Agni Purana — Sahitya-shastra, Shloka 18
Nāṭaka-nirūpaṇam
Exposition of Drama / Dramatic Genres and Plot-Structure
सिद्धमुत्प्रेक्षितञ्चेति तस्य भेदाबुभौ स्मृतौ सिद्धमागमदृष्टञ्च सृष्टमुत्प्रेक्षितं कवेः
siddhamutprekṣitañceti tasya bhedābubhau smṛtau siddhamāgamadṛṣṭañca sṛṣṭamutprekṣitaṃ kaveḥ
Ang dalawang uri nito ay inaalala sa tradisyon bilang ‘siddha’ at ‘utprekṣita’. Ang ‘siddha’ ay yaong nasasaksihan sa āgama (namamanang tradisyon), samantalang ang ‘utprekṣita’ ay yaong nililikha (sṛṣṭa) ng makata sa pamamagitan ng guniguni.
Lord Agni (instructing Vasiṣṭha) — standard Agni Purana dialogue frame for śāstra sections
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Classify poetic material for composition and critique: distinguish siddha (tradition-attested) content from utprekṣita (imaginatively created) content, guiding adaptation, originality, and audience expectation.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Siddha and Utprekṣita (Traditional vs Imaginative Composition)","lookup_keywords":["siddha","utprekṣita","āgama-dṛṣṭa","kavi-kalpanā","kāvya-bheda"],"quick_summary":"Defines two divisions: siddha—seen/authorized in tradition (āgama), and utprekṣita—created by the poet’s imagination; helps poets balance canonical material with creative invention."}
Alamkara Type: Utprekṣā
Concept: Epistemic distinction in art: āgama-based authority versus kavi’s creative sṛṣṭi.
Application: When adapting Purāṇic/Itihāsa themes, mark what must remain siddha (canonical) and where utprekṣita invention is permissible for rasa and narrative economy.
Khanda Section: Sahitya-shastra (Kavya and Poetics: classifications of poetic composition)
Primary Rasa: adbhuta
Secondary Rasa: śānta
Visual Art Cues: {"scene_description":"A poet seated with palm-leaf manuscripts labeled āgama (siddha) on one side and a blank leaf transforming into vivid imagined scenes (utprekṣita) on the other, showing tradition and invention.","kerala_mural_prompt":"Kerala mural, poet-sage with stylus, two panels: left shows sacred manuscripts and canonical scenes, right shows fantastical imagery emerging like clouds, bold colors and stylized forms.","tanjore_prompt":"Tanjore, poet with ornate throne-like seat, gold-highlighted manuscripts (siddha) and a radiant imaginative vision (utprekṣita) with gold aura, rich jewel tones.","mysore_prompt":"Mysore style, refined scholar-poet writing, clearly separated sections labeled siddha/utprekṣita, gentle gradients, didactic clarity.","mughal_miniature_prompt":"Mughal miniature, atelier scene: poet with manuscripts and inkpot, one page depicting traditional myth, another showing imaginative fantasy, detailed textiles and delicate faces."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: सिद्धमुत्प्रेक्षितञ्चेति = सिद्धम् + उत्प्रेक्षितम् + च + इति; भेदाबुभौ = भेदौ + उभौ; सिद्धमागमदृष्टञ्च = सिद्धम् + आगमदृष्टम् + च; सृष्टमुत्प्रेक्षितं = सृष्टम् + उत्प्रेक्षितम्.
Related Themes: Agni Purana 337 (kāvya classifications and dramaturgy)
FAQs
It teaches a technical kavya-śāstra distinction: poetic material is either siddha (already established/attested in authoritative tradition) or utprekṣita (imaginatively created by the poet).
By including a precise taxonomy from Sanskrit poetics—alongside ritual, law, and other sciences—the Agni Purana functions as a compendium that preserves specialized scholarly frameworks (here, literary theory) within a Purāṇic text.
It implicitly guides dharmic speech and composition: aligning expression with āgama is ‘siddha’ (authoritatively grounded), while imaginative creation is permitted as ‘utprekṣita’ when shaped by poetic discipline—supporting truthful, refined, and culturally sanctioned discourse.