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
Có người chuyên chú vào jñāna-yoga thì được giải thoát ngay tại đó; nhưng kẻ khác, mải mê lạc thú, lại quay về vòng luân hồi (saṃsāra).
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.