Teen Parat

Har ensaan teen jism ya teen roohon se murakkab hey. Rooh hewani, rooh insani aur rooh azam. Har rooh do dairon par qaim hey.

Rooh hewani (daira number 1) Nafsi' (daira number 2) qalb

Rooh insani (daira number 1) rooh' (daira number 2) siri

Rooh Azam (daira number 1) khafi' (daira number 2) akhfa

Yeh chay dairay mehwari aur Tolani gardish circle aur try angle (circle & triangle) mein taqseem ho kar roshni aur noor ki chay lehron mein tabdeel ho jatay hein. Roshni ki teen lehron se baydaari ke hawaas bantay hein aur teen noorani lehron se khawab ke hawaas bantay hein. Roshni ki teen laharen, baydaari ki zindagi ko mutharrak rakhti hein aur noor ki teen laharen khawab ki zindagi ko mutharrak rakhti hein.

Har aadmi sonay ke baad beedar hota hey, baydaari ke baad jab is ki aankhh khulti hey toh woh shaori hawaas mein daakhil hota hey, hum is kefiyat ko name baydaari ki haalat keh saktey hein. Name baydaari se matlab yeh hey ke abhi aadmi poori terhan shaoor mein daakhil nahi hua hey lekin jaisay hi woh so kar uthnay ke baad baydaari ki pehli kefiyat mein daakhil hota hey. Is ke nafs mein fikr o amal ka hajhoom ho jata hey. Baydaari ke hawaas mein fikr o amal ki jo tarzein hein woh sab yakjai tor par daur karne lagti hein. Name baydaari ke baad doosra waqfa shuru hota hey. Is mein aadmi ke hosh o hawaas mein geherai peda hoti hey. Hosh o hawaas ki is geherai se dimagh ke oopar jo khumar hota hey woh khatam ho jata hey. Is waqfay mein suroor ki kefiyat taari rehti hey. Kabhi suroor ki kefiyat barh jati hey kabhi kam ho jati hey. Is kefiyat se daira qalb mutharrak ho jata hey. Suroor ke ehsasat gehray honay ke baad teesri kefiyat wajdan ki hey, wajdan baydaari ka teesra waqfa hey. Wajdan mein daira rooh kaam karta hey.

Pehla waqfa: Neem baydaari (shaori hawaas ki ibtida) = fikr o amal ka aik markaz par qaim hona = daira nafs ki harkat

Doosra waqfa: Dimagh ke oopar se khumar ka ghalba khatam ho kar hosh o hawaas mein geherai peda hona = suroor = daira qalb ki harkat

Teesra waqfa: Suroor = geherai = wajdan = daira rooh ki harkat

Jis terhan baydaari mein teen waqfay hein isi terhan neend ke bhi teen waqfay hein. Jis terhan ensaan teen (stages) se guzar kar baydaari mein daakhil hota hey isi terhan teen mrhlon se guzar kar neend mein daakhil hota hey.

Neend aur baydaari ke darmiyani waqfay ka naam gunood hey. Gunood mein”daira sir”harkat mein rehta hey. Neend ki doosri haalat mein jisay halki neend kehna chahiye”khafi daira”ki harkat hoti hey aur neend ki teesri haalat mein aadmi jab poori terhan gehri neend so jata hey. ”akhfa  daira”ki therikaat hoti hein.

Neend aur baydaari ke darmain pehli kefiyat:

Gunood= boujhal hawaas = lashoor ka halka ehsas
neend aur baydaari ke darmain doosri kefiyat:

Halki neend = la shaori hawaas mein harkat + shaoor y hawaas ka idraak.

Neend aur baydaari ke darmain teesri kefiyat:

Gehri neend = la shaori hawaas ka ghalba + shaori hawaas ki nifi.

Ghhor talabb baat yeh hey ke in tamam halaton ke shuru mein ensaan par sukut ki haalat zaroor taari hoti hey. Jis waqt aadmi so kar uthta hey is waqt is ka zehan qatee tor par pur sukoon aur khaali hota hey. Isi terhan doosri kaifiyat mein bhi ensaan ki tabiyat chand lamhoon ke liye zaroor sakit ho jati hey. Yani aik haalat se doosri haalat mein daakhil honay ke liye sukut ka hona zurori hey. Jis terhan baydaari ki haalat mein har haalat sukut se shuru hoti hey isi terhan ghunodghi ke waqt bhi hawaas par halka sa sukut taari hota hey aur chand lamhay guzar jaane ke baad hawaas ka yeh sukut boujhal ho kar ghunodghi ki soorat ikhtiyar kar laita hey.

