Shloka 60
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
सा जपेत्परमं ज्ञानं तदा मोक्षं प्रयाति च । तन्मनास्तत्पदे लीना योगयुक्ता यदा भवेत्
sā japetparamaṃ jñānaṃ tadā mokṣaṃ prayāti ca | tanmanāstatpade līnā yogayuktā yadā bhavet
Quando ela recita o conhecimento supremo, então alcança a mokṣa, a libertação; quando sua mente está fixa Nisso, absorvida nesse estado, torna-se unida ao Yoga.
Unspecified (context-dependent within Adhyaya 86)
Concept: Reciting/realizing ‘supreme knowledge’ and fixing the mind in That state leads to mokṣa; yoga-yukti culminates in absorption (laya) in the highest padam.
Application: Pair study (svādhyāya) of a short Vedāntic/bhakti passage with nāma-japa; end with 5 minutes of silent absorption on the chosen divine form/name.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"The practitioner’s mind, depicted as a small flame, merges into a vast ocean of luminous blue-gold ‘That’—a serene expanse where a distant Vaikuṇṭha-like horizon glows. The final moment shows the meditator’s silhouette dissolving into a single radiant point at the Lord’s feet, suggesting yoga-yukti and liberation.","primary_figures":["a sādhikā (female practitioner)","a subtle vision of Viṣṇu’s lotus feet or Vaikuṇṭha radiance","personified Yoga (as a guiding light)"],"setting":"Inner-cosmic landscape: a meditation seat transforming into a celestial expanse; faint lotus constellations; a path of light toward the supreme padam.","lighting_mood":"divine radiance","color_palette":["cosmic sapphire","pale gold","white lotus","amethyst","sea-green"],"tanjore_prompt":"Tanjore painting style: Viṣṇu’s lotus feet or a Vaikuṇṭha arch rendered with heavy gold leaf, the sādhikā in meditation below with a luminous aura rising upward, ornate borders and embossed gold patterns; rich blues and reds with gem-like highlights, conveying mokṣa as entry into the supreme realm.","pahari_prompt":"Pahari miniature style: ethereal sky-ocean gradient with delicate lotuses, the meditator’s form subtly dissolving into light; refined, gentle facial serenity; cool blues and soft gold washes, minimal architecture hinting at Vaikuṇṭha in the distance.","kerala_mural_prompt":"Kerala mural style: iconic composition with the sādhikā seated, a vertical column of light connecting to a stylized Viṣṇu-padma/feet motif above; bold outlines, strong yellow-red-green accents against deep blue, temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: central lotus mandala representing ‘tad-pada’, surrounding rings of floral motifs and gold filigree; a small devotee figure at the base offering mind as a lamp; deep blue ground, intricate borders, Vaishnava devotional symbolism emphasized."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"serene","sound_elements":["tanpura drone","soft conch at closure","temple bells fading","deep silence","gentle wind"]}
Sandhi Resolution Notes: जपेत् + परमम् → जपेत्परमम्; तन्मनाः = तद् + मनाः (बहुव्रीहि); तद् + पदे → तत्पदे.
FAQs
It recommends japa (recitative contemplation) of “supreme knowledge,” coupled with mental absorption—fixing the mind on “That” and becoming established in a yogic state.
It implies one-pointed attention on the ultimate reality (“That”), culminating in absorption where the mind rests in the goal/state itself rather than in distractions.
It presents them as complementary: jñāna is recited/realized through contemplative practice, and yoga is the disciplined absorption that stabilizes that realization, leading to moksha.