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
ਇੱਥੇ ਇਸ ਅਲੰਕਾਰ ਨੂੰ ‘ਆਕ੍ਸ਼ੇਪ’ ਕਹਿੰਦੇ ਹਨ। ਫਿਰ ਇਸ ਨੂੰ ‘ਸਤੋਤਰ’ ਵੀ ਆਖਿਆ ਗਿਆ ਹੈ—ਅਰਥਾਤ ਅਧਿਕਾਰ (ਉਚਿਤ ਵਿਸ਼ਾ) ਤੋਂ ਹਟ ਕੇ ਕਿਸੇ ਹੋਰ ਵਸਤੂ ਵੱਲ ਕੀਤੀ ਗਈ ਜੋ ਸਿਫ਼ਤ ਹੈ, ਉਹੀ ਸਤੋਤਰ-ਰੂਪ ਸਤੁਤੀ ਹੈ।
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).