Shloka 5
Adhyaya 23 — Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati
पुत्रावूचतुः इत्येवं वादिभिः पौरैः पुरः पृष्ठे च संवृतः ।
तत्क्षणप्रभवानन्दः प्रविवेश पितुर्गृहम् ॥
putrāv ūcatuḥ ityevaṃ vādibhiḥ pauraiḥ puraḥ pṛṣṭhe ca saṃvṛtaḥ | tat-kṣaṇa-prabhavānandaḥ praviveśa pitur gṛham ||
Так сказали ему горожане, окружившие его спереди и сзади; и он — с радостью, возникшей в тот же миг, — вошёл в дом своего отца.
{ "primaryRasa": "bhakti", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
The Purāṇic ideal of a hero is socially embedded: public welfare and familial duty converge in the image of the welcomed return.
Ākhyāna/Upākhyāna; supportive narrative material rather than sarga/manvantara data.
Entering the father’s house can be read as a return to ‘origin’ (kāraṇa), a motif often preceding revelation—here, the revelation of loss and the arising of remorse.