Shloka 13
The Teaching on Śiva-Dharma and the Supremacy of Food-Giving
within the Pitṛtīrtha–Yayāti Episode
केचित्तत्रैव मुच्यंते ज्ञानयोगरता नराः । आवर्तंते पुनश्चान्ये संसारे भोगतत्पराः
kecittatraiva mucyaṃte jñānayogaratā narāḥ | āvartaṃte punaścānye saṃsāre bhogatatparāḥ
کچھ لوگ جو گیان یوگ میں مشغول ہیں وہیں آزاد ہو جاتے ہیں؛ مگر دوسرے جو بھوگ کے دلدادہ ہیں، پھر دوبارہ سنسار کے چکر میں لوٹ آتے ہیں۔
Not specified in the provided excerpt (context needed from surrounding verses).
Concept: Liberation depends on orientation: jñāna-yoga leads to release, while bhoga-attachment perpetuates saṃsāra.
Application: Audit daily choices for bhoga-driven habits; cultivate study, contemplation, and devotion that reduce craving and strengthen discrimination (viveka).
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"On a sacred riverbank near an unseen tirtha, two groups of pilgrims stand at a crossroads: one sits in still meditation with japa-mālā and calm eyes, while the other turns toward a bustling fair of music, garlands, and indulgence. Above them, a subtle wheel motif of saṃsāra fades behind the meditators, while it brightens behind the pleasure-seekers, suggesting return and release without overt judgment.","primary_figures":["pilgrims (jñāna-yogins)","pilgrims (bhoga-parāyaṇas)","a silent sage as witness"],"setting":"tirtha riverbank with steps (ghāṭa), distant shrine spire, fair-stalls and lamps to one side, quiet banyan shade to the other","lighting_mood":"golden dawn","color_palette":["saffron","river-silver","banyan green","ash white","lamp-flame amber"],"tanjore_prompt":"Tanjore painting style: a sacred ghāṭa scene split into two devotional pathways—left side serene jñāna-yogins seated under a banyan with japa-mālā, right side festive bhoga-seekers near a market of lamps and garlands; ornate gold leaf halos around the meditating figures, rich vermilion and emerald textiles, embossed gold borders with lotus motifs, traditional South Indian architectural gopuram in the distance.","pahari_prompt":"Pahari miniature style: lyrical riverbank at dawn with delicate brushwork; a quiet group of ascetics in pale saffron under a banyan, contrasted with a small fair of colorful figures; cool atmospheric perspective, refined faces, soft Himalayan-like hills in the background, subtle saṃsāra wheel motif in the sky rendered as faint cloud-spirals.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; two clusters of human figures—meditators with calm almond eyes and minimal ornaments, and pleasure-seekers with bright garments and animated gestures; temple steps and a small shrine; red-yellow-green palette with stylized lotus border and a faint chakra-like saṃsāra emblem behind the worldly group.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition with lotus borders and a river; left panel shows contemplatives with tulasi garlands and prayer beads, right panel shows indulgent revelers; deep indigo background with gold highlights, intricate floral vines, peacocks near the water, and a subtle central lotus indicating the choice of śreyas over preyas."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["flowing water","soft temple bells","distant conch shell","morning birds"]}
Sandhi Resolution Notes: केचित्तत्रैव = केचित् + तत्र + एव; मुच्यंते → मुच्यन्ते (अनुस्वार/लिप्यन्तर-भेद); पुनश्चान्ये = पुनः + च + अन्ये; आवर्तंते → आवर्तन्ते (अनुस्वार/लिप्यन्तर-भेद).
FAQs
It contrasts two orientations: those devoted to jñāna-yoga attain liberation, while those attached to sense-enjoyment continue cycling in saṃsāra.
Yes. “Tatraiva” indicates immediate release for those established in the discipline of knowledge, implying realization—not location—determines freedom.
It encourages discernment and detachment: pleasure-seeking perpetuates bondage, while commitment to liberating knowledge leads to freedom.