Agni Purana — Kosha, Shloka 14
Chapter 366 — सामान्यनामलिङ्गानि
Common Noun-Forms and Their Grammatical Genders
कान्तं मनोरमं रुच्यं हृद्याभीष्टे ह्य् अभीप्सिते असारं फल्गु शून्यं वै मुख्यवर्यवरेण्यकाः
kāntaṃ manoramaṃ rucyaṃ hṛdyābhīṣṭe hy abhīpsite asāraṃ phalgu śūnyaṃ vai mukhyavaryavareṇyakāḥ
Quand bien même cela serait charmant, délicieux, plaisant et ravissant le cœur—voire désiré et recherché—cela demeure sans substance, futile et vide : tel est le jugement des plus éminents, des meilleurs, des autorités les plus hautes.
Lord Agni (instructing the sage Vasiṣṭha in encyclopedic teachings, here on poetics/critical standards)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Philosophy","practical_application":"Critical evaluation of poetry/prose: do not be misled by surface charm; assess sāra (substance), artha-gāmbhīrya, and meaningfulness when judging compositions or rhetoric.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Sāra vs. śobha: Critique of charming but empty expression","lookup_keywords":["kāntam","manoramam","hṛdya","asāra","phalgu-śūnya"],"quick_summary":"A work may be attractive and desired yet still be asāra (without substance). Authorities judge excellence by meaningful content, not mere pleasantness."}
Alamkara Type: Vyatireka (implicit contrast)
Concept: Viveka: separating appearance (pleasantness) from essence (sāra).
Application: When reading/hearing praise, test for coherent artha, ethical intent, and lasting insight; revise writing to add substance, not only ornament.
Khanda Section: Sahitya-shastra (Kavya–Alankara and Dosha–Guna evaluation)
Primary Rasa: shanta
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"A panel of eminent critics in a sabhā examine a beautifully decorated manuscript; behind it, a hollow gourd and an empty pot symbolize 'phalgu' and 'śūnya' despite outward beauty.","kerala_mural_prompt":"Kerala mural, scholarly sabhā with palm-leaf text, ornate but symbolic empty vessel motif, restrained expressions of critique, traditional floral borders","tanjore_prompt":"Tanjore style, gold-embellished manuscript and ornaments contrasted with an empty pot motif, seated learned judges with halos, rich reds and greens","mysore_prompt":"Mysore painting, didactic composition: left side charming imagery and ornate script, right side labeled 'asāra/śūnya' symbols, fine lines and soft colors","mughal_miniature_prompt":"Mughal miniature, literary salon with connoisseurs, detailed manuscript illumination, subtle allegory of emptiness (hollow fruit) placed near the text"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: ह्य् = हि (before vowel). हृद्याभीष्टे = हृद्य + अभीष्टे (आगम-सन्धिः: अ + अ → आ).
Related Themes: Agni Purana Sahitya-shastra sections on guṇa-doṣa, rīti, and alaṅkāra evaluation; Agni Purana chapters listing poetic faults (doṣa) and merits (guṇa)
FAQs
A technical principle of Sahitya-śāstra is taught: mere pleasant sound/appeal (kānti, rucyatā, hṛdyatā) is insufficient if the composition lacks sāra (substance); expert critics classify such work as phalgu and śūnya.
It shows the Agni Purana extending beyond ritual and dharma into systematic literary theory—codifying how to assess poetry by separating surface charm from essential meaning, a hallmark of its encyclopedic coverage of arts and sciences.
It implicitly encourages truth-bearing, meaningful speech (sāra-yukta vāk) over hollow display, aligning learning and expression with dharmic integrity rather than vanity or mere entertainment.