प्रयाणकाले मनसाऽचलेन भक्त्या युक्तो योगबलेन चैव।भ्रुवोर्मध्ये प्राणमावेश्य सम्यक् स तं परं पुरुषमुपैति दिव्यम्॥
prayāṇa-kāle manasācalenabhaktyā yukto yoga-balena caivabhruvor madhye prāṇam āveśya samyaksa taṃ paraṃ puruṣam upaiti divyam
Word by word
The verse says
At the hour of leaving, with a steady mind, joined by devotion and by the strength that practice gives, settling the breath between the brows — he reaches that supreme divine person.
In plain words
A piece of technique appears, and it is genuine yogic instruction: breath drawn to a point between the eyebrows.
Be honest about what this is. It comes from a specific school of practice with teachers and stages.
And it is not the route the chapter finally recommends. Four verses on, Krishna will say that simply remembering him is enough.
Where you've felt this · in creative work
A singer has a particular way of standing before a long piece — weight slightly forward, knees loose, shoulders down. Nobody in the audience will ever notice it, and it is not the thing that makes the song. It is what lets her hold the last long note without her voice shaking.
Going deeper
Technique is included here without being insisted on, and the difference is worth holding on to.
The Gita has a habit of gathering the serious methods of its time, describing each one accurately, and then declining to say that only one of them works. The breath practice named here belongs to a real tradition. It is not being invented to sound impressive, and it is not being made compulsory either.
What holds the verse together is not the method but the two things attached to it: devotion, and the strength that comes from having practised. Those do the work. The technique is the posture that makes the work easier for someone already doing it.
So if this line has ever made you feel that the door is shut unless you learn something specialised, read on a little. The chapter itself takes that reading away.