Shloka 114
Pitṛmātṛtīrtha Greatness & the Discourse on Embodiment: Karma, Birth, Impurity, and Dispassion
तादृशं स्त्रीषु मंतव्यमधिकं नैव विद्यते । मर्त्यस्य वेदना सैव यां विना चित्तनिर्वृतिः
tādṛśaṃ strīṣu maṃtavyamadhikaṃ naiva vidyate | martyasya vedanā saiva yāṃ vinā cittanirvṛtiḥ
स्त्रीविषये तादृशमनुभवमेव परमं मन्येत; तस्मादधिकं किञ्चिदपि न विद्यते। मर्त्यस्य सा एव वेदना, यां विना चित्तस्य निर्वृतिः न भवति।
Unspecified in the provided excerpt (context needed from Adhyaya 66 surrounding verses)
Concept: Attachment to sexual pleasure is bound to pain; the mind’s ‘repose’ is falsely sought in what actually perpetuates agitation and suffering.
Application: Cultivate mindful restraint (brahmacarya in spirit), channel affection into devotion and service, and seek mental rest through nāma-smaraṇa rather than stimulation.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A contemplative interior: a person sits with head bowed, torn between a vivid, alluring mirage-like figure representing sensual attraction and a calm, luminous presence symbolizing inner peace. The mirage is edged with thorns and faint red heat, while the peaceful presence is cool and steady, suggesting that what seems soothing actually wounds.","primary_figures":["symbolic seeker","personification of Kāma (as mirage)","personification of Śānti (as gentle light)"],"setting":"quiet room with a small Viṣṇu altar and japa beads on the floor; a window showing night sky.","lighting_mood":"moonlit with a single steady lamp","color_palette":["moon-silver","deep indigo","soft sandalwood beige","thorn-red","quiet emerald"],"tanjore_prompt":"Tanjore painting style: central seated seeker, two contrasting presences—Kāma as ornate but thorn-edged figure, Śānti as luminous calm; gold leaf used for the serene aura near the Viṣṇu altar; rich textiles, traditional symmetry, devotional undertone.","pahari_prompt":"Pahari miniature style: subtle psychological scene with delicate shading; moonlit window, refined facial expressions; the mirage figure painted slightly translucent; cool palette emphasizing inner quiet.","kerala_mural_prompt":"Kerala mural style: bold outlines; Kāma rendered with decorative patterns and red heat motifs; Śānti as pale haloed form; Viṣṇu altar with śaṅkha-cakra symbols; natural pigments and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: lotus border framing a moral allegory; deep blue ground; central altar motif; intricate floral patterns around Śānti, while thorn motifs subtly surround Kāma; gold accents for the devotional focal point."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura drone","night insects","gentle bell at cadence","long silence after the final word"]}
Sandhi Resolution Notes: मंतव्यमधिकं → मन्तव्यम् + अधिकम्; नैव → न + एव; सैव → सा + एव; चित्तनिर्वृतिः treated as षष्ठी-तत्पुरुष (चित्तस्य निर्वृतिः).
FAQs
It links human attachment (framed here in relation to women) with an intense, distinctive pain, suggesting that the mind’s “repose” is entangled with—rather than free from—this suffering in worldly life.
The phrasing functions more as a warning about the psychological cost of attachment and longing, emphasizing how desire can generate recurring distress that disturbs inner peace.
Padma Purana chapters often occur within nested dialogues (e.g., Pulastya–Bhīṣma or Śiva–Pārvatī). Since only one verse was provided without surrounding narrative markers, the exact speaker cannot be reliably identified.