanti
"Oni koji poznaju Vede
izgovaraju Om (akšaru)."
Zašto to rade?
Jer je slog om Vrhovni Gospod
i poseduje moć svih vedskih mantri:
pranava sarva vedeshu
"U svim Vedama, ja sam slog Om."
Šri Čajtanja Mahaprabhu utemeljio
pranavu kao maha-vakja vedu,
jer su u njoj nalaze sve vedske himne (i šabda).
Materiajlni svijet je manifestacija ovog sloga,
i zvučni je Apsolutne Istine.
Vak nije manifestacija materijalne prirode,
tat-purvakatvad vacah
This indicates that Ovo ukazuje na to
the vak existed before the pradhana. da je vak postojao pre pradhane.
Pradhana is the root of the material manifestation - Pradhana je uzrok materijalne manifestacije -
the three qualities non-differentiated tri guna koja su ne-različita
in absolute equilibrium. u apsolutnoj ravnoteži.
Yet prior to this is the vak. Ipak pre ovoga postoji vak.
Thus the vak is non-material. Stoga vak nije materijalan.

For this reason we find in the Vedanta Sutras Zbog toga u Vedanta Sutrama
the following statement: nalazimo sledeću izjavu:

anavriti shabdat anavriti shabdat

"Liberation by sound." "Oslobođenje zvukom."s

Since sound is Budući da je zvuk

the non-material source of the material
manifestation, it is the key by which we can become
free from bondage.
It is the thread-like link between
the material and spiritual realms.
nematerijalni izvor materijalne manifestacije,
on je ključ pomoću kojeg se možemo
osloboditi ropstva.
Zvuk je poput niti koja nas povezuje između
materijalnog i duhovnog carstva.

Ili: zvuk je poput niti koja povezuje duhovno i

materijalno carstvo.