Agni Purana — Chapter 341

AgP 341.1

:ए इत्य् आग्नेये महापुराणे अलङ्कारे नृत्यादावङ्गकर्मनिरूपणम् नाम चत्वरिंशदधिकत्रिशततमो ऽध्यायः ॥ छप्तेर् {३४१} :श् अथैकचत्वारिंशदधिकत्रिशततमो ऽध्यायः अभिनयादिनिरूपणं अग्निर् उवाच आभिमुख्यन्नयन्नर्थान्विज्ञेयो ऽभिनयो बुधैः चतुर्धा सम्भवः सत्त्ववागङ्गाहरणाश्रयः

:e ity āgneye mahāpurāṇe alaṅkāre nṛtyādāvaṅgakarmanirūpaṇam nāma catvariṃśadadhikatriśatatamo 'dhyāyaḥ || chapter {341} :ś athaikacatvāriṃśadadhikatriśatatamo 'dhyāyaḥ abhinayādinirūpaṇaṃ agnir uvāca ābhimukhyannayannarthānvijñeyo 'bhinayo budhaiḥ caturdhā sambhavaḥ sattvavāgaṅgāharaṇāśrayaḥ

Thus, in the Āgneya Mahāpurāṇa, on ornament (poetics), the three hundred and fortieth chapter, called "The determination of the movements of the limbs in dance and the rest." || Now the three hundred and forty-first chapter: the determination of dramatic expression and the rest. Agni said: Since it brings the meanings before (the spectator), it is to be known by the wise as abhinaya (representation). It occurs in four ways, having as its bases the inner state, speech, the limbs, and costume.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.2

स्तम्भादिः सात्त्विको वागारम्भो वाचिक आङ्गिकः शरीरारम्भ आहार्यो बुद्ध्यारम्भप्रवृत्तयः

stambhādiḥ sāttviko vāgārambho vācika āṅgikaḥ śarīrārambha āhāryo buddhyārambhapravṛttayaḥ

Motionlessness (stambha) and the rest is the inner-state (sāttvika) kind; that which begins with speech is the verbal kind; the bodily kind (āṅgika) begins with the body; the āhārya kind consists of activities beginning with the intellect (i.e. with design).

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

AgP 341.3

रसादिविनियोगो ऽथ कथ्यते ह्य् अभिमानतः तमन्तरेण सर्वे षामपार्थैव स्वतन्त्रता

rasādiviniyogo 'tha kathyate hy abhimānataḥ tamantareṇa sarve ṣāmapārthaiva svatantratā

Now the application of the sentiments (rasas) and the rest is told, for it (rests) on the imagined identification; without that, the independence of them all would be quite pointless.

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

AgP 341.4

सम्भोगो विप्रलम्भश् च शृङ्गारो द्विविधः स्मृतः :प् २१४ प्रच्छन्नश् च प्रकाशश् च तावपि द्विविधौ पुनः

sambhogo vipralambhaś ca śṛṅgāro dvividhaḥ smṛtaḥ :p 214 pracchannaś ca prakāśaś ca tāvapi dvividhau punaḥ

The erotic sentiment is held to be of two kinds: union (sambhoga) and separation (vipralambha); and these two again are each of two kinds, concealed and open.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.5

विप्रलम्भाभिधानो यः शृङ्गारः स चतुर्विधः पूर्वानुरागानाख्यः प्रवामकरुणात्मकः

vipralambhābhidhāno yaḥ śṛṅgāraḥ sa caturvidhaḥ pūrvānurāgānākhyaḥ pravāmakaruṇātmakaḥ

That erotic sentiment which is named separation is of four kinds: (love) in first attachment, that which is unnamed (?), the perverse (pravāma), and that which consists of grief.

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

AgP 341.6

एतेभ्यो ऽन्यतरं जायमानमम्भोगलक्षणम् विवर्तते चतुर्धैव न च प्रागतिवर्तते

etebhyo 'nyataraṃ jāyamānamambhogalakṣaṇam vivartate caturdhaiva na ca prāgativartate

From these, whichever arises as marked by union develops in just four ways, and does not proceed contrary to what went before.

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

AgP 341.7

स्त्रीपुंसयोस्तदुदयस्तस्य निर्विर्तिका रतिः निखिलाः सात्त्विकास्तत्र वैवर्ण्यप्रलयौ विना

strīpuṃsayostadudayastasya nirvirtikā ratiḥ nikhilāḥ sāttvikāstatra vaivarṇyapralayau vinā

Its arising is in the woman and the man (together); its consummation is love (rati). All the involuntary (sāttvika) states occur there, except change of colour and fainting.

