Agni Purana

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.

व्याहारस्रिमतञ्चैव छलावस्कन्दिते तथा । गण्डोऽथ मृदवश्चैव त्रयोदशमथाचितम् ।। ३४०.

Also vyāhāra, srimata, chalāvaskandita, gaṇḍa, mṛdava, and the thirteenth, ācita.

तापसादेः प्रहसनं परिहासपरं वचः । मायेन्द्रजालयुद्धादिबहुलारभटी स्मृता ।। ३४०.

Prahasana is the speech of ascetics and others, focused on jesting; the Ārabhaṭī is known for its abundance of magical illusions, battles, and the like.

सङ्‌क्षिप्तकारपातौ च वस्तूत्थापनमेव च ।। ३४०.

Also, saṅkṣiptakārapāta and the establishment of the subject matter.

अग्निरुवाच चेष्टाविशेषमप्यङ्गप्रत्यङ्गे कर्म्म चानयोः । शरीरारम्भमिच्छन्ति प्रायः पूर्व्वोऽवलाश्रयः ।। ३४१.

Agni said: Distinctive gestures and actions of the limbs and their parts are called bodily movements; generally, the beginning is based on the subordinate.

लीला विलासो विच्छित्तिर्विभ्रमं किलकिञ्चितं । मोट्टायितं कुट्टमितं विव्वोको ललितन्तथा ।। ३४१.

Play, grace, variety, confusion, kilakiñcita, moṭṭāyita, kuṭṭamita, vivvoka, and also lalita—these are named.

विकृतं क्रीड़ितं केलिरिति द्वादशधैव सः । लीलेष्टजनचेष्टानुकरणं संवृतक्षये ।। ३४१.

Distorted, cruel, sportive—thus, there are twelve; imitation of the gestures of playful people is included when the act is concealed.

विशेषान् दर्शयन् किञ्चिद्विलासः सद्भिरिष्यते । हसितक्रन्दितादीनां सङ्करः किलकिञ्चितं ।। ३४१.

Showing distinctions in some way is considered grace by the wise; the mixture of laughter, weeping, and the like is called kilakiñcita.

विकारः कोपि विव्वोको ललितं सौकुमार्य्यतः । शिरः पाणिरुपः पार्श्वङ्गटिरङ्‌घ्रिरिति क्रमात् ।। ३४१.

Vikāra is a certain transformation; vivvoka and lalita are due to delicacy; head, hand, side, waist, and foot, in order.

अङ्गनि भ्रूलतादीनि प्रत्यङ्गान्यभिजानते । अड्गप्रत्यङ्गयोः कर्म्म प्रयलजनितं विना ।। ३४१.

The limbs, such as the brows and others, and the subsidiary limbs are recognized; but the actions of the limbs and subsidiary limbs do not arise without deliberate practice.

न प्रयोगः क्कचिन्मुख्यन्तिरश्चीनञ्च तत् क्कचिच् । आकम्पितं कम्पितञ्च१ धूतं विधूतमेव च ।। ३४१.

There is never a principal application anywhere, and in some cases, it is oblique; trembling, shaking, swaying, and vigorous shaking are also described.