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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)
Dalam bingkai ajaran Varāha–Pṛthivī, bab ini memuat kisah Agastya tentang suatu silsilah yang meneladankan bagaimana tatanan ditegakkan atas medan sosial yang semula tak teratur. Dari pancaran seorang raja lahirlah Trivarṇa; kemudian seorang putri berwujud ‘kebangkitan’ (Avabodha-svarūpiṇī), lalu putra Manohvā. Keturunan Manohvā menjadi lima ‘penikmat’ (pañca-bhoginaḥ), dan putra-putra mereka dikenal bersama dengan nama Akṣa. Mereka dahulu disebut dasyu, namun ditundukkan oleh wibawa kerajaan dan bersama-sama membangun kediaman mujur: kota berpintu sembilan, bertiang tunggal dan memiliki empat persimpangan, dikelilingi banyak sungai serta tata air. Saat memasuki kota itu mereka menjadi satu; raja berwujud jasmani, Paśupāla, menampakkan diri, mengingat sabda Weda, dan menetapkan kaul, pengendalian diri, serta ritus. Dari pemusatan pada yajña dan tidur yoga, ia melahirkan sosok bermuka empat dan berlengan empat yang terkait dengan empat Weda; sesudah itu hewan-hewan di beragam habitat berada di bawah tata kelola kerajaan.
Verse 1
अगस्त्य उवाच । स त्रिवर्णो नृपोत्सृष्टः स्वतन्त्रत्वाच्च पार्थिव । अहं नामानमसृजत् पुत्रं पुत्रस्त्रिवर्णकम् ॥ ५२.१ ॥
Agastya berkata: “Wahai raja, Trivarṇa yang dilepaskan oleh raja itu menjadi merdeka. Lalu aku memperanakkan seorang putra bernama Nāmāna; dan putranya bernama Trivarṇaka.”
Verse 2
तस्यापि चाभवत् कन्या अवबोधस्वरूपिणी । सा तु विज्ञानदं पुत्रं मनोह्वं विससर्ज ॥ ५२.२ ॥
Baginya pun lahir seorang putri yang hakikatnya adalah kebangkitan pemahaman. Putri itu kemudian melahirkan seorang putra bernama Vijñānada, yang disebut Manohva.
Verse 3
तस्यापि सर्वरूपाः स्युः स्तनयाः पञ्चभोगिनः । यथासंख्येन पुत्रास्तु तेषामक्षाभिधानकाः ॥ ५२.३ ॥
Darinya pula lahir lima putra dengan berbagai wujud, dikenal sebagai “lima penikmat”. Menurut urutan, putra-putra mereka menyandang sebutan “Akṣa”.
Verse 4
एते पूर्वं दस्यवः स्युस्ततो राज्ञा वशीकृताः । अमूर्ता इव ते सर्वे चक्रुरायतनं शुभम् ॥ ५२.४ ॥
Mereka dahulu adalah dāsyu; kemudian ditundukkan oleh sang raja. Lalu, seakan tanpa wujud jasmani, mereka semua membangun sebuah āyatana yang mulia (tempat suci).
Verse 5
नवद्बारं पुरं तस्य त्वेकस्तम्भं चतुष्पथम् । नदीसहस्रसङ्कीर्णं जलक्रीत्या समास्थितम् ॥ ५२.५ ॥
Kotanya memiliki sembilan gerbang; bertanda satu tiang dan sebuah perempatan empat arah. Kota itu terjalin oleh seribu sungai dan ditetapkan sebagai tempat permainan air.
Verse 6
तत्पुरं ते प्रविविशुरेकीभूतास्ततो नव । पुरुषो मूर्त्तिमान् राजा पशुपालोऽभवत् क्षणात् ॥ ५२.६ ॥
Kemudian kesembilan itu, setelah menjadi satu, memasuki kota itu; seketika sang raja menjadi manusia berwujud jasmani, seorang penggembala ternak (paśupāla).
Verse 7
ततस्तत्पुरसंस्थस्तु पशुपालो महान्नृपः । संसूच्य वाचकाञ्छब्दान् वेदान् सस्मार तत्पुरे ॥ ५२.७ ॥
Lalu, ketika tinggal di kota itu, sang raja agung sebagai paśupāla, dengan memberi isyarat melalui kata-kata penunjuk, mengingat kembali Weda di tempat itu.
Verse 8
आत्मस्वरूपिणो नित्यास्तदुक्तानि व्रतानि च । नियमाञ् क्रतवश्चैव सर्वान् राजा चकार ह ॥ ५२.८ ॥
Mereka yang senantiasa teguh dalam hakikat dirinya, beserta vrata dan niyama yang telah ditetapkan; semua aturan dan kratu (ritus yajña) dijalankan oleh sang raja.
Verse 9
स कदाचिन्नृपः खिन्नः कर्मकाण्डं प्ररोचयन् । सर्वज्ञो योगनिद्रायां स्थित्वा पुत्रं ससर्ज ह ॥ ५२.९ ॥
Pada suatu waktu sang raja menjadi letih dan condong pada disiplin karmakāṇḍa; Sang Mahatahu, memasuki yoganidrā, lalu melahirkan seorang putra.
Verse 10
चतुर्वक्त्रं चतुर्बाहुं चतुर्वेदं चतुष्पथम् । तस्मादारभ्य नृपतेर्वशे पश्वादयः स्थिताः ॥ ५२.१० ॥
Ia berwajah empat, berlengan empat, terkait dengan empat Weda, dan penguasa empat persimpangan jalan; sejak saat itu hewan-hewan dan makhluk lain berada di bawah kendali sang raja.
Verse 11
तस्मिन् समुद्रे स नृपो वने तस्मिंस्तथैव च । तृणादिषु नृपस्सैव हस्त्यादिषु तथैव च । समोऽभवत् कर्मकाण्डादनुज्ञाय महामते ॥ ५२.११ ॥
Di samudra itu dan demikian pula di hutan itu, sang raja berada dengan cara yang sama. Di antara rerumputan dan sejenisnya, juga di antara gajah dan sejenisnya, ia menjadi setara. Wahai yang berhati luhur, setelah diizinkan oleh tatanan karmakāṇḍa, ia mencapai kesamaan di segala wujud.
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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