Agni Purana — Sahitya-shastra, Shloka 16
Explanation of Abhinaya and Related Topics (अभिनयादिनिरूपणम्) — Agni Purana, Chapter 341
उद्वेजनः क्षोभणश् च वीभत्सो द्विविधः स्मृतः उद्वेजनः स्यात् प्लुत्याद्यैः क्षोभणो रुधिरादिभिः
udvejanaḥ kṣobhaṇaś ca vībhatso dvividhaḥ smṛtaḥ udvejanaḥ syāt plutyādyaiḥ kṣobhaṇo rudhirādibhiḥ
ویبھتس رس دو قسم کا سمجھا گیا ہے—(1) اُدویجن اور (2) خَوبھن۔ اُدویجن خوفناک چیخ و پکار وغیرہ سے، اور خَوبھن خون وغیرہ جیسے مکروہ مادّوں سے پیدا ہوتا ہے۔
Lord Agni (instructing sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Stagecraft and writing: differentiate two modes of vībhatsa (disgust)—udvejana from alarming cries/sounds, and kṣobhaṇa from repulsive visuals like blood; guides prop/sound design and actor reaction.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Vībhatsa-bheda: Udvejana and Kṣobhaṇa","lookup_keywords":["vībhatsa","udvejana","kṣobhaṇa","plutya","rudhira"],"quick_summary":"Disgust is twofold: sound-triggered revulsion (udvejana) from frightful cries etc., and sight/substance-triggered nausea (kṣobhaṇa) from blood and similar repulsive matter."}
Concept: Aesthetic psychology: the same rasa can be generated through different sensory determinants; classification refines artistic control.
Application: When composing/producing, decide whether disgust should be evoked primarily through sound (cries, wails) or through visuals/substances (blood, decay), and calibrate intensity accordingly.
Khanda Section: Sahitya-shastra (Kavya–Natya: Rasa-Nirupana)
Primary Rasa: bibhatsa
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"Two juxtaposed theatrical moments: one where piercing cries cause recoil, and another where blood and wounds cause nausea—actors display aversion and trembling.","kerala_mural_prompt":"Kerala mural split-panel: left with exaggerated open mouths and sound waves indicating cries, right with stylized blood-red motifs; strong expressions of disgust, traditional costume.","tanjore_prompt":"Tanjore painting diptych with gold borders: left scene emphasizes dramatic vocalization, right scene shows stylized battlefield gore; gold highlights on costumes, deep red accents for rudhira.","mysore_prompt":"Mysore style instructional illustration: labeled ‘udvejana’ (sound cues) and ‘kṣobhaṇa’ (visual cues), with refined facial abhinaya showing recoil, nausea, covering nose/mouth.","mughal_miniature_prompt":"Mughal miniature, court theatre performance: musicians and actors; one scene with shrieking messenger, another with wounded soldier; detailed audience reactions of aversion."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":null,"pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: क्षोभणश् च → क्षोभणः च; प्लुत्याद्यैः → प्लुति-आद्यैः; रुधिरादिभिः → रुधिर-आदिभिः.
Related Themes: Agni Purana: adjacent rasa definitions (bhayānaka, vīra, etc.); Agni Purana: sections on bhāva/anubhāva in nāṭya context
FAQs
It imparts technical kavya–natya knowledge: Vībhatsa-rasa (disgust) is classified into two operative modes—udvejana (evoked by alarming cries, etc.) and kṣobhaṇa (evoked by blood and similarly repulsive sights/substances).
Beyond ritual and dharma, the Agni Purana preserves systematic literary aesthetics (rasa classification and triggers), showing it functions as a compendium that also codifies Sanskrit poetics and dramaturgy.
By mapping how repulsion is aesthetically generated and regulated, it supports disciplined emotional cultivation (rasa-niyama) in art—channeling disturbing themes into reflective, controlled experience rather than impulsive aversion.