Agni Purana

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.

परिवाहिनमाधूतमवधूतमथाचितं । निकुञ्चितं परवृत्तमुत्‌क्षिप्तञ्चाप्यधोगतम् ।। ३४१.

Flowing, gentle shaking, strong shaking, and gathering; contraction, turning away, lifting up, and also lowering down.

ललितञ्चेति विज्ञेयं त्रयोदशविधं शिरः । भ्रूकर्म्म सप्तधा ज्ञेयं पातनं भ्रूकुटीमुखं ।। ३४१.

Thus, the head is to be understood as having thirteen kinds of movements, and the action of the brows is known to be sevenfold: lowering, frowning, and other expressions.

दृष्टिस्त्रिधा रसस्थायिसञ्चारिप्रतिबन्धना । षट्‌त्रिंशद्‌भेदविधुरा रसजा तत्र चाष्टधा ।। ३४१.

The gaze is threefold, relating to the stable emotion, the moving emotion, and the obstructed one; the emotional expressions are thirty-six in variety, and there are eight types arising from emotion.

नवधा तारकाकर्म्म भ्रमणञ्चलनादिकं । षोढ़ा च नासिका ज्ञेया निश्वासो नवदा मतः ।। ३४१.

The action of the pupils is ninefold, including circling, moving, and so on; the nose is said to have sixteen types, and exhalation is considered to be ninefold.

षोढौष्ठकर्म्मकं पापं सप्तधा चिवुकक्रिया । कलुषादिमुखं षोढ़ा ग्रीवा नवविधा स्मृता ।। ३४१.

The action of the lips is sixfold, the movement of the tongue is sevenfold; the mouth, beginning with impurity, is sixfold, and the neck is remembered as ninefold.

असंयुतः संयुतश्च भूम्ना हस्तः प्रमुच्यते । पताकस्त्रिपताकश्च तथा वै कर्त्तरीमुखः ।। ३४१.

The hand is expressed in two ways: unjoined and joined, in many forms; patāka, tripatāka, kartarīmukha,

अर्द्धचन्द्रोत्करालश्च शुक्तुण्डस्तथैव च । मुष्टिश्च शिखरश्चैव कपित्थः खेटकामुखः ।। ३४१.

Ardhacandra, utkarāla, śukatuṇḍa likewise; muṣṭi, śikhara, kapittha, kheṭakāmukha,

सूच्यास्यः पद्मकोषो हि शिराः समृगशीर्षकाः । कांमूलकालपद्मौ च चतुरभ्रमरौ तथा ।। ३४१.

Sūcyāsya, padmakoṣa, śirā, mṛgaśīrṣa; kāṃmūla, ālapadma, and also catura-bhramara.

हंसास्यहंसपक्षौ च सन्दंशमुकुलौ तथा । उर्णनाभस्तात्रचूडश्चतुर्विंशतिरित्यमी ।। ३४१.

Haṃsāsya, haṃsapakṣa, sandaṃśa, mukula; urṇanābha, tātracūḍa—these are counted as twenty-four.

असंयुतकराः प्रोक्ताः संयुतास्तु त्रयोदश । अञ्जलिश्च कपोतश्च कर्कटः स्वस्तिकस्तथा ।। ३४१.

These are called unjoined hand gestures; the joined ones are thirteen: añjali, kapota, karkaṭa, and svastika,