Ibtidayi neend ke chand sakit lamhaat se halki neend ki shuruvaat hoti hein aur phir gehri neend ki sakit laharen insani jism par ghalba haasil kar layte hein. Is ghalba ko gehri neend kaha jata hey.

Nazar ka Qanoon:

Baydaari ho ya neend dono ka talluq hawaas se hey aik haalat mein ya aik kefiyat mein hawaas ki raftaar taiz hojati hey aur aik haalat ya kefiyat mein hawaas ki raftaar kam ho jati hey. Lekin hawaas ki noiyat nahi badalti baydaari ho ya khawab dono mein aik hi terhan ke aur aik hi qabeel ke hawaas kaam karte hein. Baydaari aur neend darasal dimagh ke andar do khanaay hotay hein ya yun kahiye ke ensaan ke andar do dimagh hein. Aik dimagh mein jab hawaas mutharrak hotay hein toh is ka naam baydaari hey, dosray dimagh mein jab hawaas mutharrak hotay hein toh is ka naam neend hey. Yani aik hi hawaas baydaari aur neend mein radd o badal ho rahay hein aur hawaas ka radd o badal hona hi zindagi hey. Jab dimagh ke oopar ke aik hawaas se mutaliq sukut taari hota hey. Toh doosrey hawaas mutharrak ho jatay hein. Baydaari mein hawaas ke kaam karne ka qaida aur tareeqa yeh hey ke aankhh ke deiay par palak ki zarb padtee hey toh Hawa seen kaam karna shuru kar dete hein yani ensaan neend ke hawaas se nikal kar baydaari ke hawaas mein daakhil ho jata hey.

Mojooda daur mein is ki misaal camera se di ja sakti hey. Camera ke andar film mojood hey. Linz (lens) bhi mojood hey. Lekin agar camera ka button nah dabaya jaye aur shtr (shutter) mein harkat waqay nah ho toh film par tasweer nahi aati. Bilkul isi terhan aankhh ke dailey par agar palak ki zarb nah parre toh samnay mojood manazair dimagh ki screen par film nahi bantay. Baydaari mein dekhnay ka yeh doosra marhala hey. Pehla marhala yeh hey ke jab ensaan sonay ke baad beedar hota hey toh fori tor par usay koi khayaal aata hey aur yeh khayaal hi darasal baydaari aur neend ke darmain had ban jata hey. Jab is khayaal mein geherai waqay hoti hey toh palak jhapkane ka amal shuru ho taa hey aur palak jhapkane ke sath sath mojood manazair dimagh ki screen par muntaqil hona shuru ho jatay hein.

Dekhnay ka qanoon yeh hey ke dimagh par mojood manazair ke sath sath Ilmi hesiyat mein dimagh aik ittila masool karta hey. Dekhnay se zehan is ittila mein maani pehna deta hey. Palak jhapkane ke amal ke sath sath insani dimagh mein jo aks muntaqil hota hey is ka waqfa pandrah second hota hey. Abhi pandrah second nahi guzarte toh nazar ke samnay manazair mein se koi aik, do ya zayed manazair pehlay manazair ki jagah le letay hein aur yeh silsila tasalsul ke sath qaim rehta hey.

Baydaari mein nigah ka talluq aankhh ke deilon se barah e raast hey. Aankhh ke deilon par palkon ki zarb aankhh ke camera ka woh button hey jo baar baar tasweer laita hey. Qanoon yeh hey ke agar aankhh ke deilon ke oopar palak ki zarb nah parre toh aankhh ke andar mojood asaab kaam nahi karte. Aankhh ke andar mojood asaab ki haseen isi waqt kaam karti hein jab in ke oopar palkon ya aankhh ke pardon ki zarb padtee rahay. Agar aankhh ki palak ko bandh diya jaye aur deilon ki harkat ruk jaye toh nazar ke samnay khala aa jata hey. Manazair ki film bandi ruk jati hey.

