Agni Purana

व्यायोगभाणवीथ्यङ्गत्रोटकान्यथ नाटिका । सट्टकं शिल्पकः कर्णा एको दुर्म्मल्लिका तथा ।। ३३८.

Vyāyoga, bhāṇa, vīthī, aṅga, troṭaka, nāṭikā, saṭṭaka, śilpaka, karṇa, eka, and durmallikā as well.

प्रस्थानं भाणिका भाणी गोष्ठी हल्लीशकानि च । काव्यं श्रीगदितं नाट्यरासकं रासकं तथा ।। ३३८.

Prasthāna, bhāṇikā, bhāṇī, goṣṭhī, hallīśaka, kāvya, śrīgadita, nāṭyarāsaka, and rāsaka likewise.

उल्लाप्यकं प्रेङ्‌क्षणञ्च सप्तविंशतिरेव तत् । सामान्यञ्च विशेषश्च लक्ष्णस्य द्वयी गतिः ।। ३३८.

Ullāpyaka and preṅkṣaṇa—these are indeed twenty-seven; and there are two paths of definition: general and particular.

सामान्यं सर्व्वविषयं शेषः क्कापि प्रवर्त्तते । पूर्व्वरङ्गे निवृते द्वौ देशकालावुभावपि ।। ३३८.

The general applies to all subjects; the rest occur in certain cases. When the preliminary stage is finished, both place and time are set.

रसभावमिभावानुभावा अभिनयास्तथा । अङ्कः स्थितिश्च सामान्यं सर्व्वत्रैवोपसर्पणात् ।। ३३८.

Sentiment, emotion, determinants, consequents, and acting, as well as the act and situation—these are general, as they are present everywhere.

विशेषोऽवसरे वाच्यः सामान्यं पूर्व्वमुच्यते । त्रिवर्गसाधनन्नाट्यमित्याहुः करणञ्च यत् ।। ३३८.

The particular is to be stated at the proper time; the general is mentioned first. Drama is said to be the means for the three aims of life, as is any action.

इतिकर्त्तव्य्ता तस्य पूर्व्वरङ्गो यथाविधि । नान्दीमुखानि द्वात्रिंशदङ्गानि पूर्व्वरङ्गके ।। ३३८.

Its procedure is as prescribed; the preliminary stage has thirty-two sections, beginning with the benediction.

देवतानां नमस्कारो गुरूणामपि च स्तुतिः । गोब्राह्मणनृपादीनामाशीर्वादादि गीयते ।। ३३८.

Salutation to the deities, praise of teachers, and the blessings of cows, Brahmins, kings, and others are sung.

नान्द्यन्ते सूत्रधारोऽसौ रुपकेषु निबध्यते । गुरुपूर्वक्रमं वंशप्रशंसा पौरुषं कवेः ।। ३३८.

At the end of the prologue, the stage-manager is bound in the plays; the order begins with honoring the teacher, then the praise of lineage, and the poet’s own merit.

सम्बम्धार्थौ च काव्य्स्य पञ्चैतानेष निर्द्दिशेत् । नटी विदूषको वापि पारिपार्श्विक एव वा ।। ३३८.

The connection and meaning of poetry—these five should be indicated here, whether by the actress, the jester, or even the attendant.

सहिताः सूत्रधारेण संलापं यत्र कुर्व्वते । चित्रैर्व्वाक्यैः स्वकार्य्योत्थैः प्रस्तुताक्षेपिभिर्मिथ ।। ३३८.

Where, together with the stage-manager, they engage in dialogue, with varied statements, arising from their own tasks, and with mutual allusions to the subject at hand.

आमुखं तत्तु विज्ञेयं बुधैः प्रस्तावनापि सा । प्रवृत्तकं कथोद्‌घातः प्रयोगातिशयस्तथा ।। ३३८.

That is to be known by the wise as the prologue, which is also called the introduction; the preliminary act, the opening of the story, and the display of excellence as well.

आमुखस्य त्रयो भेदा वीजांशेषूपजायते । कालं प्रवृत्तमाश्रित्य सूत्रधृग्यत्र वर्णयेत् ।। ३३८.

There are three divisions of the prologue, arising in the seed-part and others; based on the time that has commenced, the stage-manager should describe it here.

तदाश्रयश्च पात्रस्य प्रवेशस्तत् प्रवृत्तकं । सूत्रधारस्य वाक्यं वा यत्र वाक्यार्थमेव वा ।। ३३८.

The entry of the character, based on that context, is called the preliminary act; it is either the speech of the stage-manager or the very meaning of the speech.

