Agni Purana — Sahitya-shastra, Shloka 63
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
नामधेयं यदि न चेदमीषु कविकाव्ययोः मित्रधेयाभितुष्यन्ति नामित्रः खिद्यते तथा
nāmadheyaṃ yadi na cedamīṣu kavikāvyayoḥ mitradheyābhituṣyanti nāmitraḥ khidyate tathā
បើគ្មាននាមសមរម្យសម្រាប់រឿងទាំងនេះ គឺកវី និងកំណាព្យ នោះអ្នកដែលពេញចិត្តត្រឹមនាមហៅជាមិត្ត ក៏សប្បាយចិត្ត; តែអ្នកមិនមែនមិត្តវិញ ក៏ទុក្ខព្រួយដូចគ្នា។
Lord Agni (traditionally narrating to Vashistha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Dharmashastra","practical_application":"Guidance on literary etiquette: titling/attribution for poets and works to secure reception, patronage, and avoid social friction among audiences.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Importance of proper naming (nāmadheya) for poet and poem","lookup_keywords":["nāmadheya","kavi","kāvya","saṃjñā","prīti"],"quick_summary":"Without proper titles/names for poet and poem, only friendly audiences remain satisfied; outsiders or critics become displeased—so clear naming and attribution matters."}
Concept: Saṃjñā and maryādā in cultural production: proper designation prevents misunderstanding and preserves honor.
Application: Provide clear title, author-name, and identifying epithets in colophons/prefaces; tailor honorifics to audience to reduce criticism.
Khanda Section: Sahitya-shastra (Kavya and Poetics)
Primary Rasa: Shanta
Secondary Rasa: Hasya
Visual Art Cues: {"scene_description":"A poet presents an untitled manuscript; friends smile approvingly while a stern critic frowns, highlighting the social effect of missing title/attribution.","kerala_mural_prompt":"Kerala mural, poet holding palm-leaf bundle without a title strip, two groups—friends with gentle smiles and a lone critic with furrowed brow, temple-hall setting, strong outlines.","tanjore_prompt":"Tanjore painting, poet before patrons, manuscript with blank title cartouche in gold, friends adorned, a displeased figure aside, rich ornamentation and gold detailing.","mysore_prompt":"Mysore style narrative, clear facial expressions contrasting approval and displeasure, manuscript colophon area left blank, subtle instructional captioning feel.","mughal_miniature_prompt":"Mughal miniature in a court mehfil, poet reciting, attendants pleased, one rival/critic distressed, manuscript shown with empty heading panel, intricate textiles and architecture."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Raga Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: na cedamīṣu = na cet amīṣu. kavikāvyayoḥ = kavi-kāvyayoḥ (dvandva). mitradheyābhituṣyanti = mitra-dheyāḥ abhituṣyanti. nāmitraḥ = na amitraḥ.
Related Themes: Agni Purana 342 (Sahitya-shastra: kavya-lakṣaṇa, naming, bandha topics)
FAQs
It imparts kavya-shastra guidance: a work (and its authorial identity) should be properly designated by a nāmadheya (title/name), since naming affects reception—friendly circles may accept informal labels, while outsiders may react negatively.
Beyond theology and ritual, the Agni Purana also codifies practical cultural sciences like literary theory—here, a compositional norm about titles and social reception of poetry, reflecting its wide-ranging, handbook-like scope.
By encouraging orderly, appropriate designation and respectful presentation of learning, the verse supports dharmic communication—reducing conflict and fostering harmonious reception of knowledge, which is treated as a meritorious, sattvic act.