Agni Purana — Mantra-shastra, Shloka 9
Chapter 303: Mantras for Worship Beginning with the Five-syllable (Pañcākṣara) — पञ्चाक्षरादिपूजामन्त्राः
पूर्वेण सौम्यवारीशगतं शुभमतौ शुभम् पुनस्तं शिष्यमायान्तं शिश्वाबन्धादिरक्षितं
pūrveṇa saumyavārīśagataṃ śubhamatau śubham punastaṃ śiṣyamāyāntaṃ śiśvābandhādirakṣitaṃ
ثم من جهة الشرق عاد ذلك التلميذ، حسنَ النية مباركَ القصد، قادماً بما هو ميمون، ومحفوظاً من القيود والعوائق كالأربطة ونحوها.
Lord Agni (traditional Agni Purana narrator) to Sage Vasiṣṭha (frame-dialogue attribution)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Narrative staging and characterization: auspicious re-entry of the disciple from the east, with protective framing against bonds/obstacles—useful for kavya/natya scene-setting and mangala-vidhana.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Auspicious Eastern Arrival of the Disciple (Mangala-pravesha)","lookup_keywords":["pūrva-diś","śiṣya-āgamanam","śubha","rakṣā","bandha"],"quick_summary":"The verse paints an auspicious stage-direction: the disciple returns from the east bearing auspiciousness and being protected from restraints like bonds—serving as a mangala cue and character-safety marker in narrative composition."}
Alamkara Type: Anuprāsa (soft alliteration of śubha/śiṣya-phonemes)
Concept: Śubha-nimitta: auspicious signs (direction, protection, intent) are used to frame successful action and narrative progression.
Application: In composition or performance, introduce key entrants from auspicious quarters and mark them as protected/fit to proceed, reinforcing mangala and audience confidence.
Khanda Section: Sahitya-shastra (Kavya/Alankara & Poetics)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: Direction/Quarter
Visual Art Cues: {"scene_description":"A disciple enters from the eastern side, carrying auspicious items, depicted as protected from bonds or restraints, suggesting a favorable turn in the scene.","kerala_mural_prompt":"Kerala mural, temple-courtyard narrative panel, eastern gateway highlighted by sunrise glow, disciple entering with auspicious tray, protective motifs (sacred thread, talisman), calm dignified expressions.","tanjore_prompt":"Tanjore painting, disciple entering from right (east) with mangala items (flowers, lamp), gold-leaf highlights on sunrise and ornaments, auspicious border motifs, serene devotional ambience.","mysore_prompt":"Mysore painting, clear stage-like composition: east-marked doorway, disciple mid-step, subtle protective symbols (raksha-kavacha), soft palette and fine detailing for narrative clarity.","mughal_miniature_prompt":"Mughal miniature, palace/ashram courtyard with eastern arch, disciple arriving with a covered tray, guards/attendants indicating protection, sunrise sky, intricate architectural detail."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Shree","pace":"medium","voice_tone":"epic"}
Sandhi Resolution Notes: पुनस्तम् → पुनः तम्. शिष्यमायान्तम् → शिष्यम् आयान्तम्. शिश्वाबन्धादिरक्षितम् → शिशु-आबन्ध-आदि-रक्षितम् (orthographic contraction).
Related Themes: Agni Purana: Sahitya-shastra/Alamkara portions on mangala, guna-dosha, and narrative arrangement
FAQs
This verse functions as narrative-poetic phrasing within the Sahitya-shastra context, illustrating compact compound formation and auspicious-direction imagery rather than prescribing a ritual procedure.
It exemplifies the Agni Purana’s inclusion of kavya/poetics—showing that alongside dharma, ritual, and other sciences, it also preserves Sanskrit literary technique and stylistic composition.
By emphasizing auspiciousness (śubha) and protection from bonds/restraints, the line signals the ideal of safeguarded, dharmically-aligned return—suggesting purity, good omens, and freedom from impediments.