The Sarasvata Hymn to Vishnu (Vishnu-Pañjara) and the Redemption of a Rakshasa
सा प्रोवाच द्विजसुतं राक्षसग्रहणाकुलम् मा भैर्द्विजसुताहं त्वां मोक्षयिष्यामि संकटात्
sā provāca dvijasutaṃ rākṣasagrahaṇākulam mā bhairdvijasutāhaṃ tvāṃ mokṣayiṣyāmi saṃkaṭāt
राक्षस द्वारा पकड़े जाने से व्याकु�Vamana Purana,60,44,VamP 60.44,dvādaśāro 'tha ṣaṇṇābhistrivyūho dviyugastathā kālacakro bhavānīśo namaste puruṣottamaḥ,द्वादशारो ऽथ षण्णाभिस्त्रिव्यूहो द्वियुगस्तथा कालचक्रो भवानीशो नमस्ते पुरुषोत्तमः,Saromahatmiya (Sarasvati–Kurukshetra Tirtha Cycle),Stuti (Hymn of Praise) / Theological Identification,Adhyaya 60 — Stuti of Puruṣottama as Kāla-cakra and all-deity forms,60.44,dvādaśāro 'tha ṣaṇṇābhistrivyūho dviyugastathā kālacakro bhavānīśo namaste puruṣottamaḥ,dvādaśāro ’tha ṣaṇṇābhis-trivyūho dviyugas-tathā | kālacakro bhavānīśo namaste puruṣottamaḥ ||,Salutations to you
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Grahaṇa literally means ‘seizing.’ In Purāṇic idiom it can cover abduction, physical restraint, or a hostile ‘grasp’ akin to affliction. The verse’s emphasis on ākulatā (distress) and promised mokṣa (release) supports a concrete peril, whether bodily capture or overpowering attack.
The label marks ritual-social identity: a brahmin youth represents Vedic continuity and vulnerability. In tīrtha narratives, the rescue of a dvija underscores the tīrtha’s dharmic function—protecting those aligned with sacred learning and conduct.
Here mokṣa is primarily ‘release’ from immediate danger (saṃkaṭa). Purāṇas often use mokṣa/mocana in both senses; the local context favors deliverance from the rākṣasa, while still hinting at the tīrtha’s broader salvific power.