Agni Purana — Raja-dharma, Shloka 7
Ṣāḍguṇya — The Six Measures of Foreign Policy
with Rāja-maṇḍala Theory
उपन्यासः प्रतीकारः संयोगः पुरुषान्तरः अदृष्टनर आदिष्ट आत्मापि स उपग्रहः
upanyāsaḥ pratīkāraḥ saṃyogaḥ puruṣāntaraḥ adṛṣṭanara ādiṣṭa ātmāpi sa upagrahaḥ
‘Upanyāsa’ (planteamiento de un asunto), ‘pratīkāra’ (contramedida/remedio), ‘saṁyoga’ (unión o conjunción), ‘puruṣāntara’ (otra persona/cambio de papel), ‘adṛṣṭa-nara’ (persona no vista), ‘ādiṣṭa’ (el instruido o comisionado) y ‘upagraha’ (recurso subsidiario): estas son las categorías técnicas; y “ātmāpi” indica que “incluso uno mismo” puede figurar como agente o parte dentro de esa clasificación.
Lord Agni (in instruction to Sage Vasiṣṭha, the usual Agni Purana dialogue frame)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Dramaturgical toolkit: identify plot-devices and character-handling techniques (introductions, counter-actions, unions, character shifts, unseen agents, commissioned agents, subsidiary devices) for composing/analysing drama and narrative.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Dramaturgical Devices: Upanyāsa, Pratīkāra, Saṁyoga, Puruṣāntara, Adṛṣṭa-nara, Ādiṣṭa, Upagraha (and Ātmāpi)","lookup_keywords":["upanyāsa","pratīkāra","saṃyoga","adṛṣṭa-nara","upagraha"],"quick_summary":"The verse enumerates technical categories used in plot construction and stage-narrative management—how matters are introduced, opposed, joined, shifted across agents, and supported by subsidiary devices."}
Concept: Systematization of artistic practice: naming devices makes composition teachable and repeatable.
Application: While scripting, tag scenes by function (introduction/counteraction/union/character shift/unseen agent/commissioned agent/subsidiary device) to maintain coherence and pacing.
Khanda Section: Sahitya-shastra (Kavya/Natya terminology and dramaturgy)
Primary Rasa: adbhuta
Secondary Rasa: niti
Visual Art Cues: {"scene_description":"A dramatist-teacher explains a palm-leaf manuscript listing plot devices to students; behind them, a stage shows vignettes: a messenger (ādiṣṭa), an unseen character behind a curtain (adṛṣṭa-nara), two characters meeting (saṁyoga), and a character change/entry (puruṣāntara).","kerala_mural_prompt":"Kerala mural, gurukula of dramaturgy, teacher holding palm-leaf, students seated, stylized stage at side with curtain showing unseen person, messenger entering, lovers meeting, vivid flat colors and ornamental borders","tanjore_prompt":"Tanjore painting, gold-leaf accents on manuscript and stage ornaments, teacher and disciples, small gold-framed vignettes around depicting each device (messenger, hidden figure, union, counteraction), temple-theatre ambience","mysore_prompt":"Mysore style, instructional diagram-like painting: central teacher with manuscript, surrounding labeled mini-scenes for upanyāsa/pratīkāra/saṁyoga/puruṣāntara/adṛṣṭa-nara/ādiṣṭa/upagraha, fine lines and soft palette","mughal_miniature_prompt":"Mughal miniature, literary salon with playwright and pupils, manuscript open, inset scenes of theatre: curtain concealment, messenger, meeting, counteraction, detailed costumes and architectural interior"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: आत्मापि→आत्मा अपि; पुरुषान्तरः = पुरुष+अन्तर (षष्ठी-तत्पुरुष); अदृष्टनरः = अदृष्ट+नर (कर्मधारय)
Related Themes: Agni Purana Sahitya/Natya chapters defining sandhi, sandhy-aṅga, and dramatic terminology
FAQs
It imparts Sahitya/Natya technical vocabulary—named devices/categories used to analyze or construct narrative and dramatic situations (e.g., introduction, counter-action, conjunction, shift of agent, unseen character, commissioned agent, and subsidiary elements).
By cataloging specialized terminology from Sanskrit poetics and dramaturgy, it shows the Agni Purana functioning as a compendium that preserves not only theology and ritual but also technical arts like literary theory and stage-craft.
While not a ritual injunction, it supports dharmic transmission of knowledge: mastering precise categories of speech and composition is treated as a refined discipline (vidyā) that aids correct instruction, ethical persuasion, and cultured expression.