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
یہ آلمبن-وِبھاو کہلاتا ہے جو نایک وغیرہ سے متعلق ہوتا ہے؛ اور نایک کی قسمیں دھیروداتّ، دھیرودھّت، اور نیز دھیرللِت بیان کی گئی ہیں۔
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.