Agni Purana — Sahitya-shastra, Shloka 37
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
आलम्बनविभावो ऽसौ नायकादिभवस् तथा धीरोदात्तो धीरोद्धतः स्याद्धीरललितस् तथा
ālambanavibhāvo 'sau nāyakādibhavas tathā dhīrodātto dhīroddhataḥ syāddhīralalitas tathā
आलम्बनविभावोऽसौ नायकादिभवः; नायकश्च धीरोदात्तो धीरोद्धतः तथा धीरो ललितश्चेति वर्गीकृतः।
Lord Agni (in dialogue with sage Vashistha)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Dramaturgy and character design: define ālambana-vibhāva via hero-types; helps playwrights/poets select consistent nāyaka traits to sustain intended rasa.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Nāyaka-bheda as Ālambana-vibhāva (dhīrodātta, dhīroddhata, dhīralalita)","lookup_keywords":["alambana-vibhava","nayaka","dhirodātta","dhīroddhata","dhīralalita"],"quick_summary":"The hero (and related persons) functions as ālambana-vibhāva; heroes are classified into types such as dhīrodātta, dhīroddhata, and dhīralalita. Choose the hero-type to match the rasa and plot behavior."}
Alamkara Type: Samanya (nāyaka-lakṣaṇa within rasa theory)
Concept: Rasa depends on stable personae: the hero’s ethical and emotional profile is a causal base for audience relish.
Application: Before writing, fix the nāyaka-type: dhīrodātta (noble, self-controlled), dhīroddhata (proud, impetuous), dhīralalita (graceful, pleasure-inclined); align dialogue, actions, and scene-stimuli accordingly.
Khanda Section: Sahitya-shastra (Kavya/Natya and Rasa theory)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"Three hero archetypes presented as distinct personae, each serving as ālambana for rasa: noble, proud/vehement, and graceful/romantic.","kerala_mural_prompt":"Kerala mural triptych: three standing nāyakas with distinct posture and expression—dhīrodātta calm and upright, dhīroddhata dynamic with raised chin, dhīralalita elegant with soft gaze—traditional costume, flat iconic rendering.","tanjore_prompt":"Tanjore: three framed portraits with gold embossing and ornate arches; each hero type labeled, jewelry and weapons/props minimal but symbolic, rich colors and gold highlights.","mysore_prompt":"Mysore: instructional character sheet—three figures with annotated traits (gait, gaze, hand-gesture), delicate lines, subdued palette, emphasis on expression and stance.","mughal_miniature_prompt":"Mughal miniature: courtly setting showing three princes in different moods—one composed and generous, one proud and forceful, one refined and amorous—fine facial detail, textiles, and subtle gesture language."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Desh","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: vibhāvo 'sau→vibhāvaḥ asau; dhīro… forms are compounds: dhīra-udāttaḥ, dhīra-uddhataḥ, dhīra-lalitaḥ; syāddhīralalitas→syāt dhīra-lalitaḥ.
Related Themes: Agni Purana Sahitya/Natya sections continuing nāyaka/nāyikā classifications and their bhāva functions; Agni Purana rasa-prakaraṇa on vibhāva and ālambana definitions
FAQs
It imparts technical dramaturgical knowledge: the ālambana-vibhāva (the person/object that supports an emotion in drama) and the standard nāyaka-types such as dhīrodātta, dhīroddhata, and dhīralalita used to structure rasa in performance and poetry.
Beyond myth and ritual, the Agni Purana preserves systematic arts-science material—here, formal categories from Nāṭya/Kāvya-śāstra—showing it functions as a compendium of disciplines including aesthetics, literary theory, and performance studies.
By defining how emotions are properly supported and represented, it promotes dharmic, refined expression in art; such cultivated aesthetic practice is traditionally seen as purifying the mind and orienting it toward sattva (clarity) rather than agitation.