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Trivarṇa–Manohvā–Akṣa-vaṃśaḥ (Nava-dvāra-pura-nirmāṇaṃ ca)
Mythic-Anthropology and Cosmological Allegory (Body–City symbolism; Kingship and Ritual Order)
Agastya ne ek purani kahaani sunayi. Raja ke vansh mein Trivarna paida hua, phir ek beti aur Manohva naam ka beta aaya. Manohva ki vansh mein paanch log the jinko Aksha kehte the. Ye log pehle dasyu the, raja ne unko apne kabje mein kar liya. Sab milkar ek sheher banaya jiska nau darwaze the aur beech mein ek khamba tha. Us sheher mein jaake sab ek ho gaye. Wahan Pashupala naam ka raja prakat hua. Usne Vedic bhasha yaad ki aur naye niyam banaye. Uski tapasya se ek chaturmukh murti bani jo char Vedo se judi thi. Phir saare jaanwar us raja ke rajya mein aa gaye.
Verse 1
अगस्त्य उवाच । स त्रिवर्णो नृपोत्सृष्टः स्वतन्त्रत्वाच्च पार्थिव । अहं नामानमसृजत् पुत्रं पुत्रस्त्रिवर्णकम् ॥ ५२.१ ॥
Agastya ne kaha, are raja, us Trivarn ko raja ne chhod diya tha. Woh apni marzi ka malik ban gaya. Uske baad maine ek beta banaya jiska naam Namaana rakha. Woh beta bhi Trivarnaka kaha gaya.
Verse 2
तस्यापि चाभवत् कन्या अवबोधस्वरूपिणी । सा तु विज्ञानदं पुत्रं मनोह्वं विससर्ज ॥ ५२.२ ॥
Uski bhi ek beti hui jo bahut samajhdaar thi. Usne bhi ek beta paida kiya jiska naam Vijnanda rakha. Log use Manohva ke naam se bhi jaante the.
Verse 3
तस्यापि सर्वरूपाः स्युः स्तनयाः पञ्चभोगिनः । यथासंख्येन पुत्रास्तु तेषामक्षाभिधानकाः ॥ ५२.३ ॥
Uske paanch bete the jo har tarah ke roop mein the. Log unhe paanch bhogi kehte the. Unke bete bhi the, jinko Aksha ke naam se jaana jata tha.
Verse 4
एते पूर्वं दस्यवः स्युस्ततो राज्ञा वशीकृताः । अमूर्ता इव ते सर्वे चक्रुरायतनं शुभम् ॥ ५२.४ ॥
Yeh sab pehle daku the. Raja ne unko apne kabje mein kar liya. Phir woh aise ho gaye jaise koi badan hi na ho. Un sab ne milke ek accha mandir banaya.
Verse 5
नवद्बारं पुरं तस्य त्वेकस्तम्भं चतुष्पथम् । नदीसहस्रसङ्कीर्णं जलक्रीत्या समास्थितम् ॥ ५२.५ ॥
Us shahar mein nau darwaze the. Ek khamba tha aur char raste milte the wahan. Hazaar nadiyan usme ghuli hui thin. Log wahan paani mein khelte the.
Verse 6
तत्पुरं ते प्रविविशुरेकीभूतास्ततो नव । पुरुषो मूर्त्तिमान् राजा पशुपालोऽभवत् क्षणात् ॥ ५२.६ ॥
Phir woh nau log ek ho gaye aur us shahar mein ghus gaye. Ek pal mein raja insaan ban gaya. Woh jaanwaron ko paalne wala ban gaya.
Verse 7
ततस्तत्पुरसंस्थस्तु पशुपालो महान्नृपः । संसूच्य वाचकाञ्छब्दान् वेदान् सस्मार तत्पुरे ॥ ५२.७ ॥
Woh bada raja us shahar mein rehne laga. Jaanwaron ko paalta tha. Kuch shabdon ko ishara banaya. Phir usne wahan Vedon ko yaad kiya.
Verse 8
आत्मस्वरूपिणो नित्यास्तदुक्तानि व्रतानि च । नियमाञ् क्रतवश्चैव सर्वान् राजा चकार ह ॥ ५२.८ ॥
Jo log apne asli roop mein the, woh sath the. Vrat aur niyam jo bataye gaye the. Raja ne sab kuch kiya, sab rituals bhi.
