Shloka 47
The Nature of Knowledge, the Guru as Living Tīrtha, and the Law of Final Remembrance
तादृशाः स्युस्तु सत्वास्ते तद्रूपास्तत्परायणाः । तद्गुणास्तत्स्वरूपास्ते भावभूता भवंति हि
tādṛśāḥ syustu satvāste tadrūpāstatparāyaṇāḥ | tadguṇāstatsvarūpāste bhāvabhūtā bhavaṃti hi
สรรพสัตว์เหล่านั้นย่อมเป็นเช่นนั้นจริง: รับเอารูปนั้น ตั้งตนพึ่งพาเป็นที่สุด รับเอาคุณลักษณะนั้น; และเมื่อประกอบขึ้นด้วยภาวะจิตนั้นแล้ว ก็ย่อมดำรงอยู่ในสภาพนั้นโดยแท้
Unspecified in provided excerpt (context needed from Adhyaya 123 narrative frame).
Concept: One becomes what one contemplates: form, qualities, and orientation follow sustained bhāva; therefore fix bhāva on Viṣṇu to attain Viṣṇu-gati.
Application: Curate inputs (speech, images, company), keep a daily Viṣṇu-centered practice (nāma, stotra, arcana), and replace obsessive thoughts with deliberate smaraṇa.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sequence-like tableau shows beings transforming according to their contemplation: one absorbed in a fierce animal becomes animal-like, another absorbed in a deity becomes radiant and godlike. The central motif is a swirling mandala of ‘bhāva’—thought-forms turning into bodies—illustrating that devotion and fixation sculpt identity.","primary_figures":["symbolic beings in transformation","a sage-teacher gesturing to the mandala","Viṣṇu/Nārāyaṇa as the highest contemplation-object (upper register)"],"setting":"An āśrama teaching hall opening into a cosmic vision-mandala; palm-leaf manuscripts and a small altar with śaṅkha-cakra symbols.","lighting_mood":"divine radiance","color_palette":["sapphire blue","gold leaf","smoky violet","ivory white","vermilion"],"tanjore_prompt":"Tanjore painting style: a central circular mandala of bhāva where thought-forms become embodied figures; a sage points while Nārāyaṇa appears above with gold leaf aura, śaṅkha-cakra-gadā-padma; rich reds/greens, heavy gold embellishment, ornate jewelry, temple-arch framing.","pahari_prompt":"Pahari miniature style: refined classroom scene in a forest āśrama; delicate cloud-like thought-forms above disciples’ heads morph into corresponding forms; cool blues and soft ochres, lyrical trees and distant hills, subtle expressions of absorption (parāyaṇatā).","kerala_mural_prompt":"Kerala mural style: bold outlined mandala of transformation with stylized figures; Nārāyaṇa in the upper panel, sage below; strong red-yellow-green palette, temple-wall symmetry, large expressive eyes emphasizing inner disposition becoming outer form.","pichwai_prompt":"Pichwai cloth painting style: a devotional diagram framed by lotus and floral borders; at the top, Kṛṣṇa/Vişṇu medallion; below, multiple vignettes of beings becoming what they adore; intricate patterns, deep indigo background, gold highlights, peacocks and lotuses symbolizing bhāva."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft cymbals","temple bells","wind through trees"]}
Sandhi Resolution Notes: स्युस्तु = स्युः + तु; सत्वास्ते = सत्त्वाः + ते; तद्रूपास्तत्परायणाः = तद्रूपाः + तत्परायणाः; तद्गुणास्तत्स्वरूपास्ते = तद्गुणाः + तत्स्वरूपाः + ते; भवंति = भवन्ति (spelling variant);
FAQs
It teaches a transformation principle: sustained devotion/absorption in a chosen ideal (especially the divine) makes the practitioner gradually take on that ideal’s qualities and inner nature.
By stating that those who become 'tat-parāyaṇa' (wholly devoted to That) acquire 'tad-guṇa' (those qualities), it frames bhakti as a direct means of inner re-formation into divine-like character.
It implies careful choice of objects of attention and devotion: repeated fixation shapes one’s character, so one should cultivate noble ideals and avoid degrading influences.