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
Вход (praveśa) персонажа, опирающийся на предшествующее изложение, называется pravṛttaka; либо это речь Сутрадхары (Sūtradhāra), где передаётся лишь намеренный смысл высказывания.
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.