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

AgP 341.8

धर्मार्थकाममोक्षैश् च शृङ्गार उपचीयते आलम्वनविशेषैश् च तद्विशेषैर् निरन्तरः

dharmārthakāmamokṣaiś ca śṛṅgāra upacīyate ālamvanaviśeṣaiś ca tadviśeṣair nirantaraḥ

And the erotic sentiment is built up by dharma, wealth, pleasure and release, and by particular objects of support (ālambana), and by the particulars of those it is made continuous.

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

AgP 341.9

शृङ्गारं द्विविधं विद्याद्वाङ्नेपथ्यक्रियात्मकम् हासश् च तुर्विधो ऽलक्ष्यदन्तः स्मित इतीरितः

śṛṅgāraṃ dvividhaṃ vidyādvāṅnepathyakriyātmakam hāsaś ca turvidho 'lakṣyadantaḥ smita itīritaḥ

One should know the erotic sentiment as twofold, consisting of speech and consisting of the action of costume. And laughter is of four kinds: the smile, in which the teeth are not seen (alakṣyadanta), is called smita;

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

AgP 341.10

किञ्चिल्लक्षितदन्ताग्रं हसितं फुल्ललोचनम् विहसितं सस्वनं स्याज्जिह्मोपहसितन्तु तत्

kiñcillakṣitadantāgraṃ hasitaṃ phullalocanam vihasitaṃ sasvanaṃ syājjihmopahasitantu tat

laughing (hasita) is that in which the tips of the teeth are slightly seen and the eyes are opened wide; loud laughter (vihasita) is accompanied by sound; and when it is crooked (mocking) it is upahasita;

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

AgP 341.11

सशब्दं पापहसितमशब्दमतिहासितं यश्चासौ करुणो नाम स रसस्त्रिविधो भवेत्

saśabdaṃ pāpahasitamaśabdamatihāsitaṃ yaścāsau karuṇo nāma sa rasastrividho bhavet

with sound it is 'wicked laughter' (apahasita), without sound it is excessive laughter (atihasita). And that sentiment which is named the pathetic is of three kinds:

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

AgP 341.12

धर्मोपघातजश्चित्तविलासजनितस् तथा शोकः शोकाद्भवेत् स्थायी कः स्थायी पूर्वजो मतः

dharmopaghātajaścittavilāsajanitas tathā śokaḥ śokādbhavet sthāyī kaḥ sthāyī pūrvajo mataḥ

(grief) born of the destruction of dharma, and grief produced by the play of the mind; from grief there would arise the abiding state — which abiding state is held to be the earlier-born one.

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

AgP 341.13

अङ्गनेपथ्यवाक्यैश् च रौद्रो ऽपि त्रिविधो रसः तस्य निर्वर्तकः क्रोधः स्वेदो रोमाञ्चवपथुः

aṅganepathyavākyaiś ca raudro 'pi trividho rasaḥ tasya nirvartakaḥ krodhaḥ svedo romāñcavapathuḥ

And by the limbs, by costume, and by speech, the furious sentiment too is of three kinds. What brings it about is anger; (its signs are) sweat, bristling of the hair, and trembling.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.14

दानवीरो धर्मवीरो युद्धवीर इति त्रयम् वीरस्तस्य च निष्पत्तिहेतुरुत्साह इष्यते

dānavīro dharmavīro yuddhavīra iti trayam vīrastasya ca niṣpattiheturutsāha iṣyate

The heroic is a triad: the hero in giving, the hero in dharma, and the hero in battle; and energy (utsāha) is held to be the cause of its production.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.15

आरम्भेषु भवेद्यत्र वीरमेवानुवर्तते :प् २१५ भयानको नाम रसस्तस्य निर्वर्तकं भयं

ārambheṣu bhavedyatra vīramevānuvartate :p 215 bhayānako nāma rasastasya nirvartakaṃ bhayaṃ

Where it occurs in undertakings, it follows just upon the heroic. (Then there is) the sentiment named the terrible; what brings it about is fear.

