Agni Purana — Chapter 339

AgP 339.1

:ए इत्य् आग्नेये महापुराणे अलङ्कारे शृङ्गारादिरसनिरूपणं नामाष्टत्रिंशदधिकत्रिशततमो ऽध्यायः ॥ :न् १ मुहुरिति ख॥ :प् २१० छप्तेर् {३३९} :श् अथोनचत्वारिंशदधिकत्रिशततमो ऽध्यायः रीतिनिरूपणं अग्निरुचाच वाग्विद्यासम्प्रतिज्ञाने रीतिः सापि चतुर्विधा पाञ्चाली गौडदेशीया वैदर्भी लाटजा तथा

:e ity āgneye mahāpurāṇe alaṅkāre śṛṅgārādirasanirūpaṇaṃ nāmāṣṭatriṃśadadhikatriśatatamo 'dhyāyaḥ || :n 1 muhuriti kha.. :p 210 chapter {339} :ś athonacatvāriṃśadadhikatriśatatamo 'dhyāyaḥ rītinirūpaṇaṃ agnirucāca vāgvidyāsampratijñāne rītiḥ sāpi caturvidhā pāñcālī gauḍadeśīyā vaidarbhī lāṭajā tathā

Thus in the Āgneya Mahāpurāṇa, in the section on poetics, the three hundred and thirty-eighth chapter, called the exposition of the erotic and the other sentiments. (Note 1: 'muhuḥ' in ms. kha.) Chapter 339. Now the three hundred and thirty-ninth chapter: the exposition of style. Agni said: In the full determination of the science of speech there is style, and it too is of four kinds: Pāñcālī, that of the Gauḍa country, Vaidarbhī, and that born of Lāṭa.

AI translation rendered from the Sanskrit, not a published edition

AgP 339.2

उपचारयुता मृद्वी पाञ्चाली ह्रस्वविग्रहा अनवस्थितसन्दर्भा गौडीया दीर्घविग्रहा

upacārayutā mṛdvī pāñcālī hrasvavigrahā anavasthitasandarbhā gauḍīyā dīrghavigrahā

Pāñcālī is furnished with figurative turns, soft, with short compounds; the Gauḍīyā has unsettled composition and long compounds.

AI translation rendered from the Sanskrit, not a published edition

AgP 339.3

उपचारैर् न बहुभिरुपचारैर् विवर्जिता नातिकोमलसन्दर्भा वैदर्भी मुक्तविग्रहा

upacārair na bahubhirupacārair vivarjitā nātikomalasandarbhā vaidarbhī muktavigrahā

Not with many figurative turns, (yet) not wholly bereft of figurative turns, with composition not overly delicate, Vaidarbhī is free of compounds.

AI translation rendered from the Sanskrit, not a published edition

AgP 339.4

लाटीया स्फुटसन्धर्भा नातिविस्फुरविग्रहा परित्यक्तापि भूयोभिरुपचारैर् उदाहृता

lāṭīyā sphuṭasandharbhā nātivisphuravigrahā parityaktāpi bhūyobhirupacārair udāhṛtā

The Lāṭī has clear composition, with compounds not too conspicuous; though (partly) dispensed with, it is said to have abundant figurative turns.

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain

AgP 339.5

क्रियास्वविषमा वृत्तिर्भारत्यारभटी तथा कौशिकी सात्वती चेति सा चतुर्धा प्रतिष्ठिता

kriyāsvaviṣamā vṛttirbhāratyārabhaṭī tathā kauśikī sātvatī ceti sā caturdhā pratiṣṭhitā

Manner (vṛtti), (which is) not uniform in its operations, is Bhāratī, Ārabhaṭī, Kauśikī and Sātvatī — thus it is established as fourfold.

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain

AgP 339.6

वाक्प्रधाना नरप्राया स्त्रीयुक्ता प्राकृतोक्तिता भरतेन प्रणीतत्वाद् भारती रीतिरुच्यते

vākpradhānā naraprāyā strīyuktā prākṛtoktitā bharatena praṇītatvād bhāratī rītirucyate

Having speech as its chief element, mostly (employing) men, joined with women, using Prakrit utterance — because it was composed by Bharata it is called the Bhāratī style.

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain

AgP 339.7

चत्वार्यङ्गानि भारत्या वीथी प्रहसनन्तथा प्रस्तावना नाटकादेर्वीथ्यङ्गाश् च त्रयोदश

catvāryaṅgāni bhāratyā vīthī prahasanantathā prastāvanā nāṭakādervīthyaṅgāś ca trayodaśa

Bhāratī has four limbs: the vīthī, the prahasana, and the prologue of a drama and the rest; and the limbs of the vīthī are thirteen.

AI translation rendered from the Sanskrit, not a published edition

AgP 339.8

उद्घातकं तथैव स्याल्लपितं स्याद्द्वितीयकम् असत्प्रलापो वाक्श्रेणी(१) नालिका विपणन्तथा

udghātakaṃ tathaiva syāllapitaṃ syāddvitīyakam asatpralāpo vākśreṇī(1) nālikā vipaṇantathā

There would be udghātaka, and likewise lapita would be the second, (then) idle prattle, the sequence of speech, nālikā, and vipaṇa,

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain

AgP 339.9

व्याहारस्तिमतञ्चैव(२) छलावस्कन्दिते तथा :न् १ वाग्वेणीति क॥ , ञ॥ , ट॥ च २ व्याहारस्त्रिगतञ्चैवेति ख॥ :प् २११ गण्डो ऽथ मृदवश् चैव त्रयोदशमथाचितम्

vyāhārastimatañcaiva(2) chalāvaskandite tathā :n 1 vāgveṇīti ka.. , ña.. , ṭa.. ca 2 vyāhārastrigatañcaiveti kha.. :p 211 gaṇḍo 'tha mṛdavaś caiva trayodaśamathācitam

Likewise utterance (vyāhāra) and stimita, and chala and avaskandita; then gaṇḍa and mṛdava, and the thirteenth is ācita.

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain

AgP 339.10

तापसादेः प्रहसनं परिहासपरं वचः मायेन्द्रजालयुद्धादिबहुलारभटी स्मृता मङ्क्षिप्तकारपातौ च(१) वस्तूत्थापनमेव च

tāpasādeḥ prahasanaṃ parihāsaparaṃ vacaḥ māyendrajālayuddhādibahulārabhaṭī smṛtā maṅkṣiptakārapātau ca(1) vastūtthāpanameva ca

The prahasana (farce) is of ascetics and the like, its speech given over to mockery. The ārabhaṭī (mode) is said to abound in magic, conjuring-tricks, fighting and so forth; and (its parts are) maṅkṣiptaka and karapāta, and the raising up of the subject-matter (vastūtthāpana).

AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain