Varaha Purana 171.25: Adhyaya 171, Shloka 25
Śuka’s Ocean Voyage: Adverse Winds, Arrival at a Viṣṇu Shrine, and Aid from the Jaṭāyu Birds
गीतं वाद्यं च नृत्यं च यथासौख्यं विहृत्य च ॥ गतास्ता देवताः सर्वा यथास्थानमनुत्तमम्
gītaṃ vādyaṃ ca nṛtyaṃ ca yathāsaukhyaṃ vihṛtya ca || gatās tā devatāḥ sarvā yathāsthānam anuttamam
वो लोग गाने बजाने और नाच में लगे। अपनी मर्ज़ी से मज़े किए। फिर सब देवी लोग अपने-अपने घर चले गए। उनका घर बहुत बड़ा है।
Narrator (not explicit in fragment; default narrative frame within Varāha–Pṛthivī discourse)
The sequence ‘celebration → return to proper abodes’ encodes ṛta: joy (līlā/utsava) is not chaos but a regulated cosmic rhythm, after which each deva resumes svadhāma—suggesting the Lord’s governance of both delight and order.
Not explicit; the arts (gīta-vādya-nṛtya) function like upacāras concluding a rite, followed by visarjana/return—parallel to yajña’s completion and dispersal.
Līlā within dharma: multiplicity engages in sanctioned enjoyment yet remains rooted in svadharma/svasthāna; the world’s movements resolve back into ordered stations under īśvara.
Even pleasure is framed as ‘yathāsaukhyam’ within cosmic propriety; beings return to their rightful stations, emphasizing discipline after celebration.
After worship/festivals, conclude with proper closure (visarjana, gratitude, return to duties); enjoy arts as offerings rather than indulgence.
Continuation of the summoned assembly motif from 171.26.0
FAQs
The verse provides textual evidence for the literary pairing of music, instruments, and dance as a standard celebratory motif in Sanskrit narrative culture.
No specific geographic site is mentioned; the focus is on ‘proper abodes’ (yathāsthāna) in a cosmological sense.
It reinforces the idea of orderly return to one’s appropriate sphere after celebration—an image of social/cosmic regulation rather than excess.
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