Agni Purana — Kosha, Shloka 2
Chapter 363: नृब्रह्मक्षत्रविट्शूद्रवर्गाः
Groups of terms for Men, Brahmins, Kṣatriyas, Vaiśyas, and Śūdras
कान्तार्थिनी तु या याति सङ्केतं साभिसारिका कुलटा पुंश् चल्यसती नग्निका स्त्री च कोटवी
kāntārthinī tu yā yāti saṅketaṃ sābhisārikā kulaṭā puṃś calyasatī nagnikā strī ca koṭavī
Eine Frau, die, nach ihrem Geliebten verlangend, zu einem zuvor verabredeten Treffpunkt geht, heißt abhīsārikā. Sie wird auch kulaṭā, puṃścalī, asatī genannt; und in manchen Verwendungen ebenso nagnikā und koṭavī.
Lord Agni (in instruction to sage Vasiṣṭha, in the encyclopedic lexicon/poetics portion)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"For poets, dramaturges, and commentators: correct technical naming of nāyikā-bheda (heroine-types) and their synonymic labels to craft/interpret scenes of love-in-separation and tryst narratives.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Abhisārikā (nāyikā-bheda) and its synonym set","lookup_keywords":["abhisārikā","saṅketa","kulaṭā","puṃścalī","asatī"],"quick_summary":"Defines the abhisārikā—she who goes to a prearranged tryst out of longing—and lists alternate labels used in certain registers, supporting accurate rasa-creation and lexicographic identification."}
Concept: Technical vocabulary governs aesthetic cognition (rasa-niṣpatti): naming a type fixes expected behavior, mood, and scene-logic.
Application: In kāvya/nāṭya composition, label the heroine correctly to cue costume, movement, time-of-night, and emotional register.
Khanda Section: Sahitya-shastra (Lexicography / Synonyms and technical definitions in poetics)
Primary Rasa: shringara
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A love-struck woman slips at night toward a trysting grove/meeting spot (saṅketa), embodying the abhisārikā type; the verse frames her technical designation and synonyms.","kerala_mural_prompt":"Kerala mural, moonlit night with deep blues, heroine in traditional ornaments moving toward a grove pavilion, subtle expression of longing, stylized trees and lamp, caption-like band naming ‘abhisārikā’","tanjore_prompt":"Tanjore style, richly adorned heroine with gold work, holding a lamp or veil, stepping toward a decorated garden mandapa, gold-leaf highlights on jewelry and borders, romantic yet formal composition","mysore_prompt":"Mysore painting, narrative clarity: heroine walking to a marked ‘saṅketa’ spot, fine facial expression, soft palette, minimal background with clear labels for character-type","mughal_miniature_prompt":"Mughal miniature, nocturnal garden with pavilion, heroine escorted by a confidante, detailed flora, delicate lighting, refined courtly romance atmosphere"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: No major sandhi beyond simple word junctions; 'puṃś' reflects nominative singular of pumān; 'callyasatī' treated as compound calya+satī (reading uncertain).
Related Themes: Agni Purana Sahitya/Alamkara sections on nāyikā-bheda and rasa (nearby chapters in the 330s–340s corpus depending on recension); Agni Purana lexicographic vargas on women/social terms (ch. 363 continuation)
FAQs
It imparts sahitya-shastra/nighaṇṭu knowledge: technical labels and near-synonyms for the poetic/lexicographic category ‘abhīsārikā’—a woman who goes to a tryst—used in Sanskrit literature.
Alongside ritual, polity, and medicine, the Agni Purana also preserves kavya-usage and dictionary-style classifications; this verse functions like a glossary entry, mapping one concept (abhīsārikā) to multiple synonyms used by poets and commentators.
The verse is primarily descriptive and lexicographic rather than prescriptive; its significance lies in correct understanding of moral/behavioral categories as referenced in dharma and poetic discourse, aiding accurate interpretation of texts.