Shloka 13
Śatrughna’s Entry into Ahicchatrā
Temptation of Sumada and the Goddess’s Boon
इति श्रीपद्मपुराणे पातालखंडे शेषवात्स्यायनसंवादे रामाश्वमेधे । शत्रुघ्नाहिच्छत्रापुरीप्रवेशोनाम त्रयोदशोऽध्यायः
iti śrīpadmapurāṇe pātālakhaṃḍe śeṣavātsyāyanasaṃvāde rāmāśvamedhe | śatrughnāhicchatrāpurīpraveśonāma trayodaśo'dhyāyaḥ
इस प्रकार श्रीपद्मपुराण के पातालखण्ड में, शेष और वात्स्यायन के संवाद तथा रामाश्वमेध-प्रसंग में, ‘शत्रुघ्न का अहिच्छत्रापुरी में प्रवेश’ नामक तेरहवाँ अध्याय समाप्त होता है।
Narratorial colophon (chapter-ending formula) within the Śeṣa–Vātsyāyana dialogue frame
Application: Use colophons to locate narrative frame and authority; remember teachings are preserved through disciplined transmission.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A manuscript-like scene shows Śeṣa, the cosmic serpent, seated as a sage-teacher, while Vātsyāyana listens attentively; behind them, a vignette depicts Śatrughna entering the fortified city of Ahicchatrā with banners and conch-calls. The composition feels like an illuminated folio where the colophon itself becomes a sacred seal.","primary_figures":["Śeṣa (as teacher)","Vātsyāyana (listener)","Śatrughna","attendants and soldiers"],"setting":"a forest āśrama foreground transitioning into a distant city-gate panorama; manuscript margins with decorative motifs to evoke a colophon.","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","palm-leaf tan","indigo ink","vermilion","sage green"],"tanjore_prompt":"Tanjore painting style: Śeṣa in semi-divine form with multiple hoods as a halo, seated on a lotus pedestal; Vātsyāyana in añjali; inset panel of Ahicchatrā city gate with Śatrughna; gold leaf borders mimicking a colophon cartouche, rich reds/greens, embossed ornaments.","pahari_prompt":"Pahari miniature style: folio-like layout with two registers—upper: Śeṣa teaching Vātsyāyana under a tree; lower: Śatrughna’s procession entering Ahicchatrā; delicate architecture, cool palette, fine calligraphic border patterns.","kerala_mural_prompt":"Kerala mural style: frontal Śeṣa with stylized serpent-hood aureole, Vātsyāyana seated; simplified city-gate motif with Śatrughna; bold outlines, warm reds/yellows/greens, mural symmetry and ornamental bands like a chapter seal.","pichwai_prompt":"Pichwai cloth painting style: central medallion of Śeṣa–Vātsyāyana dialogue framed by lotus and floral borders; side vignette of Śatrughna at the city gate; deep blue ground with gold and white detailing, intricate border work resembling a sacred text colophon."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["page-turning hush","temple bell punctuation","conch shell (procession)","distant drums"]}
Sandhi Resolution Notes: trayodaśo'dhyāyaḥ → trayodaśaḥ adhyāyaḥ; śatrughnāhicchatrāpurīpraveśo → śatrughna-ahicchatrā-purī-praveśaḥ (compound).
FAQs
It is a colophon: a formal chapter-ending line that identifies the text (Padma Purāṇa), section (Pātāla-khaṇḍa), dialogue frame (Śeṣa–Vātsyāyana), narrative context (Rāma’s Aśvamedha), and the chapter title (Śatrughna’s entry into Ahicchatrāpurī).
It shows layered organization: a khanda (Pātāla-khaṇḍa), a dialogue framework (Śeṣa and Vātsyāyana), and a sub-narrative cycle (Rāma’s Aśvamedha), with chapters explicitly titled for archival clarity.
No direct ethical teaching is stated; the verse functions as a structural marker. Its value is contextual—linking the chapter to the Rāma-centered Aśvamedha narrative and to the authoritative dialogue frame.