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

AgP 341.16

उद्वेजनः क्षोभणश् च वीभत्सो द्विविधः स्मृतः उद्वेजनः स्यात् प्लुत्याद्यैः क्षोभणो रुधिरादिभिः

udvejanaḥ kṣobhaṇaś ca vībhatso dvividhaḥ smṛtaḥ udvejanaḥ syāt plutyādyaiḥ kṣobhaṇo rudhirādibhiḥ

The loathsome is held to be of two kinds, the sickening and the agitating: the sickening arises from pus and the like, the agitating from blood and the like.

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

AgP 341.17

जगुप्सारम्भिका तस्य सात्त्विकांशो निवर्तते काव्यशोभाकरान् धर्मानलङ्कारान् प्रचक्ष्यते

jagupsārambhikā tasya sāttvikāṃśo nivartate kāvyaśobhākarān dharmānalaṅkārān pracakṣyate

Its inception is disgust, and (in it) the involuntary component ceases. (Now) the qualities that produce the beauty of poetry, the figures of speech, will be declared.

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

AgP 341.18

अलङ्करिष्णवस्ते च शब्दमर्थमुभौ त्रिधा ये व्युत्पत्त्यादिना शब्दमलङ्कर्तुमिह क्षमाः

alaṅkariṣṇavaste ca śabdamarthamubhau tridhā ye vyutpattyādinā śabdamalaṅkartumiha kṣamāḥ

And these adorners (adorn) word, sense, or both; each in three ways. Those which are able here to adorn the word by (its) derivation and so on —

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

AgP 341.19

शब्दालङ्कारमाहुस्तान् काव्यमीमांसका विदः छाया मुद्रा तथोक्तिश् च युक्तिर्गुम्फनया सह

śabdālaṅkāramāhustān kāvyamīmāṃsakā vidaḥ chāyā mudrā tathoktiś ca yuktirgumphanayā saha

These the knowing critics of poetry call ornaments of sound: chāyā (reflected speech), mudrā (stamp), and likewise ukti (turn of phrase), and yukti (contrivance) together with gumphanā (stringing),

AI translation rendered from the Sanskrit, not a published edition

AgP 341.20

वाकोवाक्यमनुप्रासश्चित्रं दुष्करमेव च ज्णेया नवालङ्कृतयः शब्दानामित्यसङ्करात्

vākovākyamanuprāsaścitraṃ duṣkarameva ca jṇeyā navālaṅkṛtayaḥ śabdānāmityasaṅkarāt

vākovākya (dialogue), anuprāsa (alliteration), citra (figured verse) and duṣkara (the difficult) — thus nine are to be known as the ornaments of words, since they do not overlap.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.21

तत्रान्योक्तेरनुकृतिश्छाया सापि चत्रुव्विधा लोकच्छेकार्भकोक्तीनामेकोक्तेरनुकारतः

tatrānyokteranukṛtiśchāyā sāpi catruvvidhā lokacchekārbhakoktīnāmekokteranukārataḥ

Among these, chāyā is the imitation of another's speech; and it too is fourfold, according as it imitates a single utterance of common folk, of the clever, or of children (or of the drunk).

AI translation rendered from the Sanskrit, not a published edition

AgP 341.22

आभाणकोक्तिर्लोकोक्तिः सर्वसामान्य एव ताः यानुधावति लोकोक्तिश्छायामिच्छन्ति तां बुधाः

ābhāṇakoktirlokoktiḥ sarvasāmānya eva tāḥ yānudhāvati lokoktiśchāyāmicchanti tāṃ budhāḥ

Proverbial speech is folk-speech; these are entirely common to all. That which folk-speech runs after, the wise hold to be chāyā.

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

AgP 341.23

छेका विदग्धा वैदग्ध्यं कलासु कुशला मतिः तामुल्लिखन्ती छेकोक्तिश्छाया कविभिरिष्यते

chekā vidagdhā vaidagdhyaṃ kalāsu kuśalā matiḥ tāmullikhantī chekoktiśchāyā kavibhiriṣyate

The cheka are the sophisticated; sophistication is a mind skilled in the arts. The chāyā that traces that out is held by poets to be chekokti.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.24

अव्युत्पन्नोक्तिरखिलैर् अर्भकोक्त्योपलक्ष्यते तेनार्भकोक्तिश्छाया तन्मात्रोक्तिमनुकुर्वती

avyutpannoktirakhilair arbhakoktyopalakṣyate tenārbhakoktiśchāyā tanmātroktimanukurvatī

The speech of the untrained is recognised by all as child-speech; hence the chāyā that imitates just such speech is arbhakokti (child-utterance).

