Agni Purana

अनिबद्धप्रलापादिरुन्मादो मदनादिभिः । तत्वज्ञानादिना चेतःकषायोपरमः शमः ।। ३३९.

Unrestrained speech and similar behaviors are called 'unmāda' (madness), arising from intoxication and the like. The cessation of mental impurities through knowledge of reality and similar means is called 'śama' (tranquility).

कविभिर्योजनीया वै भावाः काव्यादिके रसाः । विभाव्यते हि रत्यादिर्यत्र येन विभाव्यते ।। ३३९.

The emotions to be employed by poets, and the sentiments in poetry and the like, are indeed manifested through that by which love and other feelings are revealed.

विभावो नाम स द्वेधालम्बनोद्दीपनात्मकः । रत्यादिभाववर्गोऽयं यमाजीव्योपजायते ।। ३३९.

This is called vibhāva, which is of two kinds: the support (ālambana) and the stimulant (uddīpana); this group of feelings such as love arises from these causes.

आलम्बनविभावोऽसौ नायकादिभवस्तथा । धीरोदात्तो धीरोद्धतः स्याद्धीरललितस्तथा ।। ३३९.

The supporting vibhāva is that which arises from the hero and others; the hero is of four types: the calm and noble, the proud and bold, the graceful, and the serene.

धीरप्रशान्त इत्येवं चतुर्द्धा नायकः स्मृतः । अनुकूलो दक्षइणश्च शठो धृष्टः प्रवर्त्तितः ।। ३३९.

Thus, the hero is remembered as fourfold: the favorable, the skillful, the cunning, the audacious, and the active.

पीठमर्द्दो विटश्चैव विदूषक इति त्रयः । श्रृड्गारे नर्म्मसचिवा नायकस्यानुनायका ।। ३३९.

The pīṭhamarda, the witty, and the jester—these three are the hero’s companions in love, serving as his confidants.

पीठमर्द्दः सम्बलकः श्रीमांस्तद्वेशजो विटः । विदूषको वैहसिकस्त्वष्टनायकनायिकाः ।। ३३९.

The pīṭhamarda is the associate, the witty is the rival, and the jester is the comic; these are the sub-heroes and sub-heroines.

स्वकीया परकीया च पुनर्भूरिति कौशिकाः । सामान्या न पुनर्भूरिरित्याद्या बहुभेदतः ।। ३३९.

The heroines are classified as one’s own, another’s, and remarried; the experts say there are also common and not remarried, and many other distinctions.

उद्दीपनविभावास्ते संस्कारैर्विविधैः स्थितैः । आलम्बनविभावेषु भावानुद्दीपयन्ति ये ।। ३३९.

The stimulant vibhāvas are those which, through various established impressions, arouse emotions in relation to the supporting vibhāvas.

चतुःषष्टिकला द्वेधा कर्म्माद्यैर्गीतिकादिभिः । कुहकं स्मृतिरप्येषां प्रायो हासोपहारकः ।। ३३९.

The sixty-four arts are of two kinds, such as actions and songs; their skill and memory are mostly sources of amusement.

आलम्बनविभावस्य भावैरुद्वुद्धसंस्कृतैः । मनोवाग्‌बुद्धिवपुषां स्मृतीच्छाद्वेषयत्नत ।। ३३९.

By means of emotions refined through supporting vibhāvas, the mind, speech, intellect, and body are moved by memory, desire, aversion, and effort.

आरम्भ एव विदुषामनुभाव इति स्मृतः । स चानुभूयते चात्र भवत्युत निरुच्यते ।। ३३९.

The beginning itself, for the wise, is called anubhāva (manifestation); it is experienced here and is indeed described as such.

मनोव्यापारभूयिष्ठो मन आरम्भ उच्यते । द्विविधः पौरुषस्त्रैण ईट्टशोऽपि प्रसिध्यति ।। ३३९.

The initiation of the mind is called the predominant mental activity; it is of two kinds, and the threefold manly qualities are also well known.

शोभा विलासो माधुर्य्यं स्थैर्य्यं गाम्भीर्य्यमेव च । ललितञ्च तथौदार्य्यन्तेजोऽष्टाविति पौरुषाः ।। ३३९.

Grace, charm, sweetness, steadiness, depth, playfulness, generosity, and brilliance—these eight are the manly qualities.

नीचनिन्दोत्तमस्पर्द्धा शौर्य्यं दाक्षादिकारणं । मनोधर्म्मे भवेच्छोभा शोभते भवनं यथा ।। ३३९.

