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
ఇలా చెప్పి దేవతలు ఆనందంతో విమానాలలో స్వర్గానికి వెళ్లిపోయారు. మనుష్యులు సంతృప్తితో వెళ్లారు; దంపతులు కూడా తమ ఇంటికి తిరిగివచ్చారు.
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.