Shloka 18
Teaching on Karma-yoga
Discipline of Action as Worship
मौंजी त्रिवृत्समां श्लिष्टां कुर्याद्विप्रस्य मेखलाम् । मुंजाभावे कुशेनाहुर्ग्रंथिनैकेन वा त्रिभिः
mauṃjī trivṛtsamāṃ śliṣṭāṃ kuryādviprasya mekhalām | muṃjābhāve kuśenāhurgraṃthinaikena vā tribhiḥ
బ్రాహ్మణునికి ముంజా గడ్డితో సమంగా మూడుసార్లు ముడిచిన, బిగువుగా ఉండే మేఖల చేయవలెను. ముంజా లేనిచో కుశగడ్డితో—ఒక ముడి గానీ మూడు ముడులు గానీ—చేయవచ్చని చెప్పబడింది।
Unspecified (injunctive dharma instruction in the narrative context of Svarga-khaṇḍa)
Concept: Saṃskāra is upheld through exact materials and form; when the ideal is unavailable, dharma provides a sanctioned substitute without breaking the vow of correctness.
Application: Maintain standards in spiritual practice, but when circumstances prevent the ideal, adopt an approved, sincere alternative rather than abandoning the practice.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A young brāhmaṇa student stands at the threshold of a forest āśrama as an elder teacher measures and ties a threefold-twisted muñjā mekhalā around his waist. Bundles of sacred grasses lie neatly arranged, and a small altar with water-pot and flowers suggests the solemnity of saṃskāra.","primary_figures":["brahmacārin (young dvija)","ācārya/guru","attendant students"],"setting":"forest āśrama courtyard with kusa-grass mats, water pot (kalaśa), and a simple ritual platform","lighting_mood":"golden dawn","color_palette":["saffron ochre","leaf green","earth brown","ivory white","burnished gold"],"tanjore_prompt":"Tanjore painting style: an ācārya tying a threefold-twisted muñjā mekhalā on a serene brahmacārin, gold leaf halo around the guru, rich maroon and emerald textiles, gem-studded ornaments on ritual vessels, stylized sacred grass bundles, South Indian iconographic symmetry, ornate border motifs.","pahari_prompt":"Pahari miniature style: delicate brushwork showing a quiet āśrama scene, slim figures with refined faces, the mekhalā being tied with careful hands, kusa and muñjā bundles rendered with fine lines, soft Himalayan greens and pale sky, lyrical naturalism and gentle intimacy.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm yellow and red ground, the guru and student in profile with characteristic large eyes, sacred grass emphasized in rhythmic patterns, minimal yet iconic āśrama setting, temple-wall aesthetic with vegetal borders.","pichwai_prompt":"Pichwai cloth painting style: devotional āśrama tableau framed by intricate floral borders and lotus motifs, sacred grass garlands stylized, attendants holding water and flowers, deep indigo background with gold highlights, ornamental symmetry reminiscent of Nathdwara textiles."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling grass","soft temple bell","morning birds","gentle silence"]}
Sandhi Resolution Notes: कुर्याद्विप्रस्य = कुर्यात् + विप्रस्य; कुशेनाहुः = कुशेन + आहुः; ग्रन्थिनैकेन = ग्रन्थिना + एकेन.
FAQs
It gives a rule for preparing the mekhalā (ritual girdle) associated with saṃskāras such as upanayana, specifying material (muñjā; alternatively kuśa) and construction (threefold twist; knots).
It preserves alternative accepted ritual options when using kuśa as a substitute—either a single knot or three knots—reflecting flexibility within dharma-ritual practice when ideal materials are unavailable.
The verse emphasizes disciplined correctness in ritual form (uniform, well-fitted, properly twisted) while also allowing pragmatic substitution (kuśa in place of muñjā) when circumstances require.