Competition among the low, the censured, and the excellent, heroism, skill, and other causes—among mental qualities, grace shines forth as a house does.

भावो हावश्च हेला च शोभा कान्तिस्तथैव च । दीप्तिर्म्माधुर्य्यशौर्य्ये च प्रागलूभ्यं स्यादुदारता ।। ३३९.

Emotion, gesture, playful behavior, grace, beauty, brilliance, sweetness, heroism, boldness, and generosity are found.

स्थैर्य्यं गम्भीरता स्त्रीणां विभावा द्वादशेरिताः । भावो विलासो हावः स्याद्भावः किञ्चिच्च हर्षजः ।। ३३९.

Steadiness and depth are the vibhāvas of women, said to be twelve; emotion, charm, and gesture are emotions, and some are born of joy.

विलापो दुःखवचनमनुलापोऽसकृद्वचः । संलाप उक्तप्रत्युक्तमपलापोऽन्यथावचः ।। ३३९.

Lamentation is the speech of sorrow; repeated speech is called anulāpa; conversation is question and answer; apalāpa is speech to another purpose.

वार्त्ताप्रयाणं सन्देशो निर्देशः प्रतिपादनम् । तत्त्वदेशोऽतिदेशोऽयमपदेशोऽन्यवर्णनम् ।। ३३९.

News, journey, message, instruction, explanation, statement of truth, further statement, and indirect speech—these are the various kinds of speech.

उपदेशश्च शिक्षावाक् व्याजोक्तिर्व्यपदेशकः । वोधाय एष व्यापारः सुबुद्ध्यारम्भ इष्यते ।। ३३९.

Instruction, teaching speech, indirect expression, and designation—these are the activities intended for imparting understanding, undertaken with clear intelligence.

तस्य भेदास्त्रयस्ते च रीतिवृत्तिप्रवृत्तयः ।। ३३९.

There are three divisions of this, namely, style, manner, and mode of activity.

अग्निरुवाच वाग्विद्यासम्प्रतिज्ञने रीतिः सापि चतुर्विधा । पाञ्चली गौड़देशीया वैदर्भी लाटजा तथा ।। ३४०.

Agni said: In the assertion of speech and knowledge, style is also of four kinds: the Pāñcālī, the Gauḍī, the Vaidarbhī, and the Lāṭī.

उपचारयुता मृद्वी पाञ्चाली ह्रस्वविग्रहा । अनवस्थितसन्दर्भा गौडीया दीर्घविग्रहा ।। ३४०.

The Pāñcālī is gentle, accompanied by embellishments, and has short constructions; the Gauḍī is unstable in context and has long constructions.

उपचारैर्न्न बहुभिरुपचारैर्विवर्ज्जिता । नातिकोमलसन्दर्भा वैदर्भी मुक्तविंग्रहा ।। ३४०.

The Vaidarbhī is not marked by many embellishments, nor is it entirely without them; its context is not overly soft, and its constructions are free.

लाजीया स्फुजसन्दर्भा नातिविस्फुरविग्राहा । परित्यक्तापि भूयोभिरुपचारैरुदाहृता ।। ३४०.

The Lāṭī has clear context, is not excessively elaborate in construction, and is sometimes presented with many embellishments.

क्रियास्वविषमा वृत्तिर्भारत्यारभटी तथा । कौशिकी सात्वती चैति सा चतुर्द्धा प्रतिष्ठिता ।। ३४०.

In actions, manner is not uneven; the Bhāratī, Ārabhaṭī, Kauśikī, and Sātvati—these four are established.

वाक्‌प्रधाना नरप्राया स्त्रीयुक्ता प्राकृतोक्तिता । भरतेन प्रणीतत्वात् भारती रीतिरुच्यते ।। ३४०.

The Bhāratī style is speech-dominant, mostly used by men, sometimes by women, and employs vernacular expressions; because it was established by Bharata, it is called Bhāratī.

चत्वार्य्यङ्गानि भारत्या वीथी प्रहसनन्तथा । प्रस्तावना नाटकादेर्व्वीथ्यङ्गाश्च त्रयोदश ।। ३४०.

Bhāratī has four limbs: vīthī, prahasana, and so on; the introduction and other elements of drama, and the thirteen parts of vīthī.

उद्‌घातकं तथैव स्याल्लपितं स्याद्‌द्वितीयकम् । असत्प्रलापो वाक्‌श्रेणी नांनिका विपणन्तथा ।। ३४०.

These are: udghātaka, lapita as the second, asatpralāpa, vākśreṇī, nāmnikā, and vipaṇa.