Agni Purana — Sahitya-shastra, Shloka 8
Chapter 336 — काव्यादिलक्षणम्
Definitions of Poetry and Related Arts
देवादीनाम् संस्कृतं स्यात् प्राकृतं त्रिविधं नृणां गद्यं पद्यञ्च मिश्रञ्च काव्यादि त्रिविधं स्मृतम्
devādīnām saṃskṛtaṃ syāt prākṛtaṃ trividhaṃ nṛṇāṃ gadyaṃ padyañca miśrañca kāvyādi trividhaṃ smṛtam
For the gods and those of their order, the language is Sanskrit; for human beings, Prakrit is of three kinds. Literary composition (kāvya and related forms) is likewise remembered as threefold: prose, verse, and mixed.
Lord Agni (in discourse to sage Vashistha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Classify language-register (Sanskrit vs Prakrit) and choose the appropriate literary medium (prose/verse/mixed) while composing or teaching kavya.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Bhasha-bheda and Kavya-trividha (Gadya–Padya–Mishra)","lookup_keywords":["Sanskrit","Prakrit","gadya","padya","mishra-kavya"],"quick_summary":"Sanskrit is stated as the divine register, while human usage includes three Prakrit varieties; literary composition is broadly classified into prose, verse, and mixed forms for practical selection in writing."}
Concept: Right means (bhasha and form) must match the intended audience and genre.
Application: In pedagogy and composition, decide whether to employ Sanskrit/Prakrit and whether to write in prose, verse, or mixed style.
Khanda Section: Sahitya-shastra (Poetics and Linguistics)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A learned acharya instructs students, pointing to palm-leaf manuscripts labeled Sanskrit and Prakrit, and to three panels marked prose, verse, and mixed composition.","kerala_mural_prompt":"Kerala temple mural style, acharya in traditional attire teaching in a gurukula, palm-leaf manuscripts with headings 'Saṃskṛta' and 'Prākṛta', three symbolic panels for gadya-padya-miśra, earthy reds and greens, flat iconic composition.","tanjore_prompt":"Tanjore painting, gold-leaf highlights on manuscripts and teaching dais, acharya with stylus, three ornate medallions labeled gadya/padya/miśra, rich jewel tones, devotional-academic ambience.","mysore_prompt":"Mysore painting style, fine linework, instructional classroom scene, clear labels on scrolls for Sanskrit/Prakrit and prose/verse/mixed, soft shading and delicate ornamentation.","mughal_miniature_prompt":"Mughal miniature, courtly library setting, scholar demonstrating two language scrolls and three genre tablets, intricate textiles, detailed faces, balanced composition."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Shankarabharanam","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: देवादीनाम् = deva-ādīnām; पद्यञ्च = padyam + ca; मिश्रञ्च = miśram + ca; काव्यादि = kāvya-ādi.
Related Themes: Agni Purana 336 (Sahitya-shastra section: kavya-lakshana, gadya/padya definitions)
FAQs
It imparts sahitya-shastra knowledge: a taxonomy of language (Saṁskṛta for divine usage; Prākṛta for human usage in three varieties) and a threefold classification of literary composition—prose (gadya), verse (padya), and mixed (miśra/campū).
Beyond ritual and dharma, it records technical literary theory—how languages and compositions are categorized—showing the Agni Purana’s scope as a compendium that includes poetics, linguistics, and standards of learned discourse.
By affirming Saṁskṛta as the refined medium associated with devas and by systematizing correct forms of expression, the verse frames disciplined speech and learning as sattvic cultivation—supportive of clarity, right understanding, and merit gained through study (svādhyāya).