गृहीत्वा प्रविशेत् पात्रं कथोद्‌घातः स उच्यते । प्रयोगेषु प्रयोगन्तु सूत्रधृग्यत्र वर्णयेत् ।। ३३८.

When, having taken up the context, the character enters, that is called the opening of the story; in performances, the stage-manager should describe the performance here.

ततश्च प्रविशेत् पात्रं प्रयोगातिशयो हि सः । शरीरं नाटकादीनामितिवृत्तं प्रचक्षते ।। ३३८.

Then, when the character enters, that is called the display of excellence; the plot of dramas and the like is called the body.

सिद्धमुत्प्रेक्षितञ्चेति तस्य भेदाबुभौ स्मृतौ । सिद्धमागमदृष्टञ्च सृष्टमुत्प्रेक्षइतं कवेः ।। ३३८.

Its two divisions are remembered as accomplished and imagined; the accomplished is based on what is heard or seen, the imagined is the poet’s creation.

वीजं विन्दुः पताका च प्रकरी कार्य्यमेव च । अर्थप्रकृतयः पञ्च पञ्च चेष्टा अपि क्रमात् ।। ३३८.

The seed, the drop, the banner, the episode, and the action—these are the five kinds of subject-matter, and likewise, there are five stages of action in order.

प्रारम्भश्च प्रयत्नश्च प्राप्तिः सद्भाव एव च । नियता च फलप्राप्तिः फलयोगश्च पञ्चमः ।। ३३८.

The beginning, the effort, the attainment, the existence, and the definite achievement of the result—these are the five connections with the result.

मुखं प्रतिमुखं गर्भो विमर्षश्च तथैव च । तथा निर्व्वहणञ्चेति क्रमात् पञ्चैव सन्धयः ।। ३३८.

The opening, the confrontation, the development, the deliberation, and likewise the conclusion—these are the five divisions of the plot in order.

अल्पमात्रं समुद्दिष्टं बहुधा यत् प्रसर्पति । फलावसानं यच्चैव वीजं तदभिधीयते ।। ३३८.

That which is indicated in a small measure but spreads in many ways, and whose end is the result—this is called the seed.

यत्र वीजसमुत्पत्तिर्नानार्थरससम्भवा । काव्ये शरीरानुगतं तन्मुखं परिकीर्त्तितं ।। ३३८.

Where the arising of the seed gives rise to various meanings and flavors, that, following the body of the poem, is called the opening.

इष्टस्यार्थस्य रचना वृत्तान्तस्यानुपक्षयः । रागप्राप्तिः प्रयोगस्य गुह्यानाञ्चैव गूहनम् ।। ३३८.

The composition of the desired meaning, the unfolding of the narrative, the attainment of passion in the action, and the concealment of secrets.

आस्चर्य्यवदभिख्यातं प्रकाशानां प्रकाशनम् । अङ्गहीनं नरो यद्वन्न श्रेष्ठं काव्यमेच च ।। ३३८.

The revelation of the marvelous as marvelous, and the revelation of what is manifest; just as a man lacking limbs is not excellent, so too is poetry.

देशकालौ विना किञ्चिन्नेतिवृत्तं प्रवर्त्तते । अतस्तयोरुपादाननियमात् पदभुच्यते ।। ३३८.

Without place and time, no plot proceeds; therefore, because of the necessity of including them, it is called the ground.

देशेषु भारतं वर्षं काले कृतयुगत्रयं । नर्त्ते ताम्यां प्राणभृतां सुखदुःखोदयः क्कचित् ।। ३३८.

In the regions called Bhārata-varṣa, three cycles of the Kṛta Yuga pass; sometimes, among living beings, happiness and suffering arise here and there.

सर्गे सार्गादिवार्त्ता च प्रसज्जन्ती न दुष्यति ।। ३३८.

In creation, the affairs that follow creation proceed without corruption.

अग्निरुवाच अक्षरं परमं ब्र्ह्म सनातनमजं विभुं । वेदान्तेषु वदन्त्येकं चैतन्यं ज्योतिरीश्वरम् ।। ३३९.

Agni said: The imperishable, supreme Brahman—eternal, unborn, all-pervading—is declared in the Upaniṣads as the one consciousness, the radiant Lord.

आनन्दः सहजस्तस्य व्यज्यते स कदाचन । व्यक्तिः सा तस्य चैतन्यचमत्‌काररसाह्वया ।। ३३९.

Its bliss is innate and sometimes becomes manifest; that manifestation is called the wonder of consciousness, the essence of delight.