Agni Purana

गजदन्तो वहिस्तम्भो वर्द्धमानोऽपरे कराः । उरः पञ्चविधं स्यात्तु आभुग्ननर्त्तनादिकम् ।। ३४१.

Gajadanta, vahistambha, vardhamāna—these are other hand gestures; the chest is fivefold: embracing, dancing, and so on.

उदरन्दुरतिक्षामं खण्डं पूर्णमिति त्रिधा । पार्श्वयोः पञ्चकर्म्माणि जङ्घाकर्म च पञ्चवा ।। ३४१.

The abdomen is threefold: sunken, emaciated, and full; the sides have five actions, and the actions of the thighs are also five.

अग्निरुवाच आभिमुख्यन्नयन्नर्थान्विज्ञेयोऽभिनयो बुधैः । चतुर्द्धा सम्भवः सत्त्वावागङ्गाहरणाश्रयः ।। ३४२.

Agni said: The wise should understand that abhinaya (expression) is to be recognized as conveying meanings directly; it arises in four ways: from emotion, speech, body, and appropriation.

स्तम्भादिः सात्त्विको वागारम्भो वाचिक आङ्गिकः । शरीरारम्भ आहार्य्यो बुद्ध्यारम्भप्रवृत्तयः ।। ३४२.

The sāttvika (emotional) begins with stillness, the vācika (verbal) with speech, the āṅgika (bodily) with movement of the body, and the āhārya (costume) with the activity of the intellect.

रसादिविनियोगोऽथ कथ्यते ह्यभिमानतः । तमन्तरेण सर्व्वेषामपार्थैव स्वतन्त्रता ।। ३४२.

The application of rasa and the like is described according to the sense of identification; without that, the independence of all is indeed meaningless.

सम्भोगो विप्रलम्भश्च श्रृङ्गारः स चतुर्विधः । पूर्व्वानुरागमानाख्यः प्रवासकरुणात्मकः ।। ३४२.

Union and separation are the two forms of erotic sentiment, and it is fourfold: the first is called prior attachment, the second is longing, the third is expectation, and the fourth is sorrow due to separation.

विप्रलम्भाभिदानो यः श्रृङ्गार उपचीयते । आलम्वनविशेषैश्च तद्विशेषैर्न्निरन्तरः ।। ३४२.

That form of erotic sentiment which is known as separation increases continuously through various special supports and their particular distinctions.

एतेभ्योऽन्यतरं जायमानसम्भोगलक्षणम् । विवर्त्तते चतुर्द्धैव न च प्रागतिवर्त्तते ।। ३४२.

From these, one or the other arises, marked by the characteristics of union; it evolves in four ways and does not proceed otherwise.

स्त्रीपुंसयोस्तदुदयस्तस्य निर्विर्त्तिकारतिः । निखिलाः सात्त्विकास्तत्र वैवर्ण्यप्रलयौ विना ।। ३४२.

The arising of that sentiment between woman and man brings about fulfillment; all the sattvic states occur there, except for pallor and fainting.

धर्म्मार्थकाममोक्षैश्च श्रृङ्गार उपचीयते । आलम्वनविशेषैश्च तद्विशेषैर्न्निरन्तरः ।। ३४२.

Erotic sentiment is enhanced by righteousness, wealth, desire, and liberation, and also by various special supports and their particular distinctions.

श्रृङ्गारं द्विविधं विद्याद्वाङ्‌नेपथ्यक्रियात्मकम् । हासश्चतुर्व्विधोऽलक्षयदन्तः स्मित इतीरितः ।। ३४२.

One should know that erotic sentiment is of two kinds: verbal and related to costume and action; laughter is said to be fourfold—smile, gentle laugh, open laugh, and excessive laugh.

किञ्चिल्लक्षितदन्ताग्रं हसितं फुल्ललोचनम् । विहसितं सस्वनं स्याज्जिह्मोपहसितन्तु तत् ।। ३४२.

A smile showing just the tips of the teeth is called 'smita'; a laugh with blooming eyes is 'hasita'; a laugh with sound is 'vihasita'; and a crooked or derisive laugh is 'upahasita'.

सशब्दं पापहसितमशब्दमतिहासितं । यश्चासौ करुणो नाम स रसस्त्रिविधो भवेत् ।। ३४२.

A sinful laugh is with sound, while a great laugh is without sound; and that which is called compassion is a sentiment of three kinds.

धर्म्मोपघातजश्चित्तविलासजनितस्तथा । शोकः शोकाद्भवेत् स्थायीकः क्रोधः स्वेदो रोमाञ्चवेपथुः ।। ३४२.

Sorrow arises from the destruction of righteousness or from the play of the mind; from sorrow, the stable emotion is produced, along with anger, sweating, horripilation, and trembling.

