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
ธารณาและธี เป็นธิดาทั้งสองของมหาตมะผู้นั้น บุตรชายคนโตของท่านคือโยคะ และมหาคุรุของท่านคือโมกษะ (ความหลุดพ้น)
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).