Verse 9
स कदाचिन्नृपः खिन्नः कर्मकाण्डं प्ररोचयन् । सर्वज्ञो योगनिद्रायां स्थित्वा पुत्रं ससर्ज ह ॥ ५२.९ ॥
Ek baar woh raja thak gaya tha. Woh karma ka kaam karne laga. Woh sab kuch jaanta tha. Usne yog ki neend mein jakar ek beta banaya.
Verse 10
चतुर्वक्त्रं चतुर्बाहुं चतुर्वेदं चतुष्पथम् । तस्मादारभ्य नृपतेर्वशे पश्वादयः स्थिताः ॥ ५२.१० ॥
Uske chaar chehre the, chaar haath the. Woh chaaron Vedon ko jaanta tha aur chaaron raston ka maalik tha. Uske baad se raja ke control mein jaanwar aur sab log aa gaye.
Verse 11
तस्मिन् समुद्रे स नृपो वने तस्मिंस्तथैव च । तृणादिषु नृपस्सैव हस्त्यादिषु तथैव च । समोऽभवत् कर्मकाण्डादनुज्ञाय महामते ॥ ५२.११ ॥
Us samay woh raja samundar mein bhi tha, jungle mein bhi. Ghaas aur pedon mein bhi wohi raja tha, haathi aur jaanwaron mein bhi. Karm kand ne use permission di, aur woh sab jagah ek jaisa ho gaya.
Within the Varāha–Pṛthivī teaching frame, Agastya is invoked as an authoritative transmitter of an origin-lineage that explains how a previously unregulated social field becomes ordered through kingship, speech, and rite.
A genealogy unfolds—Trivarṇa arising from a king’s emission; a daughter embodying awakening (Avabodha-svarūpiṇī); a son Manohvā; and descendants described as five ‘enjoyers’ whose sons are collectively called Akṣa—followed by their collective construction of an auspicious nine-gated city (nava-dvāra-pura) with a single pillar and four crossroads, set amid many rivers and engineered waterworks.
Upon entering and unifying within the city, a corporeal king, Paśupāla, manifests; he ‘remembers’ Vedic speech, institutes vows/restraints and ritual regulation (vrata–niyama–karmakāṇḍa), and from yogic sleep generates a four-faced, four-armed Veda-totality figure; thereafter animals across ocean/forest/grassland domains come under ordered governance, signaling stabilized polity and ecology.
No explicit toponyms are named. Ecological-spatial markers include: samudra (oceanic region), vana (forest), tṛṇa-ādi (grassland/ground-cover habitats), hasty-ādi (faunal domain exemplified by elephants), nadī-sahasra-saṃkīrṇa (landscape densely interlaced with many rivers), and jalakṛti (constructed waterworks/irrigation features) surrounding the nava-dvāra-pura.
The chapter frames social order as produced through disciplined speech (Vedic recollection), regulated conduct (vrata and niyama), and institutionalized rites (karmakāṇḍa). It depicts the transformation of formerly outside groups (dasyu) into participants in a constructed civic and ecological order, suggesting that governance is enacted through both spatial planning (city, crossroads) and normative practice (vows and ritual regulation).
No explicit calendrical data appear in the provided verses: there are no named tithis, nakṣatras, months, or seasonal markers. The only temporal structuring is narrative (e.g., “kadācit,” and the interval of “yoga-nidrā”), which functions as a literary timing device rather than a ritual calendar.
Environmental ordering is implied through the description of a settlement embedded in a river-rich landscape (nadī-sahasra-saṃkīrṇa) with deliberate water constructions (jalakṛti). The narrative also links kingship to habitat-spanning oversight—ocean, forest, grasses, and animal domains—presenting terrestrial balance as maintained by coordinated infrastructure, regulated practice, and integrated stewardship across ecosystems.
Agastya is the named sage-speaker within the chapter’s report. The text outlines a lineage sequence—Trivarṇa, Avabodha-svarūpiṇī (as a daughter figure), Manohvā, and the Akṣa-named descendants—alongside the emergence of a king titled Paśupāla. These function as mythic-cultural archetypes for genealogy, polity formation, and ritual authority rather than verifiable historical dynasties.
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