Agni Purana

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.

उभौ विधिनिषेधौ च नियमानियमावपि । पिकल्पपरिसङ्ख्ये च तदीयाः पड़थोक्तयः ।। ३४२.

Both injunction and prohibition, as well as rule and non-rule, and in the enumeration of alternatives, their respective sayings are to be understood.

अयुक्तयोरिव मिथो वाच्यवाचकयोर्द्वयोः । योजनायै कल्प्यमाना युक्तिरुत्ता मनीषिभिः ।। ३४२.

The connection imagined between two things, as between what is to be expressed and its expression, even if not properly related, is called a device by the wise.

पदञ्चैव पदार्थश्च वाक्यार्थमेव च । विष्योऽस्याः प्रकारणं प्रपञ्चश्चेति षड्‌विधः ।। ३४२.

A word, the meaning of a word, the meaning of a sentence, the subject, the context, and the elaboration—these are its sixfold domains.

गुम्फना रचनाचर्य्या शब्दार्थक्रमगोचरा । शब्दानुकारादर्थानुपूर्व्वार्थेयं क्रमात्त्रिधा ।। ३४२.

Arrangement, the skill of composition, and the order of words and meanings—by imitation of sound, by sequence of meanings, thus, this is threefold in order.

उक्तिपत्युक्तिमद्वाक्यं वाकोवाक्यं द्विधैव तत् । ऋजुवक्रोक्तिभेदेन तत्राद्यं सहजं वचः ।। ३४२.

A saying that gives rise to another saying is called a saying upon a saying, and it is twofold: by the distinction of direct and indirect speech, the first is natural speech.

अग्निरुवाच स्यादावृत्तिरनुप्रासो वर्णानां पदवाक्ययोः । एकवर्णाऽनेकवर्णावृत्तेर्व्वर्णगुणो द्विधा ।। ३४३.

Agni said: Repetition is alliteration, occurring in letters, words, and sentences; the quality of a letter is twofold, being repetition of a single letter or of several letters.

एकवर्णगतावृत्तेर्ज्जायन्ते पञ्च वृत्तयः । मधुरा ललिता प्रौढा भद्रा परुषया सह ।। ३४३.

From the repetition of a single letter arise five styles: sweet, delicate, strong, auspicious, and harsh.

मधुरायाश्च वर्गान्तादधो वर्ग्या रणौ स्वनौ। ह्रस्वस्वरेणान्तरितौ संयुक्तत्वं नकारयोः ।। ३४३.

In the sweet style, the repeated letters are at the end of a group, below the group, in battle sounds, or separated by a short vowel, and the conjunction of nasals.

न कार्य्या वर्ण्यवर्णानामावृत्तिः पञ्चमाधिका । म्हाप्राणोष्मसंयोगप्रविमुक्तलघूत्तरौ ।। ३४३.

There should not be repetition of unpronounceable or inappropriate letters more than five times; the lighter ones are free from aspirates and sibilant combinations.

ललिता बलभूयिष्ठा प्रौढा या पणवर्गजा । ऊद्‌र्ध्वं रेफेण युज्यन्ते नटवर्गोनपञ्चमाः ।। ३४३.

Delicate style is the most forceful; strong style arises from the group of stops; above, they are joined with 'r', and the non-nasal letters of the group are not fifth.