Shloka 22
विहाय नागांस्तुरगान्रथांश्च स्वदारवर्गं स्वजनादिकांश्च । जगाम देहं मधुसूदनस्य ततोंऽबरात्पुष्पचयः पपात ॥ २२ ॥
vihāya nāgāṃsturagānrathāṃśca svadāravargaṃ svajanādikāṃśca | jagāma dehaṃ madhusūdanasya tatoṃ'barātpuṣpacayaḥ papāta || 22 ||
ລະທິ້ງຊ້າງ, ມ້າ, ແລະລົດຮົບ; ລະທິ້ງເຮືອນເຮືອນຂອງຕົນ, ພັນລະຍາ ແລະວົງວານ, ພ້ອມທັງຍາດພີ່ນ້ອງທັງປວງ; ພຣະອົງໄດ້ໄປສູ່ກາຍ/ສະຖານທິບຂອງມະທຸສູດະນະ (ພຣະວິສນຸ). ແລ້ວດອກໄມ້ກໍຕົກລົງຈາກຟ້າເປັນຝົນ.
Narada (narrating within the Uttara-Bhaga Tirtha-Mahatmya section)
Vrata: none
Rasa: {"primary_rasa":"adbhuta","secondary_rasa":"bhakti","emotional_journey":"Total relinquishment of royal power and kinship ties culminates in ascent to Madhusūdana; the heavens respond with a flower-shower, sealing the scene in wonder and divine approval."}
FAQs
It portrays vairāgya (detachment) as the turning-point for mokṣa: when worldly status and family-identities are relinquished, the devotee attains Madhusūdana’s divine presence, marked by auspicious celestial पुष्पवृष्टि (a shower of flowers).
Bhakti here is shown as single-pointed surrender: the devotee leaves behind royal enjoyments and attachments and moves toward Viṣṇu alone; the narrative sign (flowers from the sky) indicates divine acceptance of that devotion.
No specific Vedāṅga technique is taught in this verse; the practical takeaway is dharma-application—cultivating vairāgya and Viṣṇu-smaraṇa (remembrance of Viṣṇu), which the Purāṇa frames as essential for tīrtha-based merit to mature into liberation.