Shloka 20
कालः पाकश्च यज्ञश्च यष्टा चाधीतमेव च । उच्यते विविधैर्भावैः स एवायं तु तत्परम्
kālaḥ pākaśca yajñaśca yaṣṭā cādhītameva ca | ucyate vividhairbhāvaiḥ sa evāyaṃ tu tatparam
កាលៈ (ពេលវេលា), បាកៈ (ការស成熟/ការប្រែប្រួលដល់ពេញលេញ), យជ្ញ, អ្នកធ្វើយជ្ញ, និងសូម្បីតែអ្វីដែលសិក្សា—ទាំងនេះត្រូវបានហៅដោយសភាពនានា; ប៉ុន្តែក្រោយទាំងអស់នេះ ព្រះឯកនេះហើយជាបរមសច្ចៈ។
Unspecified in the provided excerpt (context needed from Adhyaya 39 framing dialogue).
Concept: Time, fruition, yajna, sacrificer, and even learning are names for modes of the One; the Supreme reality stands behind all descriptions.
Application: Reduce anxiety about timing and outcomes by remembering kala and paka are also under the Supreme; study and ritual become offerings when oriented to Him.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A single divine presence stands behind a layered montage: a turning wheel of time, ripening grain and fruit, a yajna altar, a student reciting scripture, and a sacrificer offering oblations. The montage dissolves into one luminous figure, implying that all these ‘bhavas’ are merely different names and angles of the same Supreme.","primary_figures":["Vishnu (as the One behind all)","a student (adhyayana)","a yajamana (sacrificer)"],"setting":"Symbolic collage-space: half cosmic (time-wheel and stars), half earthly (fields, altar, palm-leaf manuscripts).","lighting_mood":"golden dawn","color_palette":["sunrise gold","copper","leaf green","midnight blue","ivory"],"tanjore_prompt":"Tanjore painting style: Vishnu central with expansive gold leaf aura; around Him, medallions showing kala-chakra, ripening harvest, yajna-kunda, and a scholar with palm-leaf text; rich reds/greens, gem-studded ornaments, ornate arch and lotus base, gold filigree connecting all medallions to the central deity.","pahari_prompt":"Pahari miniature style: poetic montage with soft dawn light; time-wheel faint in the sky, fields and altar in the foreground, a scholar reading; subtle visual rhyme showing all lines leading to a serene central presence; delicate brushwork and cool-warm balance.","kerala_mural_prompt":"Kerala mural style: compartmentalized panels around a central Vishnu figure; bold outlines, flat pigments; kala as a wheel motif, paka as fruit clusters, yajna as stylized flames, study as manuscript; symmetrical temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: central deity aura with surrounding circular vignettes like festival hangings; lotus borders, peacock-feather patterns, deep blue ground with gold highlights; ritual and study motifs rendered as ornate decorative symbols."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["soft mridang pulse (very light)","tanpura drone","conch shell (single, distant)"]}
Sandhi Resolution Notes: पाकश्च = पाकः + च; यज्ञश्च = यज्ञः + च; चाधीतम् = च + अधीतम्; विविधैर्भावैः = विविधैः + भावैः; स एवायम् = सः + एव + अयम्
FAQs
It teaches that diverse concepts—time, fruition, ritual, the agent of ritual, and even learning—are ultimately different ways of referring to one supreme underlying Reality.
It frames yajña and the yajamāna (sacrificer) not as independent absolutes, but as names or perspectives that point toward the same ultimate principle behind all processes and actions.
It encourages humility and integration: ritual action, study, and worldly processes should be oriented toward the Highest, recognizing a single deeper ground rather than clinging to fragmented identities or outcomes.