AI translation rendered from the Sanskrit, not a published edition

AgP 341.25

विप्लुताक्षरमश्लीलं वचो मत्तस्य तादृशी या सा भवति मत्तोक्तिश्छायोक्ताप्यतिशोभते

viplutākṣaramaślīlaṃ vaco mattasya tādṛśī yā sā bhavati mattoktiśchāyoktāpyatiśobhate

The speech of a drunken man has slurred syllables and is indecent; speech of that sort is mattokti, and the chāyā so uttered is exceedingly beautiful.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.26

अभिप्रायविशेषेण कविशक्तिं विवृण्वती :प् २१६ मुत्प्रदायिनीति सा मुद्रा सैव शय्यापि नो मते

abhiprāyaviśeṣeṇa kaviśaktiṃ vivṛṇvatī :p 216 mutpradāyinīti sā mudrā saiva śayyāpi no mate

That which, by a particular intention, unfolds the poet's power and gives delight — that is mudrā; and in our view it is also (called) śayyā.

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

AgP 341.27

उक्तिः सा कथ्यते यस्यामर्थको ऽप्युपपत्तिमान् लोकयात्रार्थविधिना धिनोति हृदयं सतां

uktiḥ sā kathyate yasyāmarthako 'pyupapattimān lokayātrārthavidhinā dhinoti hṛdayaṃ satāṃ

That is called ukti in which even a slight sense is well-founded and, by the manner of expressing the ways of the world, gladdens the hearts of the good.

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

AgP 341.28

उभौ विधिनिषेधौ च नियमानियमावपि विकल्पपरिसङ्ख्ये च तदीयाः षडथोक्तयः

ubhau vidhiniṣedhau ca niyamāniyamāvapi vikalpaparisaṅkhye ca tadīyāḥ ṣaḍathoktayaḥ

Both injunction and prohibition, restriction and non-restriction, and option and exclusive specification — these six are its uktis.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.29

अयुक्तयोरिव मिथो वाच्यवाचकयोर्द्वयोः योजनायै कल्प्यमाना युक्तिरुक्ता मनीषिभिः

ayuktayoriva mitho vācyavācakayordvayoḥ yojanāyai kalpyamānā yuktiruktā manīṣibhiḥ

That which is devised to join the two, the expressed and the expressor, as though they were mutually unconnected, is called yukti by the thoughtful.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.30

पदञ्चैव पदार्थश् च वाक्यं वाक्यर्थमेव च विषयो ऽस्त्याः प्रकरणं प्रपञ्चश्चेति षड्विधः

padañcaiva padārthaś ca vākyaṃ vākyarthameva ca viṣayo 'styāḥ prakaraṇaṃ prapañcaśceti ṣaḍvidhaḥ

Word and word-meaning, sentence and sentence-meaning, and context and elaboration — thus its sphere is sixfold.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.31

गुम्फना रचनाचर्या शब्दार्थक्रमगोचरा शब्दानुकारादर्थानुपूर्वार्थेयं क्रमात्त्रिधा

gumphanā racanācaryā śabdārthakramagocarā śabdānukārādarthānupūrvārtheyaṃ kramāttridhā

Gumphanā is the practice of composition, ranging over the sequence of sound and sense; it is of three kinds in order: by the imitation of sound, by the sequence (of sound), and having sense for its object.

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

AgP 341.32

उक्तिप्रत्युक्तिमद्वाक्यं वाकोवाक्यं द्विधैव तत् ऋजुवक्रोक्तिभेदेन तत्राद्यं सहजं वचः

uktipratyuktimadvākyaṃ vākovākyaṃ dvidhaiva tat ṛjuvakroktibhedena tatrādyaṃ sahajaṃ vacaḥ

A sentence containing statement and reply is vākovākya; it is just twofold, by the distinction of straight speech and crooked speech (vakrokti); of these the first is plain utterance.

AI translation rendered from the Sanskrit, not a published edition

AgP 341.33

सा पूर्वप्रश्निका प्रश्नपूर्विकेति द्विधा भवेत् वक्रोक्तिस्तु भवेड्भङ्ग्या काकुस्तेन कृता द्विधा

sā pūrvapraśnikā praśnapūrviketi dvidhā bhavet vakroktistu bhaveḍbhaṅgyā kākustena kṛtā dvidhā

It (the straight kind) may be twofold: that in which the question comes first, and that which precedes the question. But vakrokti arises through a twist (of sense) and through intonation (kāku), and so is made twofold.

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