Saari kaayenaat aur kaayenaat ke andar tamam noyein aur afraad aik markaziyat ke sath bandhay hue hein. Zindagi ke mukhtalif marahil aur zindagi ke mukhtalif zamane zahir been nazron se allag allag nazar atay hein lekin fi al waqea zamane ka nasheeb o frazz aur zindagi ke marahil mein tagayur o Tabdal kitna hi mukhtalif kyun nah ho sab ka talluq markaziyat se qaim hey. Afraad kaayenaat aur markaziyat ke darmain laharen ya shu’ayen rabita ka kaam karti hein. Aik taraf markaziyat se laharen nuzool kar ke afraad kaayenaat ko fid karti hein, markaziyat ko qaim rakhti hein doosri taraf yeh laharen afraad kaayenaat ko fid karne ke baad Saood karti hein. Nuzool, Saood ka yeh la mutnahi silsila zindagi hey.

Shua aur lehar ke dorania ke paish e nazar kaayenaat ki jo soorat banti hey is ko hum aik daira ke ilawa kuch nahi keh saktey. Yani poori kaayenaat aik daira hey. saoodi aur nazooli harkat ke sath taqseem ho kar yeh aik daira chay dairon mein jalva numa hota hey. Kaayenaat aur afraad kaayenaat ke pehlay dairay ka naam “nafs” hey. Nafs aik chairag hey. Jis mein se roshni nikal rahi hey. Chairag ki is roshni ya lau ka naam nigah hey. Zahir hey jahan lau ho gi wahan roshni ho gi aur jahan roshni hoti hey wahan ka mahol Munawar ho jata hey. Chairag ki roshni jahan taq padtee hey khud apna mushahida kar layte hey. Chairag ki lau mein be shumaar rang hein. Jitne rang hein itni hi kaayenaat mein ranginiyanhein. Chairag ki lau ki roshni halki, madham, taiz aur bohat taiz hoti rehti hey.

Jin cheezon par roshni bohat halki padtee hey in cheezon se mutaliq hamaray dimagh mein twahm peda hotay hein aur jin cheezon par lau ki roshni halki padtee hey in cheezon se mutaliq hamaray zehan mein khayaal peda hota hey aur jin cheezon par lau ki roshni taiz padtee hey in cheezon ka hamaray zehan mein tasawwur bantaa hey aur jin cheezon par lau ki roshni bohat taiz padtee hey nigah in ko dekh layte hey. Darasal hum kisi cheez ko dekhnay ke liye chaar marahil se guzarte hein.

Kisi cheez ko dekhnay aur samajhney ke liye is cheez ka halka sa vahm dimagh par warid hota hey. Yani kisi cheez se mutaliq aik halka sa khaka bantaa hey. Vahm mein geherai hoti hey toh khayaal ban jata hey. Khayaal mein geherai peda hoti hey toh zehan par is cheez ke naqsh o nigaar ban jatay hein. Naqsh o nigaar gehray ho jatay hein toh khayaal tasawwur ban jata hey aur jab naqsh o nigaar tasaworati tor par khadd-o-khaal mein zahir honay lagtay hein toh woh cheez nazron ke samnay aa jati hey.
Tafakkar nishandahi karta hey ke dekhna aik salahiyat hey jo halki se halki roshni mein kaam karti hey kisi cheez ke halkay se khakay ko chahay is ki hesiyat “vahm”kyun nah ho nigah mein muntaqil kar deti hey. Taa ke mazeed teen darjon mein safar kar ke is cheez ko khadd-o-khaal ki shakal vsort aur rang o roop (dimension) mein dekha ja sakay. Jis terhan hum ne nigah ka qanoon bayan kya hey isi terhan saari Hussain kaam karti hein. Yeh haseen Shamah (soonghnay ki hiss), samaat (sun-nay ki hiss), qowat zayega (chakhnay ki hiss) aur lamsa (chone ki hiss) hein. Zindagi ki saari dlchspyan zindagi ke saaray aamaal o waqeat o halaat, zindagi ki kal tarzein isi qanoon par jari hein.