Agni Purāṇa

340 - Description of diction and mode

Agni said:

1. Diction (is essential) for a good knowledge of speech. It is of four kinds-Panchalī, Gaudadesiya, Vaidarbhi and Lätaja (respectively belonging to the regions Påñchala, Gauda, Vidarbha and Låta).

2-4. The Páschali is endowed with metaphorical expression. (It is) soft (and has)shorter compounds. The Gaudiya is a loose composition having long compounds and not having many metaphorical expressions. The Vaidarbhi is not a very soft composition. It is devoid of metaphorical expressions and is free from compounds. The Låțiya (is) a clear composition not having too many compounds. This is also devoid of much metaphorical expressions,

5. The mode is uneven in the actions (of a drama). It has been established as fourfold-Bharati, Ārabhati, Kausiki and Sätvati.

6. The diction Bhārati is said to be known so because it was formulated by Bharata. It is predominantly verbal, (consists) generally (of actions) of men but also of women and has expressions in Prākruta.

7-9. Bharati has four components: Vithi, Prahasana and Prastāvanā of the drama and the like. The sub-divisions of Vithi are thirteen:Udghataka, Lapita¹, the second, Asatpralāpa, Väkśreņi², Nälika, Vipaņa, Vyähära, Trimata, Chala, Avaskandita³, Ganda, Mrudava and Anchita⁴, the thirteenth.

1. The amended reading is Avalagita.

2. The amended reading is Vágvcol.

3. The amended reading is Avasyandita.

4. The printed text wrongly reads ucita.

10. Prahasana is the speech ridiculing the ascetics and the like. Arabhati is known to be abounding in trickery, witchcraft, war and the like. (It is of the varieties) Sankshiptaka, Avapåta and Vastütthapana.

Summary of chapter 342 of the Agni Purāṇa is as follows:

The four modes of acting (abhinaya) are described: sāttvika (psychological/emotional), vācika (verbal — speech, tone, meter), āṅgika (bodily gesture and movement), and āhārya (costume, makeup, and stage properties). Śṛṅgāra is further subdivided into saṃbhoga-śṛṅgāra (love in union) and vipralambha-śṛṅgāra (love in separation), with detailed description of the nāyikā's states in each. The six varieties of hāsa (laughter) — smita, hasita, vihasita, upahasita, apahasita, and atihasita — are enumerated with their causes and appropriate dramatic occasions. The chapter introduces the broad category of śabdālaṅkāra (sound-based figures of speech), beginning the transition from performing arts to poetics proper.