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Agni Purana — Avatara-lila, Shloka 19

Kūrma-avatāra-varṇana (The Description of the Tortoise Incarnation) — Samudra Manthana and the Reordering of Cosmic Prosperity

नग्न उन्मत्तरूपो ऽभूत् स्त्रियः केशानधारयत् अगाद्विमुच्य केशान् स्त्री अन्वधावच्च ताङ्गताम्

nagna unmattarūpo 'bhūt striyaḥ keśānadhārayat agādvimucya keśān strī anvadhāvacca tāṅgatām

नग्न उन्मत्तरूपोऽभूत्; स्त्रियः केशान् अधारयत्। विमुच्य केशान् अगात्, सा स्त्री च तमन्वधावत् तत्र जगाम।

नग्नःnaked
नग्नः:
Karta (कर्ता)
TypeAdjective
Rootनग्न (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; विशेषण (qualifies implied subject शम्भुः)
उन्मत्तरूपःhaving a mad appearance
उन्मत्तरूपः:
Karta (कर्ता)
TypeAdjective
Rootउन्मत्त + रूप (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; षष्ठी-तत्पुरुष (‘madness-form’ = having a mad appearance)
अभूत्became/was
अभूत्:
Kriya (क्रिया)
TypeVerb
Rootभू (धातु)
Formलुङ् (Aorist/Imperfect), प्रथमपुरुष, एकवचन; परस्मैपद
स्त्रियःof the woman
स्त्रियः:
Sambandha (सम्बन्ध/Genitive)
TypeNoun
Rootस्त्री (प्रातिपदिक)
Formस्त्रीलिङ्ग, षष्ठी (6th/Genitive), एकवचन (Vedic/epic variant for स्त्रियाः)
केशान्hair
केशान्:
Karma (कर्म/Object)
TypeNoun
Rootकेश (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), बहुवचन
अधारयत्held/wore
अधारयत्:
Kriya (क्रिया)
TypeVerb
Rootधृ (धातु)
Formलङ् (Imperfect), प्रथमपुरुष, एकवचन; परस्मैपद; उपसर्ग-रहित (held/wore)
अगात्went
अगात्:
Kriya (क्रिया)
TypeVerb
Rootगम् (धातु)
Formलुङ् (Aorist), प्रथमपुरुष, एकवचन; परस्मैपद
विमुच्यhaving released
विमुच्य:
Purvakala-kriya (पूर्वकाल-क्रिया)
TypeVerb
Rootवि + मुच् (धातु)
Formक्त्वान्त (absolutive/gerund), अव्ययकृदन्त; ‘having released/let go’
केशान्hair
केशान्:
Karma (कर्म/Object)
TypeNoun
Rootकेश (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया, बहुवचन
स्त्रीthe woman
स्त्री:
Karta (कर्ता/Subject)
TypeNoun
Rootस्त्री (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन
अन्वधावत्ran after/followed
अन्वधावत्:
Kriya (क्रिया)
TypeVerb
Rootअनु + धाव् (धातु)
Formलङ् (Imperfect), प्रथमपुरुष, एकवचन; परस्मैपद
and
:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चय (conjunction)
ताम्her
ताम्:
Karma (कर्म/Object)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन; सर्वनाम
गताम्gone (having gone)
गताम्:
Karma (कर्म)
TypeVerb
Rootगम् (धातु)
Formक्त-प्रत्ययान्त (past active participle), स्त्रीलिङ्ग, द्वितीया, एकवचन; विशेषण (qualifies ताम्: ‘her who had gone’)

Lord Agni (narrating to Sage Vasiṣṭha; default Agni Purāṇa dialogue frame)

Vidya Category: {"primary_vidya":"Avatara-Katha","secondary_vidya":"Dharmashastra","practical_application":"Moral-illustrative lore warning against uncontrolled passion and social transgression; used in discourse to underline maryādā and self-restraint.","sutra_style":false}

Encyclopedic Reference: {"reference_type":"Description","entry_title":"Unmāda-veśa and Anucita-ceṣṭā (Madness-like Conduct in Moha)","lookup_keywords":["nagna","unmatta","kesha","anudhavat","moha"],"quick_summary":"Under delusion, the figure behaves like a madman—naked, grabbing hair, running and being chased—depicting the loss of dignity and discernment when desire overwhelms."}

Dosha: Tridosha

Alamkara Type: Anukaraṇa (vivid enactment) / Bhāva-prakāśana

Concept: Indriya-asamyama leads to anartha and social/ethical collapse; dignity (lajjā) and viveka are dharmic safeguards.

Application: Cultivate restraint, avoid intoxication of mind (moha), and adhere to conduct codes; treat obsession as a signal to step back and re-center.

Khanda Section: Itihasa-Purana Kathana (Narrative Episode / Moral-illustrative lore)

Primary Rasa: bibhatsa

Secondary Rasa: hasya

Visual Art Cues: {"scene_description":"A frenzied, naked figure runs wildly, grabbing women by their hair; the pursued woman chases after him in chaotic motion.","kerala_mural_prompt":"Kerala mural, dynamic chase scene, exaggerated expressive faces, swirling lines indicating frenzy, muted yet intense palette, moralizing tone","tanjore_prompt":"Tanjore, stylized figures with strong outlines, gold accents minimized to keep the scene cautionary, palace/forest edge backdrop, frozen dramatic gestures","mysore_prompt":"Mysore, narrative clarity with sequential action cues (grabbing hair, releasing, running), fine linework, restrained color, didactic illustration feel","mughal_miniature_prompt":"Mughal miniature, bustling scene with attendants and architecture, detailed textiles, the central figure in disarray contrasted with composed onlookers, motion conveyed through diagonals"}

Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Todi","pace":"fast","voice_tone":"epic"}

Sandhi Resolution Notes: रूपो 'भूत् = रूपः अभूत्; केशानधारयत् = केशान् अधारयत्; अगाद्विमुच्य = अगात् विमुच्य; अन्वधावच्च = अन्वधावत् च. ‘स्त्रियः’ taken as epic gen. sg. for स्त्रियाः.

Related Themes: Agni Purana: dharma/ācāra discussions; Agni Purana: narratives illustrating moha

S
Strī (woman/women)
K
Keśa (hair)

FAQs

No ritual or technical vidyā is taught here; the verse functions as narrative description highlighting deviant, harmful conduct (violent harassment) as a negative example within a story.

Alongside ritual, polity, medicine, and arts, the Agni Purāṇa also preserves illustrative narratives. Such passages broaden the text’s scope by embedding social-ethical instruction (dharma through story) within its encyclopedic compilation.

By depicting shamelessness, madness-like behavior, and aggression toward women, the verse implies adharma that leads to demerit (pāpa) and social disorder—serving as a caution against actions that violate dignity and safety.