Shloka 72
Womb-Suffering and the Path to Liberation
Dialogue of Wisdom, Meditation, and Discernment
धारणा धीश्च द्वे पुत्र्यौ तस्यैव हि महात्मनः । तस्य योगः सुतो ज्येष्ठो मोक्षो यस्य महागुरुः
dhāraṇā dhīśca dve putryau tasyaiva hi mahātmanaḥ | tasya yogaḥ suto jyeṣṭho mokṣo yasya mahāguruḥ
Dua puteri mahātmā itu ialah Dhāraṇā dan Dhī. Putera sulungnya ialah Yoga, dan mahāgurunya ialah Mokṣa (Pembebasan).
Unspecified narrator (context not provided in the input excerpt)
Concept: Inner faculties (dhāraṇā, dhī, yoga) are to be oriented toward Mokṣa as the supreme teacher.
Application: Treat concentration (dhāraṇā) and discernment (dhī) as ‘daughters’ to be cultivated; let yoga be guided by the ‘guru’ principle of liberation—choose practices that reduce bondage rather than inflate identity.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"An allegorical court of the inner self: two luminous maidens—Dhāraṇā (steady gaze, rosary, lotus-seat) and Dhī (holding a palm-leaf manuscript and a lamp)—stand beside a youthful prince Yoga. Behind them, the venerable guru Mokṣa appears as a radiant ascetic whose aura dissolves chains into lotus petals, suggesting liberation as the ultimate teacher.","primary_figures":["Dhāraṇā","Dhī","Yoga (personified)","Mokṣa (personified guru)"],"setting":"A symbolic palace-temple within a lotus mandala, pillars carved with conch and discus motifs, suggesting Vishnu’s presence as the unseen center.","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: allegorical Vaishnava inner-court scene inside a lotus mandala palace; Dhāraṇā and Dhī as jeweled princesses with serene faces, Yoga as a youthful prince with yogic beads, Mokṣa as a radiant guru-ascetic; heavy gold leaf halos, rich crimson and emerald textiles, gem-studded ornaments, conch-discus motifs on pillars, ornate arch framing the figures.","pahari_prompt":"Pahari miniature style: lyrical allegory in a lotus-garden pavilion; delicate brushwork, soft gradients, refined faces; Dhāraṇā with rosary and steady gaze, Dhī with manuscript and lamp, Yoga seated in calm posture, Mokṣa as luminous elder; cool blues and greens with lotus pink accents, fine floral borders and distant misty hills as ‘inner landscape’.","kerala_mural_prompt":"Kerala mural style: bold black outlines and temple-wall composition; Dhāraṇā and Dhī flanking Yoga, all with large expressive eyes; Mokṣa as radiant guru with white aura; natural pigment palette dominated by red, yellow, green; conch and discus emblems subtly integrated into the background architecture.","pichwai_prompt":"Pichwai cloth painting style: lotus-filled mandala backdrop with intricate floral borders; central unseen Vishnu suggested by conch-discus motifs; Dhāraṇā and Dhī as graceful attendants, Yoga as youthful devotee-prince, Mokṣa as saintly figure; deep indigo ground, gold detailing, peacocks and lotuses framing the allegory."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura drone","temple bells (distant)","silence between pādas"]}
Sandhi Resolution Notes: धीश्च = धीः + च; तस्यैव = तस्य + एव
FAQs
They are named as the two daughters of a “great-souled” figure mentioned in the surrounding narrative (not included in the excerpt). Their names also carry philosophical resonance: dhāraṇā (steadfast concentration) and dhī (insight/intellect).
The line presents liberation (mokṣa) as the highest guiding principle—suggesting that spiritual disciplines such as yoga ultimately take direction from, and culminate in, liberation.
Primarily it reads like a genealogical statement (daughters/son), but the chosen names also function symbolically, linking lineage language with spiritual ideas: concentration (dhāraṇā), insight (dhī), discipline (yoga), and liberation (mokṣa).