Shloka 139
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
एवमुक्त्वा गता देवा विमानैश्च दिवं मुदा । मनुष्याः प्रययुस्तुष्टा दंपती स्वगृहं तथा
evamuktvā gatā devā vimānaiśca divaṃ mudā | manuṣyāḥ prayayustuṣṭā daṃpatī svagṛhaṃ tathā
Setelah berkata demikian, para dewa berangkat ke syurga dengan gembira menaiki vimāna. Orang ramai pun pergi dengan puas hati, dan pasangan itu juga kembali ke rumah mereka.
Narrator (third-person narrative; no direct speech indicated in this verse)
Concept: After divine instruction and blessing, cosmic and social order resumes: devas return to heaven; humans return satisfied; household life is re-stabilized.
Application: Let spiritual encounters translate into calm, ethical daily living—return to duties with a purified mind rather than seeking spectacle.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"In a clear sky, devas ascend in jeweled vimānas trailing banners and light, turning back with gentle smiles. Below, villagers disperse peacefully, and a modest couple walks home hand-in-hand, the village lanes warmed by a settled, auspicious calm.","primary_figures":["Devas in vimānas","Villagers/people","Householder couple (dampatī)"],"setting":"Village edge near a shrine, with the sky opening upward into svarga; a path leading back to a simple home symbolizes grounded dharma.","lighting_mood":"late afternoon glow","color_palette":["amber","sky blue","white gold","leaf green","earth brown"],"tanjore_prompt":"Tanjore painting style: upper register filled with ornate vimānas and devas with gold leaf halos; lower register shows villagers and a couple returning home; rich reds/greens, embossed gold clouds, decorative borders, jewel-like detailing on chariots.","pahari_prompt":"Pahari miniature style: airy sky with delicate vimānas; gentle village scene below with winding path to a home; soft amber light, cool blue sky wash, refined figures, lyrical trees and rooftops.","kerala_mural_prompt":"Kerala mural style: bold outlines; devas in stylized flying chariots across a deep blue band; below, simplified village procession and couple; strong reds/yellows/greens, rhythmic composition like a temple frieze.","pichwai_prompt":"Pichwai cloth painting style: layered registers—celestial vimānas above, village dispersal below; ornate floral borders, lotus motifs, peacocks perched on rooftops; deep blue and gold with saffron accents, intricate textile-like patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["fading temple bells","distant conch","soft footsteps","evening birds","gentle wind"]}
Sandhi Resolution Notes: evamuktvā = एवम् + उक्त्वा; vimānaiśca = विमानैः + च; prayayustuṣṭā = प्रययुः + तुष्टाः; svagṛhaṃ = स्व + गृहम् (षष्ठी-तत्पुरुष); divaṃ mudā: ‘दिवम्’ (acc.) + ‘मुदा’ (instr.).
FAQs
It serves as a closure scene: after the preceding statement/event, the gods depart to heaven in vimānas, while the human audience disperses contentedly and the central couple returns home.
Indirectly, yes: it highlights restoration of order and satisfaction after a resolved episode—divine beings return to their realm and householders return to domestic life, suggesting harmony between divine oversight and human duties.
The verse itself does not name them; it refers back to the couple central to the immediately preceding narrative context in Adhyaya 50.