अङ्कनेपथ्यवाक्यैश्च रौद्रोऽपि त्रिविधो रसः । तस्य निर्वर्त्तकः क्रोधः स्वेदो रोमाञ्चवेपथुः ।। ३४२.

The furious sentiment is also threefold, through gestures, costume, and speech; its producer is anger, along with sweating, horripilation, and trembling.

दानवीरो धर्मवीरो युद्धवीर इति त्रयम् । वीरस्तस्य च निष्पत्तिहेतुरुत्साह इष्यते ।। ३४२.

The heroic sentiment is threefold: the hero of charity, the hero of righteousness, and the hero of battle; its cause is considered to be enthusiasm.

आरम्भेषु भवेद्यत्र वीरमेवानुवर्त्तते । भयानको नाम रसस्तस्य निर्वर्तकं भयं ।। ३४२.

Wherever there is persistence in beginnings, there the heroic sentiment prevails; the sentiment called 'terrifying' has fear as its producer.

उद्वेजनः क्षोभणश्य वीभत्सो द्विविधः स्मृतः । उद्वेजनः स्यात् प्लुत्याद्यैः क्षोभणो रुधिरादिभिः ।। ३४२.

The sentiment of disgust is considered twofold: arousing and disturbing; arousing is through things like filth, disturbing is through blood and the like.

जुगुप्सारम्भिका तस्य सात्त्विकांशो निवर्त्तते । काव्यशोभाकरान् धर्म्मानलङ्कारान् प्रचक्ष्यते ।। ३४२.

Its beginning is aversion; its sattvic component ceases; the ornaments of poetry, which bring beauty, are now described.

अलङ्करिष्णवस्ते च शब्दमर्थमुभौ त्रिधा । ये व्युत्पत्त्यादिना शब्दमलङ्कर्त्तुमिह क्षमाः ।। ३४२.

Those who wish to ornament both word and meaning do so in three ways; those who, through learning and so forth, are able to ornament words here.

शब्दालङ्कारमाहुस्तान् काव्यमीमांसका विदः । छाया मुद्रा तथोक्तिश्च युक्तिर्गुम्फनया सह ।। ३४२.

The scholars of poetics call these ornaments of sound: shadow, gesture, expression, and arrangement, along with weaving together.

वाकोवाक्यमनुप्रासश्चित्रं दुष्करमेव च । क्षेया नवालङ्कृतयः शब्दानामित्यसङ्करात् ।। ३४२.

Alliteration, verbal arrangement, artful composition, and difficulty—these are to be known as the nine ornaments of words, without confusion.

तत्रान्योक्तेरनुकृतिश्छाया सापि चतुर्व्विधा । लोकच्छेकार्भकोक्तीनामेकोक्तेरनुकारतः ।। ३४२.

There, imitation of another's expression is called 'shadow', and it is fourfold: imitation of worldly speech, children's speech, and the speech of a single person.

आभाणकोक्तिर्लोकोक्तिः सर्व्वसामान्य एव ताः । यानुधावति लोकोक्तिश्छायामिच्छन्ति तां बुधाः ।। ३४२.

A saying spoken by the common people is called a popular maxim; all such are generally applicable. The wise pursue the shadow of such popular sayings, desiring them.

छेका विदग्धा वैदग्धयं कलासु कुशला मतिः । तामुल्लिखन्ती छेकोक्तिश्छाया कविभिरिष्यते ।। ३४२.

A clever and skillful intellect, adept in the arts, is called wit; when it expresses itself, that is known as a witty saying, which poets desire as a shadow.

अव्युत्पन्नोक्तिरखिलैरर्भकोक्त्योपलक्ष्यते । तेनार्भकोक्तिश्छाया तन्मात्रोक्तिमनुकुर्व्यती ।। ३४२.

An unrefined utterance, marked by childish speech, is recognized as a child's saying; thus, the shadow of a child's saying imitates only that kind of speech.

विप्लुताक्षरमश्लीलं वचो मत्तस्य तादृशी । या सा भवति मत्तोक्तिश्छायोक्ताप्यतिशोभते ।। ३४२.

Speech that is disordered, obscene, and like that of a drunkard is called a drunken saying; even its shadow, when spoken, shines greatly.

अभिप्रायविशेषेण कविशक्तिं विवृण्वती । मुत्‌प्रदायिनीति सा मुद्रा सैव शय्यापि नो मते ।। ३४२.

By a special intention, revealing the poet's power, that which gives delight is called a seal; but that seal is not considered a resting place by us.

उक्तिः सा कथ्यते यस्वामर्थकोऽप्युपपत्तिमान् । लोकयात्रार्थविधिना धिनोति हृदयं सतां ।। ३४२.

That is called a saying which, though meaningful in itself, is also reasonable, and by the rule of worldly conduct, delights the hearts of the virtuous.