Gṛhastha-nitya-karman: Śauca, Sandhyā-vidhi, Pañca-yajña, and Āśrama-krama
ततो विसृज्य तां विप्र उत्तरे इति मंत्रतः । ब्रह्मणेशेन हरिणानुज्ञाता गच्छ सादरम् ॥ ६२ ॥
tato visṛjya tāṃ vipra uttare iti maṃtrataḥ | brahmaṇeśena hariṇānujñātā gaccha sādaram || 62 ||
அதன்பின், ஓ பிராமணரே, ‘உத்தரே…’ என்று தொடங்கும் மந்திரத்தால் அவளை விடைபெறச் செய்து, பிரம்மா, ஈசன் (சிவன்) மற்றும் ஹரி (விஷ்ணு) ஆகியோரின் மரியாதையான அனுமதி பெற்று, பக்தியுடன் புறப்பட வேண்டும்.
Narrator (Purāṇic voice, within the Narada Purana’s dialogue framework)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhakti
It emphasizes ritual and spiritual propriety: one should conclude an action by formally releasing what was invoked or engaged (visṛjya) through mantra, and proceed only after receiving divine sanction (anujñā) from the highest deities.
Bhakti is shown as reverent conduct—acting with humility (sādaram), honoring Hari alongside other deities, and treating divine permission as central rather than personal impulse.
Mantra-prayoga (application of mantra) and ritual sequencing are implied—knowing when to recite a mantra for dismissal/release and how to conclude a rite with proper decorum, aligning with disciplines akin to Śikṣā (correct recitation) and Kalpa (ritual procedure).