Shloka 48
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
समालिंग्य त्यजेत्प्राणं शुचिर्लोकांतरं व्रजेत् । यो वै गृहाश्रमं त्यक्त्वा मच्चित्तो जायते नरः
samāliṃgya tyajetprāṇaṃ śucirlokāṃtaraṃ vrajet | yo vai gṛhāśramaṃ tyaktvā maccitto jāyate naraḥ
مجھے آغوش میں لے کر وہ اپنے پران چھوڑ دے؛ پاک ہو کر دوسرے لوک کو چلا جائے۔ بےشک وہ انسان جو گِرہستھ آشرم ترک کر کے میرا چِتّ اپنے اندر جما لے، اسی حالت کو پاتا ہے۔
Unspecified (context-dependent within Adhyaya 52; likely a deity/instructor figure speaking in first person as 'Me')
Concept: One who abandons the householder life and becomes wholly mind-fixed on the Lord attains purification and passage to a higher state; the verse fuses renunciation with intense God-centeredness.
Application: Whether renunciate or householder, cultivate daily ‘mind-on-Vishnu’ practices: japa, nāma-kīrtana, sāttvika living, and reducing distractions; if taking life-changes, anchor them in devotion rather than escapism.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A renunciate, having left a distant household behind, steps into a luminous grove where the Lord appears with gentle majesty; the devotee embraces the divine form in a moment of surrender, and the scene softens into a radiant pathway upward. The atmosphere is serene, with purity symbolized by white garments, clear water, and lotus blossoms opening at dawn.","primary_figures":["Śrī Bhagavān (Vishnu/Nārāyaṇa as the ‘Me’)","a renunciate devotee (maccitta)"],"setting":"Sacred grove near a calm riverbank with lotus blooms; a faint village/house silhouette far behind to indicate gṛhāśrama-tyāga","lighting_mood":"golden dawn","color_palette":["sapphire blue","lotus pink","pearl white","leaf green","soft gold"],"tanjore_prompt":"Tanjore painting style: Vishnu in sapphire blue with śaṅkha-cakra-gadā-padma, gold leaf halo and ornate arch; a white-clad renunciate embraces in surrender; lotus-filled riverbank below; rich reds and greens in textiles, gem-studded ornaments, heavy gold leaf embellishment emphasizing divine radiance and liberation.","pahari_prompt":"Pahari miniature style: lyrical dawn by a lotus river; Vishnu appears with gentle glow; the renunciate’s simple white cloth contrasts with the deity’s blue; delicate brushwork, cool greens and blues, refined faces, soft mist suggesting ‘lokāntara’ passage.","kerala_mural_prompt":"Kerala mural style: Vishnu with bold black outlines and characteristic eyes, vibrant blue body, yellow-red-green palette; the devotee in white with folded arms moving into embrace; temple-wall aesthetic with lotus and river motifs, strong symmetry and sacred calm.","pichwai_prompt":"Pichwai cloth painting style: Krishna/Vishnu-centered devotional scene with abundant lotus motifs; deep blue ground, gold highlights; floral borders, peacocks and cows at edges as auspicious witnesses; central embrace framed by ornate Nathdwara-style patterns suggesting transcendence and purity."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["flowing water","temple bells","conch shell (soft)","morning birds"]}
Sandhi Resolution Notes: शुचिर्लोकांतरम् = शुचिः + लोकान्तरम्; त्यजेत्प्राणम् = त्यजेत् + प्राणम्; मच्चित्तो = मत् + चित्तः (त् + च् → च्च)
FAQs
Yes. It praises the person who abandons gṛhāśrama and becomes maccitta (mind fixed on the Lord), presenting such single-minded devotion and renunciation as leading to a purified transition to a higher realm.
It is a poetic way of describing intimate surrender and unwavering closeness to the Lord—holding to the divine with full faith at life’s end, not merely a physical act.
Purity of mind and one-pointed devotion are central; worldly identity (including social stage) is secondary when one’s consciousness is firmly established in the divine.