Agni Purana — Sahitya-shastra, Shloka 63
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
नामधेयं यदि न चेदमीषु कविकाव्ययोः मित्रधेयाभितुष्यन्ति नामित्रः खिद्यते तथा
nāmadheyaṃ yadi na cedamīṣu kavikāvyayoḥ mitradheyābhituṣyanti nāmitraḥ khidyate tathā
إن لم يكن لهذه الأمور—أي للشاعر وللقصيدة—اسمٌ لائق (عنوان)، فإن من يرضى بمجرد ألقاب المودّة يكتفي؛ أمّا من ليس بصديق فيضيق صدره كذلك.
Lord Agni (traditionally narrating to Vashistha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Dharmashastra","practical_application":"Guidance on literary etiquette: titling/attribution for poets and works to secure reception, patronage, and avoid social friction among audiences.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Importance of proper naming (nāmadheya) for poet and poem","lookup_keywords":["nāmadheya","kavi","kāvya","saṃjñā","prīti"],"quick_summary":"Without proper titles/names for poet and poem, only friendly audiences remain satisfied; outsiders or critics become displeased—so clear naming and attribution matters."}
Concept: Saṃjñā and maryādā in cultural production: proper designation prevents misunderstanding and preserves honor.
Application: Provide clear title, author-name, and identifying epithets in colophons/prefaces; tailor honorifics to audience to reduce criticism.
Khanda Section: Sahitya-shastra (Kavya and Poetics)
Primary Rasa: Shanta
Secondary Rasa: Hasya
Visual Art Cues: {"scene_description":"A poet presents an untitled manuscript; friends smile approvingly while a stern critic frowns, highlighting the social effect of missing title/attribution.","kerala_mural_prompt":"Kerala mural, poet holding palm-leaf bundle without a title strip, two groups—friends with gentle smiles and a lone critic with furrowed brow, temple-hall setting, strong outlines.","tanjore_prompt":"Tanjore painting, poet before patrons, manuscript with blank title cartouche in gold, friends adorned, a displeased figure aside, rich ornamentation and gold detailing.","mysore_prompt":"Mysore style narrative, clear facial expressions contrasting approval and displeasure, manuscript colophon area left blank, subtle instructional captioning feel.","mughal_miniature_prompt":"Mughal miniature in a court mehfil, poet reciting, attendants pleased, one rival/critic distressed, manuscript shown with empty heading panel, intricate textiles and architecture."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Raga Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: na cedamīṣu = na cet amīṣu. kavikāvyayoḥ = kavi-kāvyayoḥ (dvandva). mitradheyābhituṣyanti = mitra-dheyāḥ abhituṣyanti. nāmitraḥ = na amitraḥ.
Related Themes: Agni Purana 342 (Sahitya-shastra: kavya-lakṣaṇa, naming, bandha topics)
FAQs
It imparts kavya-shastra guidance: a work (and its authorial identity) should be properly designated by a nāmadheya (title/name), since naming affects reception—friendly circles may accept informal labels, while outsiders may react negatively.
Beyond theology and ritual, the Agni Purana also codifies practical cultural sciences like literary theory—here, a compositional norm about titles and social reception of poetry, reflecting its wide-ranging, handbook-like scope.
By encouraging orderly, appropriate designation and respectful presentation of learning, the verse supports dharmic communication—reducing conflict and fostering harmonious reception of knowledge, which is treated as a meritorious, sattvic act.