Abhanga 2913
Jivhā jāṇe phike madhura kṣāra — the jivhā (tongue) knows phike (insipid), madhura (sweet), kṣāra (salty); yera māsa para hātāsa na kaḷe — other māsa (flesh, body-parts) — for the hand, (these) cannot be known.
The verse
जिव्हा जाणे फिकें मधुर क्षार । येर मास पर हातास न कळे ॥१॥
देखावें नेत्रीं बोलावें मुखें । चित्ता सुखदुःखें कळों येती ॥ध्रु.॥
परिमळासी घ्राण ऐकती श्रवण । एकाचे कारण एका नव्हे ॥२॥
एकदेहीं भिन्न ठेवियेल्या कळा । नाचवी पुतळा सूत्रधारी ॥३॥
तुका म्हणे ऐशी जयाची सत्ता । कां तया अनंता विसरलेती ॥४॥
Literal translation
Jivhā jāṇe phike madhura kṣāra — the jivhā (tongue) knows phike (insipid), madhura (sweet), kṣāra (salty); yera māsa para hātāsa na kaḷe — other māsa (flesh, body-parts) — for the hand, (these) cannot be known. Dekhāve netrī bōlāve mukhe — (one should) see with the netra (eye), speak with the mukha (mouth); chittā sukha-duḥkhe kaḷōm yetī — sukha and duḥkha come to kaḷōm (knowing) in the chitta. Parimaḷāsī ghrāṇa aikatī śravaṇa — the ghrāṇa (nose) (knows) the parimaḷa (fragrance); the śravaṇa (ear) listens; ekāñce kāraṇa ekā navhe — one's role is not another's. Eka-dehī bhinna ṭheviyelyā kaḷā — in one body, distinct kaḷā (faculties, arts) have been placed; nāchavī putalā sūtra-dhārī — the sūtra-dhārī (puppeteer) makes the putalā (puppet) dance. Tukā says: aiśī jayāñcī sattā — of whom is such sattā (sovereign-power)?; kām tayā Anantā visaraletī — why have (you) forgotten that Ananta**?
What it means
A canonical 4-verse body-as-puppet, senses-as-distinct-faculties, one-puppeteer image-verse.
Verse 1: Jivhā jāṇe phike madhura kṣāra — yera māsa para hātāsa na kaḷe — tongue knows tastes — other body-parts, the hand doesn't know. The observation: only-the-tongue can-taste; the hand cannot, despite being made of the-same-flesh.
Dhrūpada: Dekhāve netrī bōlāve mukhe — chittā sukha-duḥkhe kaḷōm yetī — see with eye, speak with mouth — sukha-duḥkha come-to-knowing in chitta. The structured-division-of-faculties.
Verse 2: Parimaḷāsī ghrāṇa aikatī śravaṇa — ekāñce kāraṇa ekā navhe — the nose (knows) fragrance, ear listens — one's role is not another's. The complete-functional-division: each faculty has-its-own-role; no faculty does-another's-work.
Verse 3 (the puppeteer image): Eka-dehī bhinna ṭheviyelyā kaḷā — nāchavī putalā sūtra-dhārī — in one body, distinct faculties placed — the puppeteer makes the puppet dance. The image: the body is the puppet; the senses are the distinct kaḷā (faculties); the sūtra-dhārī (puppeteer) is the Lord.
Close: Tukā mhaṇe aiśī jayāñcī sattā — kām tayā Anantā visaraletī — of whom is such sattā (sovereign-power) — why have (you) forgotten that Ananta? The design-argument: the precise-design of the body-with-distinct-faculties points-to a designer; why-forget-him?
This is one of the most-precise design-argument-for-the-Lord verses in Tukārām. Each faculty cleanly-distinct, all in one body — points to a designer-puppeteer. Pairs with 2820 (Nārāyaṇa-puppeteer-and-monkeys-floated-stones).
For someone today
A canonical design-argument-for-Ananta. Tongue knows tastes — other body-parts, the hand can't know. See with eye, speak with mouth — sukha-duḥkha come-to-knowing in chitta. Nose (knows) fragrance, ear listens — one's role is not another's. In one body, distinct faculties placed — the puppeteer makes the puppet dance. Of whom is such sovereign-power — why have (you) forgotten that Ananta? The verse provides a design-argument: (1) each faculty is cleanly-distinct; (2) all in one body; (3) the puppeteer-image fits; (4) why-forget the designer? The discipline: recognize-the-Lord through the precise-design of your-own-body.
Where this applies
- The canonical body-as-puppet; senses-as-distinct-faculties; one-puppeteer image
- Recognizing one-body-but-distinct-faculties placed by Ananta
- Why-forget-Ananta — the design-argument for the Lord
- Pairs with 2820 (Nārāyaṇa-puppeteer + monkeys-floated-stones)