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The Akhyana and Samvada suktas in the Rigveda are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharvaveda.<ref name=":6" />

The Akhyana and Samvada suktas in the Rigveda are said to be the seed material of the later day Itihasa, Kavyas, Mahakavyas (poetics), and natakas (drama). The information found in seed form in the Rigveda is supported and elaborated, similar to a fruit-bearing tree, in the Brahmana and Aranyaka literature. In this way the Akhyana and Samvada suktas have  significant role in defining the Bharatiya Laukika Sahitya. The concepts found ground and developed further in the Itihasa and Purana literature. According to the traditional views, it is said that dramaturgy (the art of dramas) originated from the Vedas. Mahamuni Bharata the author of Natyashastra, describes that Brahma composed the "Natyaveda or Panchamaveda" as the essence of the four vedas upon request of the devatas. For this purpose, the essence of Pathya (including the Samvadas and anecdotes) was taken from the Rigveda, that of Sangeeta (music) from Samaveda, Abhinaya (action) from Yajurveda, and Rasa (aesthetics) from Atharvaveda.<ref name=":6" />

=== आख्यान । Akhyanas ===

== मंत्रार्थ प्रस्तुति शैली ॥ Style of presentation of the meaning of Mantras ==

There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" /> Niruktakara, Acharya Yaska alludes to Akhyanasamya (आख्यानसमयः), Aitihasika (ऐतिहासिकाः) and Naidanaa (नैदानाः) styles of presentation of a context. All the three styles only differ slightly. Acharya Vararuchi in his commentary on Nirukta clarifies as follows <ref name=":022322222">Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 257-258)</ref><blockquote>औपचारिको मन्त्रेष्वाख्यानसमय इति नैरुक्तानां सिद्धान्तः ।</blockquote>Meaning: Akhyanas (legends) and Itihasa (accounts of former events) described in the mantras are usually figurative or metaphorical according to Nairukta siddhanta.  

There are many akhyanas or anecdotes in Rgveda. A few are famous and are found in Brahmana and other texts such as Brhaddevata.<ref name=":2" /><ref name=":6" /> However, Akhyana style of explaining the purport of the mantras is one way of presenting the meaning of a mantra. Nirukta indicates that there are at least three ways of giving out the meaning of Rigveda mantras as follows<ref>Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 58-59)</ref>

 

 

Niruktakara, Acharya Yaska alludes to Akhyanasamya (आख्यानसमयः), Aitihasika (ऐतिहासिकाः) and Naidanaa (नैदानाः) styles of presentation of a context. All the three styles only differ slightly. Acharya Vararuchi in his commentary on Nirukta clarifies as follows <ref name=":022322222">Shastri, Jwalanth Kumar. (2009) ''Ved aur vedarth'' Rajasthan: Sri Ghudhmal Prahladkumar Arya Dharmarth Nyasa. (Pages 257-258)</ref><blockquote>औपचारिको मन्त्रेष्वाख्यानसमय इति नैरुक्तानां सिद्धान्तः ।</blockquote>Meaning: Akhyanas (legends) and Itihasa (accounts of former events) described in the mantras are usually figurative or metaphorical according to Nairukta siddhanta.  

On an in-depth exploration one finds that the description is of three types - extraordinary (असम्भव), probable (सम्भवासम्भव) and possible (सम्भव). In the Vedic literature mostly we find extraordinary (चमत्कारकवाचक) and generic (जातिवाचक) usages for describing events. Here a person, river, city or place in particular (व्यक्तिवाचक) are used metaphorically and are used to convey an underlying natural, social, spiritual, or a philosophical message. However, in the Brahmana and Puranic literature we find descriptions which appear probable and possible, which is very rare in the Vedas. For example, the akhyana of Vishvamitra and Menaka is described in an extraordinary way in the Vedas. Elsewhere we find that Dushyanta and Shakuntala are described as having normal human personalities but their progeny, Bharata is associated with Indra both, extraordinary characters. In this state, calling Vishvamitra and Menaka (of the Vedas) as the ancestors of Dushyanta and Bharata (of the Puranas) creates a confusion. In the Vedic mantras, one does not find human-like description (मानुषीवर्णन) of Vishvamitra and Menaka, nor does vaidik Bharata (who approaches Indra) appear to have any relation with the laukika Bharata. Many misinterpretations arise as the storyline borrowed from the earlier literature gets digested with their new modifications in modern laukika sahitya. Thus a careful consideration of vaidika akhyanas is required to discern between the historical and poetic parts of the literature.<ref name=":022322222" />

On an in-depth exploration one finds that the description is of three types - extraordinary (असम्भव), probable (सम्भवासम्भव) and possible (सम्भव). In the Vedic literature mostly we find extraordinary (चमत्कारकवाचक) and generic (जातिवाचक) usages for describing events. Here a person, river, city or place in particular (व्यक्तिवाचक) are used metaphorically and are used to convey an underlying natural, social, spiritual, or a philosophical message. However, in the Brahmana and Puranic literature we find descriptions which appear probable and possible, which is very rare in the Vedas. For example, the akhyana of Vishvamitra and Menaka is described in an extraordinary way in the Vedas. Elsewhere we find that Dushyanta and Shakuntala are described as having normal human personalities but their progeny, Bharata is associated with Indra both, extraordinary characters. In this state, calling Vishvamitra and Menaka (of the Vedas) as the ancestors of Dushyanta and Bharata (of the Puranas) creates a confusion. In the Vedic mantras, one does not find human-like description (मानुषीवर्णन) of Vishvamitra and Menaka, nor does vaidik Bharata (who approaches Indra) appear to have any relation with the laukika Bharata. Many misinterpretations arise as the storyline borrowed from the earlier literature gets digested with their new modifications in modern laukika sahitya. Thus a careful consideration of vaidika akhyanas is required to discern between the historical and poetic parts of the literature.<ref name=":022322222" />