Shloka 114
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
धर्मान्न चलते सोपि स्वभार्यापरभार्ययोः । संस्पर्शात्स्वस्त्रियश्चास्य कामाभिलषितं मनः
dharmānna calate sopi svabhāryāparabhāryayoḥ | saṃsparśātsvastriyaścāsya kāmābhilaṣitaṃ manaḥ
धर्मान्न स चलति स्वभार्यापरभार्ययोः। स्वस्त्रीसंस्पर्शमात्रेण तस्य मनः कामेन चालयते।
Unclear from provided excerpt (context needed from Adhyaya 50 surrounding verses).
Concept: Outer restraint can coexist with inner agitation; true dharma includes mastery of mind and senses, not only avoidance of overt transgression.
Application: Maintain boundaries, but also cultivate inner discipline—reduce triggers, practice japa, keep sāttvika routines, and seek holy association when desire surges.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A man stands between two worlds: on one side, the calm posture of dharma—hands folded, gaze lowered; on the other, the subtle pull of desire suggested by the gentle touch of women in the household. The scene emphasizes psychological realism: no overt wrongdoing, yet the mind’s waves are visible in the tension of his brow and the swirling patterns of the night air.","primary_figures":["dhārmika man (unnamed)","wife","other woman (parabhāryā implied as boundary concept rather than explicit figure)"],"setting":"palace interior with threshold line—one side a small shrine niche, the other side a private chamber; symbolic boundary markers","lighting_mood":"divine radiance","color_palette":["saffron","smoky blue","soft white","copper","leaf green"],"tanjore_prompt":"Tanjore painting style: moral allegory in palace interior—man centered with folded hands near a small Viṣṇu shrine niche; gold leaf radiance around shrine and ornaments; rich reds/greens with saffron highlights; women rendered respectfully and symbolically; emphasis on dharma vs kāma through composition and halos.","pahari_prompt":"Pahari miniature style: subtle psychological scene with a shrine alcove, the man’s conflicted expression delicately painted; cool blues and soft whites; refined textiles; a thin boundary line (carpet edge/doorframe) symbolizing maryādā; lyrical restraint.","kerala_mural_prompt":"Kerala mural style: bold outlines; central figure with large eyes showing inner struggle; shrine niche with stylized Viṣṇu symbols; warm red/yellow/green palette; decorative borders; gestures conveying restraint and temptation without explicitness.","pichwai_prompt":"Pichwai cloth painting style: allegorical composition framed by lotus borders; deep blue ground with gold and saffron; a small central shrine motif, lotus buds and open lotuses symbolizing controlled vs awakened desire; peacocks and floral vines used symbolically rather than narratively."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bell","steady tanpura drone","night breeze","distant conch"]}
Sandhi Resolution Notes: धर्मान्न = धर्मात् + न; सोपि = सः + अपि; स्वस्त्रियश्चास्य = स्वस्त्रियः + च + अस्य; संस्पर्शात् unchanged; कामाभिलषितं = कामाभिलषितम् (m-final before m)
FAQs
It distinguishes outward adherence to dharma (not transgressing with another’s wife) from inner discipline, warning that desire can still arise in the mind and must be restrained.
No. It highlights that even within permissible relations, the mind can become driven by kāma; the teaching is about moderation and mastery over mental impulses.
This verse is primarily a moral-psychological observation rather than a narrative or pilgrimage passage; identifying speakers or divine context requires the surrounding verses of Adhyaya 50.