तन्त्रीत्रयलयोपेतं सिद्धगन्धर्वकिंनरैः सुरागम् उपधा नित्यं गीयते तस्य वेश्मसु //
tantrītrayalayopetaṃ siddhagandharvakiṃnaraiḥ surāgam upadhā nityaṃ gīyate tasya veśmasu //
Di dalam istana-istana baginda, nyanyian suci—berirama menurut vīṇā bertali tiga, merdu dan terlaras—sentiasa dilagukan, disertai para Siddha, Gandharva dan Kiṃnara.
It does not discuss Pralaya directly; instead, it depicts an auspicious, prosperity-marked residence where celestial-grade music is continually performed.
It implies that an ideal ruler/householder maintains a refined, dharmic, and auspicious domestic environment—where uplifting arts like properly tuned music flourish—signaling order, prosperity, and cultured governance.
Architecturally, the key marker is the ‘veśma’ (mansion/house) as a space designed for auspicious sound and cultured activity; ritually, continual harmonious music functions as a sign of well-being and sanctified domestic atmosphere.