Agni Purana — Sahitya-shastra, Shloka 15
Nāṭaka-nirūpaṇam
Exposition of Drama / Dramatic Genres and Plot-Structure
तदाश्रयश् च पात्रस्य प्रवेशस्तत् प्रवृत्तकं सूत्रधारस्य वाक्यं वा यत्र वाक्यार्थमेव वा
tadāśrayaś ca pātrasya praveśastat pravṛttakaṃ sūtradhārasya vākyaṃ vā yatra vākyārthameva vā
ਪਿਛਲੇ ਪ੍ਰਸੰਗ ਉੱਤੇ ਆਧਾਰਿਤ ਕਿਸੇ ਪਾਤਰ ਦਾ ਜੋ ਪ੍ਰਵੇਸ਼ ਹੁੰਦਾ ਹੈ, ਉਹ ‘ਪ੍ਰਵ੍ਰਿੱਤਕ’ ਕਿਹਾ ਜਾਂਦਾ ਹੈ; ਜਾਂ ਜਿੱਥੇ ਸੂਤਰਧਾਰ ਦੇ ਬਚਨ ਨਾਲ ਕੇਵਲ ਵਾਕ੍ਯ ਦਾ ਅਭਿਪ੍ਰੇਤ ਅਰਥ ਹੀ ਪ੍ਰਗਟ ਹੋਵੇ।
Lord Agni (instructing Vasiṣṭha)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Dramaturgical labeling of stage-units: identify when an entry is a pravṛttaka (dependent entrance) versus when it functions as the Sūtradhāra’s meaning-bearing speech, aiding script breakdown and rehearsal cues.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Pravṛttaka (Dependent Entrance) and Sūtradhāra-vākya","lookup_keywords":["pravṛttaka","praveśa","sūtradhāra","vākya-artha","nāṭya-terminology"],"quick_summary":"Defines pravṛttaka as a character’s entrance dependent on prior matter, and alternatively as the Sūtradhāra’s speech where only the intended sentence-meaning is conveyed—useful for segmenting a play’s opening and transitions."}
Concept: Artha-pradhāna-vākya: communication that prioritizes intended meaning over ornament in specific stage contexts.
Application: In performance, deliver Sūtradhāra lines with clarity and semantic precision; in scripts, tag such passages as functional narration/transition rather than character-driven dialogue.
Khanda Section: Sahitya-shastra (Natya and Rupa-kavya terminology)
Primary Rasa: śānta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A theatre stage where the Sūtradhāra speaks a concise meaning-bearing line, followed by a character’s entrance that clearly depends on the preceding narration.","kerala_mural_prompt":"Kerala temple mural style, stylized kūṭiyāṭṭam-like stage, Sūtradhāra in traditional attire gesturing with mudrā, a character entering from side curtain, flat warm palette, ornamental borders.","tanjore_prompt":"Tanjore painting, central Sūtradhāra with gold halo-like arch motif, ornate stage pillars, gold leaf highlights on costumes, a character stepping in from the wing, emphasis on iconic frontal composition.","mysore_prompt":"Mysore painting style, delicate linework, instructional feel: labeled stage zones, Sūtradhāra speaking, character entrance marked, soft colors and fine detailing.","mughal_miniature_prompt":"Mughal miniature, courtly theatre pavilion, Sūtradhāra addressing audience, character entering behind a curtain, detailed textiles, architectural perspective, fine faces and gestures."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: तदाश्रयश् = तत् + आश्रयः; प्रवेशस्तत् = प्रवेशः + तत्; वाक्यार्थमेव = वाक्य + अर्थम् + एव (समास/सन्धि-समुच्चय).
Related Themes: Agni Purana 337 (Sāhitya-śāstra: nāṭya/rūpaka terminology)
FAQs
It gives a Natya-shastra definition: a character’s context-dependent stage-entry is termed pravṛttaka, and it may also be framed as the Sūtradhāra’s explanatory speech that conveys only the intended purport (vākya-artha).
Beyond ritual and dharma, the Agni Purana preserves technical dramaturgical vocabulary—showing it functions as a compendium that also codifies literary and theatrical conventions used in Sanskrit drama.
Indirectly, it supports dharmic communication: by defining how meaning should be clearly introduced on stage through the Sūtradhāra and proper entrances, it promotes truthful, intelligible instruction and refinement (saṃskāra) through art.