Agni Purana — Sahitya-shastra, Shloka 49
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
भावो हावश् च हेला च शोभा कान्तिस्तथैव च दीप्तिर्माधुर्यशौर्ये च प्रागल्भ्यं स्यादुदारता
bhāvo hāvaś ca helā ca śobhā kāntistathaiva ca dīptirmādhuryaśaurye ca prāgalbhyaṃ syādudāratā
البهافا (الشعور المُعبِّر)، والهافا (الإيماءة الغزلية)، والهيلا (الدلال اللعوب)، والشوبهَا (الجمال)، والكانتي (الإشراق)، والديبتي (البهاء)، والمادهوريا (العذوبة)، والشوريا (البأس)، والبراغلبهيا (جرأةٌ واثقة)، والأوداراتا (النُّبل) — تُعَدّ صفاتٍ مُعَرِّفةً معترفًا بها.
Lord Agni (in discourse to Sage Vasiṣṭha, as per the Agni Purāṇa’s usual frame)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Use this list as a checklist of performative and compositional qualities for characters/episodes—especially in śṛṅgāra and vīra contexts—guiding gesture, diction, and staging.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Defining Qualities: Bhāva to Udāratā","lookup_keywords":["bhāva","hāva","helā","kānti","udāratā"],"quick_summary":"A set of recognized qualities—emotive expression, gesture, playful coquetry, beauty, radiance, splendour, sweetness, valour, confident boldness, and nobility—serve as markers for effective aesthetic presentation."}
Alamkara Type: Guṇa (kānti, dīpti, mādhurya, udāratā etc.)
Concept: Aesthetic excellence is diagnosable through enumerated qualities that can be cultivated and displayed.
Application: For writing/acting, assign each scene a dominant quality (e.g., mādhurya or dīpti) and align gesture, tempo, and word-choice accordingly.
Khanda Section: Sahitya-shastra (Kavya–Nataka–Alankara: aesthetics and dramaturgy)
Primary Rasa: śṛṅgāra
Secondary Rasa: vīra
Visual Art Cues: {"scene_description":"A stage-like setting where ten qualities appear as personified attendants around a central heroine/hero—radiance, sweetness, valour, nobility—each shown through gesture and aura.","kerala_mural_prompt":"Kerala mural, classical nāṭya stage with heroine in śṛṅgāra pose and hero in vīra stance, surrounding personifications labeled bhāva, hāva, helā, kānti, dīpti, mādhurya, śaurya, prāgalbhya, udāratā; bold outlines, warm palette.","tanjore_prompt":"Tanjore painting, central divine-like nāyikā with gold halo for kānti and dīpti, attendants symbolizing mādhurya and udāratā, gold embossing on ornaments, symmetrical composition.","mysore_prompt":"Mysore painting, didactic chart-like scene: each quality shown as a small vignette with corresponding gesture (hāva/helā) and facial expression (bhāva), fine linework and pastel washes.","mughal_miniature_prompt":"Mughal miniature, court performance with dancers and musicians; subtle depiction of helā and hāva in gestures, hero displaying śaurya; intricate costumes and architectural backdrop."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Khamas","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: कान्तिस्तथैव = कान्तिः तथा एव; दीप्तिर्माधुर्यशौर्ये = दीप्तिः माधुर्य-शौर्ये; स्यादुदारता = स्यात् उदारता.
Related Themes: Agni Purana 338 (Bhāva/Hāva; speech-types; guṇa lists)
FAQs
It imparts Sahitya/Natya-vidya: a technical enumeration of aesthetic qualities (bhāva, hāva, helā, etc.) used to analyze and portray charm, expression, and character in poetry and dramaturgy.
By cataloging formal aesthetic categories, it shows the Agni Purana’s coverage beyond ritual and theology into systematic arts-learning—Sanskrit poetics, performance theory, and character-description conventions.
Cultivating refined speech, noble conduct, and disciplined expression (mādhurya, udāratā, śaurya) is treated as a dhārmic refinement of character, supporting sattvic comportment and ethical self-cultivation.