Agni Purana — Sahitya-shastra, Shloka 16
Chapter 344: Ornaments of Word-and-Meaning (शब्दार्थालङ्काराः)
तमाक्षेपं व्रुवन्त्यत्र स्तुतं स्तोत्रमिदं पुनः अधिकारादपेतस्य वस्तुनो ऽन्यस्य या स्तुतिः
tamākṣepaṃ vruvantyatra stutaṃ stotramidaṃ punaḥ adhikārādapetasya vastuno 'nyasya yā stutiḥ
ໃນທີ່ນີ້ ບັນດານັກຮູ້ເອີ້ນຮູບແບບນີ້ວ່າ «ອາກເຩປ» (ການຊີ້ນໍາໂດຍການຄັດຄ້ານ/ຕັ້ງປະເດັນ)। ອີກຢ່າງໜຶ່ງ ມັນຖືກເອີ້ນວ່າ «ສະໂຕຕຣະ» (ບົດສັນລະເສີນ): ຄືການສັນລະເສີນທີ່ຫັນໄປຫາສິ່ງອື່ນທີ່ບໍ່ແມ່ນຫົວຂໍ້ທີ່ຄວນກ່າວ—ໄປຫາວັດຖຸທີ່ຫຼຸດອອກຈາກຂອບເຂດ (adhikāra)។
Lord Agni (teaching to Sage Vasiṣṭha in the Agni Purana’s encyclopedic instruction style)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Stotra","practical_application":"Identifying ākṣepa and the special praise-mode where praise is redirected to an ‘off-topic’ object (adhikārāpeta), enabling nuanced rhetorical effects in hymns and poetry.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Ākṣepa and ‘Stotra’ as Praise of an Adhikārāpeta Object","lookup_keywords":["ākṣepa","stotra","adhikāra","anyavastu-stuti","vakrokti"],"quick_summary":"The figure is called ākṣepa; it is also termed stotra when praise is intentionally aimed at something other than the proper subject—an object outside the immediate scope—creating insinuation through displaced commendation."}
Alamkara Type: Ākṣepa (with displaced stuti)
Concept: Communication can operate through strategic displacement—what is praised or objected to may be a vehicle for the real target.
Application: Compose hymns and eulogies with layered intent: praise a related object to imply superiority/critique of the main subject without stating it directly.
Khanda Section: Sahitya-shastra (Alankara and Kavya-lakshana)
Primary Rasa: adbhuta
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"A poet recites a hymn ostensibly praising a secondary object (like a lamp or doorway) while the audience understands the implied praise of the deity/king beyond the immediate subject.","kerala_mural_prompt":"Kerala mural, temple hall with singer-poet, a prominently painted lamp being praised, listeners’ eyes subtly turned toward the sanctum indicating implied target, warm ochres, stylized faces","tanjore_prompt":"Tanjore painting, ornate stotra recital with gold-leaf lamp and arch, implied deity presence behind a curtain, rich jewel tones, devotional yet rhetorical mood","mysore_prompt":"Mysore painting, clear narrative: poet points to an ‘off-topic’ object while a thought-bubble-like motif indicates the real praised subject, fine detailing, instructional clarity","mughal_miniature_prompt":"Mughal miniature, court poet praising a falcon or jewel while the king smiles knowing it reflects on him, intricate textiles, subtle gestures, marginal illumination"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"devotional"}
Sandhi Resolution Notes: तम्+आक्षेपम्→तमाक्षेपम्; स्तोत्रम्+इदम्→स्तोत्रमिदम्; अधिकारात्+अपेतस्य→अधिकारादपेतस्य; वस्तुनः+अन्यस्य→वस्तुनोऽन्यस्य.
Related Themes: Agni Purana 344.14-344.18 (cluster on dhvani-linked figures)
FAQs
It imparts Sahitya-shastra (kāvya/alaṅkāra-vidyā): defining ākṣepa as a rhetorical device and characterizing stotra/stuti in terms of praise that shifts away from the proper topic (adhikāra).
Beyond myth and ritual, the Agni Purana preserves technical classifications from Sanskrit literary theory—showing it functions as a compendium that includes poetics (alaṅkāra-śāstra) alongside other sciences.
By teaching disciplined, context-appropriate praise and speech, it supports dharmic communication—encouraging truthful and fitting expression, which is traditionally linked with merit (puṇya) and mental purification through refined vāṇī (speech).