Agni Purana — Yoga & Brahma-vidya, Shloka 10
Adhyāya 375 — समाधिः
Samādhi
सुरेन्द्रकन्या इत्य् आद्या गुणाश् च प्रतिभादयः तृणवत्तान्त्यजेद् यस्तु तस्य विष्णुः प्रसीदति
surendrakanyā ity ādyā guṇāś ca pratibhādayaḥ tṛṇavattāntyajed yastu tasya viṣṇuḥ prasīdati
「スレンドラカンヤー…」等の例に始まり、プラティバー（pratibhā・創造的霊感）などの詩的資質は、草のように捨て去るべきである。そのような者には、ヴィシュヌ（Viṣṇu）が嘉し、慈悲を垂れる。
Lord Agni (narrating to sage Vasiṣṭha in the Agni Purana’s instructional discourse)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Philosophy","practical_application":"Teaches vairāgya even toward poetic ‘guṇas’ like pratibhā: do not cling to literary accomplishment as identity; redirect merit toward devotion to Viṣṇu and inner purification.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Tyāga of Kāvya-guṇas (Pratibhā-ādi) for Viṣṇu-prasāda","lookup_keywords":["surendrakanyā","guṇa","pratibhā","tṛṇavat-tyāga","viṣṇu-prasāda"],"quick_summary":"Even celebrated poetic excellences—illustrated by stock examples—are to be relinquished like straw when they become objects of attachment; such non-clinging invites divine grace."}
Alamkara Type: Dṛṣṭānta (illustrative example) / Nidarsana via stock phrase
Concept: Vairāgya toward accomplishments (including artistic genius) as a means to divine favor; shift from self-display to īśvara-prasāda.
Application: Practice ‘credit-offering’: after composing/teaching, mentally offer the fruit to Viṣṇu; watch for pride in talent and treat it as disposable when it obstructs devotion.
Khanda Section: Sahitya-shastra (Alankara and Guna–Dosha Vichara)
Primary Rasa: shanta
Secondary Rasa: bhakti
Visual Art Cues: {"scene_description":"A poet-scholar discards a garland labeled ‘pratibhā’ and scrolls of ‘guṇa’ as if straw, turning toward a serene Viṣṇu who bestows grace; the ‘surendrakanyā’ phrase appears on a manuscript as a conventional poetic example.","kerala_mural_prompt":"Kerala mural: poet in simple attire dropping ornate garlands and palm-leaf scrolls; Viṣṇu standing with conch and discus, blessing gesture; warm earthy palette, stylized lotus motifs","tanjore_prompt":"Tanjore: Viṣṇu with gold halo and rich ornaments; poet kneeling, placing a manuscript at Viṣṇu’s feet; discarded garland rendered with gold embossing to show ‘renounced splendor’","mysore_prompt":"Mysore: refined devotional-instructional scene; clear depiction of manuscript with the phrase ‘surendrakanyā’; poet’s gesture of letting go; soft colors, delicate lines","mughal_miniature_prompt":"Mughal miniature: literary salon transitioning into devotion—poet sets aside jeweled pen-case and scrolls; a blue-hued Viṣṇu appears in a luminous niche; intricate textiles and architectural framing"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: इत्य् = इति + (अ) (before vowel); गुणाश् च = गुणाः + च; तृणवत्तान्त्यजेद् = तृणवत् + तान् + त्यजेत्; यस्तु = यः + तु.
Related Themes: Agni Purana sections on alaṅkāra/guṇa-doṣa and on bhakti/mokṣa teachings (nearby adhyāyas)
FAQs
It teaches a Sahitya-shastra point framed as spiritual counsel: even celebrated kāvya-guṇas (like pratibhā, poetic genius) are to be regarded as insignificant when compared to devotion—one should not cling to literary attainments as a source of ego.
The Agni Purana blends technical disciplines (here, Sanskrit poetics—guṇa terminology and exemplars like “surendrakanyā”) with dharmic and bhakti-oriented conclusions, showing how aesthetic theory is integrated into broader religious instruction.
Renouncing attachment to one’s talents and reputations—treating them ‘like straw’—is presented as a means to gain Viṣṇu’s grace, emphasizing humility and detachment as spiritually meritorious.