Varaha Purana 17.56: Adhyaya 17, Shloka 56
King Prajāpāla’s Visit to Sage Mahātapā’s Hermitage and the Doctrinal Praise of Nārāyaṇa
तमेवं तुष्टुवुः सर्वास्तं देवं परमेश्वरम् । स्वस्थानमीयिषुः सर्वास्तदा नृपतिसत्तम ॥ १७.५६ ॥
tam evaṁ tuṣṭuvuḥ sarvāstaṁ devaṁ parameśvaram | svasthānam īyiṣuḥ sarvāstadā nṛpatisattama || 17.56 ||
So priesen sie alle jenen Gott, den höchsten Herrn; dann kehrten sie alle in ihre eigenen Wohnstätten zurück, o Bester der Könige.
Varāha (default speaker framework; speaker not explicit in excerpt)
Varaha Avatara Context: {"is_varaha_focus":false}
Bhu Devi Dialogue: {"is_dialogue":false}
Mathura Mandala: {"is_mathura_related":false}
Dharma Shastra: {"has_dharma_rule":false}
Vrata Mahatmya: {"has_vrata":false}
Cosmic Boar Symbolism: {"has_symbolism":false}
Philosophical Teaching: {"has_teaching":true,"teaching_type":"bhakti-theology","core_concept":"Stuti (praise) culminates in prasāda and orderly return to svadharma/svadhāma; the Supreme is acknowledged as Parameśvara.","practical_application":"Conclude rituals/recitations with gratitude and disciplined return to one’s duties rather than clinging to extraordinary experiences."}
Subject Matter: ["Literary Narrative","Devotional Poetics","Kingship Discourse"]
Primary Rasa: śānta
Secondary Rasa: bhakti
Type: narrative-court/assembly implied
Related Themes: 17.17.57-59 (continuation of stuti listing divine immanence)
Visual Art Cues: {"scene_description":"A gathered host completes a hymn of praise to the Supreme Lord; the assembly disperses, each returning to their own celestial or earthly abode, while a kingly listener is addressed.","item_prompts":["group of devas/sages/devotees with añjali-mudrā","central radiant deity (not necessarily boar-form)","movement outward: figures departing in different directions","royal listener (nṛpati-sattama) seated respectfully"],"kerala_mural_prompt":"Kerala mural style: central luminous Viṣṇu/Parameśvara figure, surrounding devotees in añjali, rhythmic dispersal to edges, flat perspective, rich reds/ochres/greens.","tanjore_prompt":"Tanjore: central deity with prabhāmaṇḍala in gold leaf, devotees in symmetrical rows, departing figures suggested at margins, ornate jewelry and textiles.","mysore_prompt":"Mysore: delicate linework, soft shading, courtly assembly dispersing, emphasis on serene faces and refined garments.","pahari_prompt":"Pahari: lyrical landscape edges with paths leading away, small departing figures, central deity and king in intimate scale, cool palette with devotional calm."}
Audio Atmosphere: {"recitation_mood":"concluding-devotional","suggested_raga":"Madhyamāvati","pace":"medium-slow","voice_tone":"warm, settled, cadential"}
FAQs
It reflects a common Purāṇic narrative closure pattern: divine praise (stuti) followed by the dispersal of assembled beings, functioning as a literary transition and reinforcing the text’s courtly address to an idealized king.
No specific geographic location is named in this verse; it only mentions that the participants returned to their respective abodes (svasthāna).
The verse conveys a philosophical instruction about acknowledging supreme authority through respectful praise and then returning to one’s proper duties and place, framed within a royal-address narrative style.
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