Agni Purana — Sahitya-shastra, Shloka 38
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
धीरप्रशान्त इत्य् एवं चतुर्धा नायकः स्मृतः अनुकूलो दक्षिणश् च शठो धृष्टः प्रवर्तितः
dhīrapraśānta ity evaṃ caturdhā nāyakaḥ smṛtaḥ anukūlo dakṣiṇaś ca śaṭho dhṛṣṭaḥ pravartitaḥ
Demikianlah nāyaka (pahlawan) dalam tradisi diingat sebagai empat/lima jenis: dhīra-praśānta (teguh dan tenteram), anukūla (menyenangkan), dakṣiṇa (santun dan cakap), śaṭha (licik), dan dhṛṣṭa (berani); jenis-jenis ini ditetapkan dalam konvensi dramaturgi.
Lord Agni (in dialogue tradition, instructing Vasiṣṭha)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Classify the dramatic hero (nāyaka) to guide characterization, dialogue-style, and plot-ethics in nāṭaka/prakaraṇa staging and kāvya composition.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Nāyaka-bheda (Hero-types)","lookup_keywords":["nāyaka-bheda","dhīra-praśānta","anukūla","dakṣiṇa","śaṭha-dhṛṣṭa"],"quick_summary":"The verse enumerates standard hero-temperaments used in dramaturgy; selecting the nāyaka-type determines his conduct (ācāra), speech, and suitability for particular rasas and situations."}
Concept: Human dispositions can be systematized for artistic representation; rasa arises from regulated portrayal of conduct and emotion.
Application: Before writing or staging, fix the hero’s type and keep actions consistent (anukūlatā/śāṭhya/dākṣiṇya etc.) to avoid rasa-break (rasabhaṅga).
Khanda Section: Sahitya-shastra (Kavya/Natya: dramaturgy and character-types)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A dramaturgy classroom or courtly sabhā where a teacher enumerates hero-types; behind him, five vignettes show the tranquil hero, agreeable lover, tactful courtier, crafty schemer, and bold adventurer.","kerala_mural_prompt":"Kerala temple mural aesthetic, flat yet rich colors, a guru in white teaching nāṭya-vidyā to students holding palm-leaf manuscripts; five small narrative panels of nāyaka-types with expressive eyes and hand-gestures, traditional ornamental borders.","tanjore_prompt":"Tanjore painting with gold leaf, central seated ācārya with manuscript, surrounding medallions depicting five nāyaka temperaments in royal attire, heavy jewelry, embossed gold halos, deep red and green palette.","mysore_prompt":"Mysore painting style, fine linework and soft shading; instructional chart-like composition labeling dhīra-praśānta, anukūla, dakṣiṇa, śaṭha, dhṛṣṭa; subtle court interior and stage props.","mughal_miniature_prompt":"Mughal miniature, court atelier scene with a dramaturg explaining character-types to poets; marginal mini-scenes of five heroes in different behaviors, delicate architecture, patterned textiles, naturalistic faces."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: इत्य् → इति; दक्षिणश् → दक्षिणः; श्लोके नायकस्य चतुर्धा भेदाः प्रथमा-एकवचनेन निर्दिष्टाः।
Related Themes: Agni Purana 338.39; Agni Purana 338.40; Agni Purana 338.42
FAQs
It imparts Sahitya/Natya-vidya: a technical typology of the nāyaka (dramatic hero) used to design characterization, dialogue, and plot-behavior in Sanskrit drama and kāvya.
Beyond theology and ritual, the Agni Purana preserves applied cultural sciences—here, dramaturgy and poetics—showing it functions as a reference compendium for arts (nāṭya), aesthetics, and literary theory alongside other disciplines.
By promoting refined discernment of virtues and flaws through idealized character-types, it supports dharmic education: cultivating self-control (dhīra), calmness (praśānta), and social virtue (dakṣiṇa), while warning against deceit (śaṭha) and reckless audacity (dhṛṣṭa).