Agni Purana — Sahitya-shastra, Shloka 13
Explanation of Abhinaya and Related Topics (अभिनयादिनिरूपणम्) — Agni Purana, Chapter 341
अङ्गनेपथ्यवाक्यैश् च रौद्रो ऽपि त्रिविधो रसः तस्य निर्वर्तकः क्रोधः स्वेदो रोमाञ्चवपथुः
aṅganepathyavākyaiś ca raudro 'pi trividho rasaḥ tasya nirvartakaḥ krodhaḥ svedo romāñcavapathuḥ
Qua diễn xuất thân thể, trình bày y phục–diện mạo sân khấu, và lời thoại, Raudra (rasa phẫn nộ) cũng có ba loại. Nhân tố phát khởi của nó là krodha (giận dữ); các biểu hiện thân thể là toát mồ hôi, nổi gai ốc (romāñca), và run rẩy (vapathu).
Lord Agni (instructing the sage Vashistha)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Staging raudra-rasa by mapping it to abhinaya channels (āṅgika/āhārya/vācika) and to its generator (krodha) with bodily signs (sveda, romāñca, vepathu) for actor coaching.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Raudra-rasa: Trividha Abhinaya and Krodha-anubhāvas","lookup_keywords":["raudra","krodha","sveda","romāñca","vepathu"],"quick_summary":"Raudra is expressed through body-acting, costume/stage presentation, and speech; it is produced by anger and shown through sweating, horripilation, and trembling—clear performance diagnostics."}
Concept: Rasa is produced by a stable emotion (krodha) and made legible through coordinated channels of expression and bodily signs.
Application: For raudra scenes, align dialogue (harsh diction), costume/props (weapons, red hues), and gestures (tense limbs), and cue physiological markers (sweat, gooseflesh, tremble) to authenticate fury.
Khanda Section: Sahitya-shastra (Rasa and Natya theory)
Primary Rasa: raudra
Visual Art Cues: {"scene_description":"An actor demonstrates raudra: fierce stance and gestures (āṅgika), aggressive costume and stage makeup (āhārya), and harsh speech (vācika); visible sweat, goosebumps, and trembling convey krodha.","kerala_mural_prompt":"Kerala mural: dramatic raudra performer with wide eyes, flared nostrils, red-toned costume, dynamic hand gestures; stylized sweat droplets and raised hair texture for romāñca; vibrating outline to suggest vepathu; temple-stage backdrop.","tanjore_prompt":"Tanjore: fierce figure in ornate attire with gold highlights, red and black palette; strong posture and expressive hands; subtle detailing for sweat and gooseflesh; decorative arch framing a stage setting.","mysore_prompt":"Mysore instructional painting: labeled triad—āṅgika/āhārya/vācika—around a central angry actor; inset close-ups showing sveda, romāñca, vepathu; clean composition for teaching.","mughal_miniature_prompt":"Mughal miniature: theatrical or court-drama confrontation; central enraged character with trembling hands and sweat; attendants recoil; detailed textiles and architecture; speech scrolls to indicate vācika intensity."}
Audio Atmosphere: {"recitation_mood":"epic","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: अङ्गनेपथ्यवाक्यैश् = अङ्ग + नेपथ्य + वाक्यैः; रौद्रोऽपि = रौद्रः + अपि (अः + अ → ’)
Related Themes: Agni Purana 341 (rasa causes/manifestations across rasas)
FAQs
It imparts Sahitya/Natya-vidya: how Raudra-rasa is performed and recognized through three expressive channels—bodily enactment (aṅga), stage-costume presentation (nepathya), and speech (vākya)—with anger as its generating cause and specific bodily symptoms as indicators.
Alongside ritual, dharma, and other sciences, the Agni Purana preserves technical aesthetic theory (rasa-abhinaya). This verse shows the text functioning like a handbook of classical performance and literary aesthetics, cataloging causes and physical signs used in dramaturgy.
By classifying anger as an aestheticized cause (rather than raw indulgence), the verse implicitly supports disciplined expression and self-awareness—transforming intense emotion into regulated art, which aligns with dharmic restraint and purification through right understanding.