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Shloka 2

Vāc–Manas Saṃvāda: Prāṇa-Apāna and the Primacy Debate (वाक्–मनस् संवादः)

श्रोत्रं त्वक्‌ चक्षुषी जिह्नवा नासिका चरणौ करौ । उपस्थ॑ वायुरिति वा होतृणि दश भामिनि,भामिनि! कान, त्वचा, नेत्र, जिह्ला (वाक्‌ और रसना), नासिका, हाथ, पैर, उपस्थ और गुदा--से दस होता हैं

śrotraṃ tvak cakṣuṣī jihvā nāsikā caraṇau karau | upasthaḥ vāyur iti vā hotṝṇi daśa bhāmini bhāmini |

Vị Bà-la-môn nói: “Thính giác, xúc giác, thị giác, lưỡi, mũi, hai bàn chân, hai bàn tay, và cơ quan sinh dục—ấy chính là mười ‘hotṛ’ (những tác nhân chủ lễ), hỡi người đẹp.”

श्रोत्रम्ear (organ of hearing)
श्रोत्रम्:
Karta
TypeNoun
Rootश्रोत्र
FormNeuter, Nominative, Singular
त्वक्skin
त्वक्:
Karta
TypeNoun
Rootत्वच्
FormFeminine, Nominative, Singular
and
:
TypeIndeclinable
Root
चक्षुषीtwo eyes
चक्षुषी:
Karta
TypeNoun
Rootचक्षुस्
FormNeuter, Nominative, Dual
जिह्वाtongue
जिह्वा:
Karta
TypeNoun
Rootजिह्वा
FormFeminine, Nominative, Singular
नासिकाnose
नासिका:
Karta
TypeNoun
Rootनासिका
FormFeminine, Nominative, Singular
चरणौtwo feet
चरणौ:
Karta
TypeNoun
Rootचरण
FormMasculine, Nominative, Dual
करौtwo hands
करौ:
Karta
TypeNoun
Rootकर
FormMasculine, Nominative, Dual
उपस्थःgenital organ
उपस्थः:
Karta
TypeNoun
Rootउपस्थ
FormMasculine, Nominative, Singular
वायुःwind; vital air (apāna etc.)
वायुः:
Karta
TypeNoun
Rootवायु
FormMasculine, Nominative, Singular
इतिthus
इति:
TypeIndeclinable
Rootइति
वाor
वा:
TypeIndeclinable
Rootवा
होतॄणिpriests (hotṛs)
होतॄणि:
Karta
TypeNoun
Rootहोतृ
FormMasculine, Nominative, Plural
दशten
दश:
Karta
TypeAdjective
Rootदश
FormMasculine, Nominative, Plural
भामिनिO fair/angry lady (address)
भामिनि:
TypeNoun
Rootभामिनी
FormFeminine, Vocative, Singular

ब्राह्मण उवाच

ब्राह्मण (the Brahmin speaker)
भामिनी (addressed woman)

Educational Q&A

The verse teaches that the senses and organs function like ‘priests’ conducting an inner ritual; because they drive perception and action, ethical life requires governing them through restraint and mindful discipline.

A Brahmin, speaking to a woman addressed as ‘bhāmini,’ enumerates the bodily faculties and organs and interprets them as ten ‘hotṛs,’ setting up a metaphorical explanation of inner sacrifice and the need for control over sensory activity.