Srimad Bhagavatam — Ekadasha Skandha, Shloka 53
Sāṅkhya Enumeration of Tattvas, Distinction of Puruṣa–Prakṛti, and the Mechanics of Birth and Death
नृत्यतो गायत: पश्यन् यथैवानुकरोति तान् । एवं बुद्धिगुणान् पश्यन्ननीहोऽप्यनुकार्यते ॥ ५३ ॥
nṛtyato gāyataḥ paśyan yathaivānukaroti tān evaṁ buddhi-guṇān paśyann anīho ’py anukāryate
De même qu’en voyant des gens danser et chanter on peut les imiter, ainsi l’âme, bien qu’elle ne soit jamais l’agent des actes matériels, est captivée par les qualités de l’intelligence matérielle et se trouve contrainte de les imiter.
Sometimes people are captivated by professional singers and dancers and imitate within their minds the musical rhythms and melodies of the performers along with their romantic, humorous or heroic emotions. People sing songs heard on the radio and imitate dances and dramatic performances seen on television or in movies and theaters, entering into the emotions and art of the performer. The conditioned soul is similarly captivated by the concoctions of the material mind and intelligence, which convince him that he can become the enjoyer of the material world. Although different from the material body and never the actual performer of its activities, the conditioned soul is induced to engage his body in material activities, which entangle him in the cycle of birth and death. One should not accept the illicit propositions of material intelligence, but rather should engage himself fully in the service of the Lord in Kṛṣṇa consciousness.
FAQs
This verse explains that merely watching the mind’s and intelligence’s qualities (formed by the guṇas) can cause one to imitate and identify with them, even though the true self is inactive and non-doing.
Krishna is teaching Uddhava discrimination between the ātmā and the guṇa-driven instruments (mind and intelligence), so Uddhava can remain detached and steady in devotion and knowledge.
Treat thoughts and impulses like a performance you observe—don’t immediately copy them. Pause, witness the tendency, and choose actions aligned with dharma and bhakti rather than reactive imitation.