Agni Purana — Mantra-shastra, Shloka 9
Chapter 303: Mantras for Worship Beginning with the Five-syllable (Pañcākṣara) — पञ्चाक्षरादिपूजामन्त्राः
पूर्वेण सौम्यवारीशगतं शुभमतौ शुभम् पुनस्तं शिष्यमायान्तं शिश्वाबन्धादिरक्षितं
pūrveṇa saumyavārīśagataṃ śubhamatau śubham punastaṃ śiṣyamāyāntaṃ śiśvābandhādirakṣitaṃ
ਫਿਰ ਪੂਰਬੀ ਦਿਸ਼ਾ/ਰਾਹੀਂ ਉਹ ਸ਼ੁਭ-ਮਤਿ ਵਾਲਾ ਸ਼ਿਸ਼੍ਯ ਮੁੜ ਆਇਆ; ਸੌਮ੍ਯ ਜਲ ਨਾਲ ਸੰਬੰਧਿਤ ਸ਼ੁਭ ਵਸਤੂ ਲਿਆਇਆ ਅਤੇ ਬੰਧਨ ਆਦਿ ਰੋਕਾਂ ਤੋਂ ਰੱਖਿਆ ਹੋਇਆ ਸੀ।
Lord Agni (traditional Agni Purana narrator) to Sage Vasiṣṭha (frame-dialogue attribution)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Narrative staging and characterization: auspicious re-entry of the disciple from the east, with protective framing against bonds/obstacles—useful for kavya/natya scene-setting and mangala-vidhana.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Auspicious Eastern Arrival of the Disciple (Mangala-pravesha)","lookup_keywords":["pūrva-diś","śiṣya-āgamanam","śubha","rakṣā","bandha"],"quick_summary":"The verse paints an auspicious stage-direction: the disciple returns from the east bearing auspiciousness and being protected from restraints like bonds—serving as a mangala cue and character-safety marker in narrative composition."}
Alamkara Type: Anuprāsa (soft alliteration of śubha/śiṣya-phonemes)
Concept: Śubha-nimitta: auspicious signs (direction, protection, intent) are used to frame successful action and narrative progression.
Application: In composition or performance, introduce key entrants from auspicious quarters and mark them as protected/fit to proceed, reinforcing mangala and audience confidence.
Khanda Section: Sahitya-shastra (Kavya/Alankara & Poetics)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: Direction/Quarter
Visual Art Cues: {"scene_description":"A disciple enters from the eastern side, carrying auspicious items, depicted as protected from bonds or restraints, suggesting a favorable turn in the scene.","kerala_mural_prompt":"Kerala mural, temple-courtyard narrative panel, eastern gateway highlighted by sunrise glow, disciple entering with auspicious tray, protective motifs (sacred thread, talisman), calm dignified expressions.","tanjore_prompt":"Tanjore painting, disciple entering from right (east) with mangala items (flowers, lamp), gold-leaf highlights on sunrise and ornaments, auspicious border motifs, serene devotional ambience.","mysore_prompt":"Mysore painting, clear stage-like composition: east-marked doorway, disciple mid-step, subtle protective symbols (raksha-kavacha), soft palette and fine detailing for narrative clarity.","mughal_miniature_prompt":"Mughal miniature, palace/ashram courtyard with eastern arch, disciple arriving with a covered tray, guards/attendants indicating protection, sunrise sky, intricate architectural detail."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Shree","pace":"medium","voice_tone":"epic"}
Sandhi Resolution Notes: पुनस्तम् → पुनः तम्. शिष्यमायान्तम् → शिष्यम् आयान्तम्. शिश्वाबन्धादिरक्षितम् → शिशु-आबन्ध-आदि-रक्षितम् (orthographic contraction).
Related Themes: Agni Purana: Sahitya-shastra/Alamkara portions on mangala, guna-dosha, and narrative arrangement
FAQs
This verse functions as narrative-poetic phrasing within the Sahitya-shastra context, illustrating compact compound formation and auspicious-direction imagery rather than prescribing a ritual procedure.
It exemplifies the Agni Purana’s inclusion of kavya/poetics—showing that alongside dharma, ritual, and other sciences, it also preserves Sanskrit literary technique and stylistic composition.
By emphasizing auspiciousness (śubha) and protection from bonds/restraints, the line signals the ideal of safeguarded, dharmically-aligned return—suggesting purity, good omens, and freedom from impediments.