Agni Purana — Sahitya-shastra, Shloka 12
Nāṭaka-nirūpaṇam
Exposition of Drama / Dramatic Genres and Plot-Structure
सहिताः सूत्रधारेण संलापं यत्र कुर्वते चित्रैर् वाक्यैः स्वकार्योत्थैः प्रस्तुताक्षेपिभिर्मिथः
sahitāḥ sūtradhāreṇa saṃlāpaṃ yatra kurvate citrair vākyaiḥ svakāryotthaiḥ prastutākṣepibhirmithaḥ
ଯେଉଁଠି ସୂତ୍ରଧାରଙ୍କ ସହିତ ସେମାନେ ପରସ୍ପର ସଂଲାପ କରନ୍ତି—ନିଜ ନାଟ୍ୟକାର୍ଯ୍ୟରୁ ଉଦ୍ଭୂତ ଚିତ୍ରମୟ ବାକ୍ୟ ଓ ପ୍ରସଙ୍ଗୋଚିତ ତୀକ୍ଷ୍ଣ ଆକ୍ଷେପ ସହ—ସେହି ନାଟ୍ୟସଂବାଦର ଲକ୍ଷଣ।
Lord Agni (in instruction to the sage Vasiṣṭha, within the Agni Purana’s encyclopedic teaching on poetics and dramaturgy)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Technique for prastāvanā dialogue: coordinated conversation with the Sūtradhāra using vivid, purpose-driven lines and well-timed interjections that advance the immediate dramatic objective.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Sūtradhāra-led prastāvanā dialogue with pointed interjections","lookup_keywords":["saṃlāpa","Sūtradhāra","prastutākṣepa","citra-vākya","dramatic aim"],"quick_summary":"Effective prologue dialogue is collaborative with the Sūtradhāra and uses striking, goal-oriented speech. Insert context-relevant interjections (ākṣepa) to keep exposition lively and plot-aligned."}
Alamkara Type: Ākṣepa (rhetorical interjection/objection)
Concept: Speech should be purposive and context-sensitive; ornament serves function (plot-threading) rather than mere display.
Application: When writing or staging exposition, craft lines that each accomplish a task (introduce setting, hint conflict, cue entry) and use controlled interruptions to maintain attention.
Khanda Section: Sahitya-shastra (Natya / Rupa-kalpa: dramaturgy and dialogue-technique)
Primary Rasa: adbhuta
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"Onstage, the Sūtradhāra and companions exchange brisk, vivid dialogue; one character interjects pointedly, redirecting the conversation toward the play’s immediate aim.","kerala_mural_prompt":"Kerala mural, dynamic hand-gestures (mudrā-like) between Sūtradhāra and companion, expressive faces showing interruption and response, lamp-lit stage, bold outlines and earthy reds/ochres.","tanjore_prompt":"Tanjore painting, theatrical arch with gold work; Sūtradhāra and companion mid-conversation, speech-scroll motifs, ornate costumes; emphasis on dramatic gesture and interjection moment.","mysore_prompt":"Mysore style, instructional scene: two figures with clear gesture sequence—statement, interjection, resolution—soft colors, fine detailing, minimal background for clarity.","mughal_miniature_prompt":"Mughal miniature, lively conversational tableau with subtle humor; detailed textiles and props; Sūtradhāra holding script while another character interrupts with raised hand."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: चित्रैर् = चित्रैः (विसर्ग-लोप); स्वकार्योत्थैः = स्व-कार्य-उत्थैः; प्रस्तुताक्षेपिभिः = प्रस्तुत-आक्षेपिभिः; आक्षेपिभिर्मिथः = आक्षेपिभिः + मिथः।
Related Themes: Agni Purana 337 (dialogue forms in prastāvanā; definitions of ākṣepa/prastutākṣepa)
FAQs
It teaches a technical rule of nāṭya (dramaturgy): dialogue should be conducted with the sūtradhāra and characters mutually, using artful lines that serve each character’s dramatic purpose and include context-appropriate ākṣepa (pointed interjection/objection) to keep the scene lively and coherent.
Beyond theology and ritual, the Agni Purana systematizes practical arts like sahitya and theatre; this verse is a compact dramaturgical definition describing how dialogue is structured on stage, showing the text’s coverage of cultural and technical knowledge.
By framing drama as a disciplined śāstric art, the verse implies that refined, truthful, and context-appropriate speech (vāk) expressed through regulated performance supports dharma and elevates cultural life, reducing disorderly or harmful speech.