Agni Purana — Sahitya-shastra, Shloka 56
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
द्वितीयौ प्राग्दले तुल्यौ सप्तमौ च तथापरौ सदृशावुत्तरदलौ द्वितीयाभ्यामथार्धयोः
dvitīyau prāgdale tulyau saptamau ca tathāparau sadṛśāvuttaradalau dvitīyābhyāmathārdhayoḥ
في النصف الأول (pāda) تتساوى موضعا المقطع الثاني؛ وكذلك الموضع السابع وسائر المواضع. وفي النصف الأخير (pāda) تكون على نحوٍ مماثل؛ فهكذا يُحدَّد النسق في كلا النصفين بالرجوع إلى المواضع الثانية.
Lord Agni (narrating the technical śāstra material to Vasiṣṭha in the Agni Purāṇa’s instructional frame)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Chandas-parīkṣā: pāda/ardha-vibhāgaṃ kṛtvā dvitīya-sthāna-āśrayeṇa laghu-guru/varṇa-sāmyaṃ nirṇīya vṛtta-lakṣaṇaṃ niścīyate; kaviḥ chandas-doṣaṃ pariharet, paṭhakaḥ pāṭha-svaraṃ sthirīkaroti.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Dvitīya-sthāna-āśrita-sāmya (pūrvottara-dala)","lookup_keywords":["dvitīya-sthāna","pāda-sāmya","ardha-dala","chandas-lakṣaṇa","varṇa-krama"],"quick_summary":"Pūrvadale dvitīya-sthānaṃ pradhānaṃ kṛtvā sāmyaṃ nirūpyate; uttaradale’pi tathaiva. Dvitīyābhyām (dvitīya-sthānābhyām) ardha-dvaye vṛtta-kramaḥ niścīyate."}
Concept: niyama-baddha-kramaḥ—sthāna-viśeṣeṇa (dvitīya) sāmyaṃ nirṇīya chandas-siddhiḥ
Application: Chandas-śikṣāyāṃ pāda-vibhāgaṃ kṛtvā dvitīya-sthānaṃ ‘anchor’ iva gṛhītvā samatā-doṣa-parīkṣaṇam.
Khanda Section: Chandas-Śāstra (Prosody) / Sāhitya-śāstra (Technical metrics)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A learned ācārya points to a palm-leaf manuscript showing two half-lines (ardhas) with marked second syllable positions; students compare matching syllable slots across pādas.","kerala_mural_prompt":"Kerala temple mural style, ochre-red background, an ācārya with palm-leaf manuscript, two pādas drawn as bands with highlighted second syllable marks, attentive śiṣyas, traditional ornaments, flat perspective, crisp linework.","tanjore_prompt":"Tanjore painting, gold-leaf accents on manuscript borders, seated guru teaching chandas, stylized syllable-grid on palm leaf, rich reds and greens, temple-pillared interior.","mysore_prompt":"Mysore painting style, delicate shading, instructional diagram of pāda halves with second-position markers, guru and students in calm scholarly setting, fine line detailing.","mughal_miniature_prompt":"Mughal miniature, courtly scholar scene, manuscript with metrical bands, precise geometric highlighting of second syllable slots, muted palette, detailed textiles and margins."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Raga Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: सदृशावुत्तरदलौ → सदृशौ उत्तरदलौ; द्वितीयाभ्यामथार्धयोः → द्वितीयाभ्याम् अथ अर्धयोः; प्राग्दले → प्राक्-दले (समास/सन्धि).
Related Themes: Agni Purana 342 (Chandas-śāstra prakaraṇa); Agni Purana 343 (chandas/alaṅkāra-anuśāsana—prakaraṇa-krama, if present in recension)
FAQs
It imparts a chandas-śāstra rule for matching/equating specific counted positions (notably the 2nd and 7th) across the two halves (pādas/hemistichs) when defining or recognizing a metrical pattern.
Beyond theology and ritual, the Agni Purāṇa preserves technical disciplines like Sanskrit prosody; this verse exemplifies its śāstric, rule-based treatment of metre—an essential tool for composing, transmitting, and analyzing Sanskrit literature.
Correct metrical knowledge supports accurate preservation and recitation of sacred and literary texts; such disciplined transmission is traditionally regarded as meritorious because it safeguards śāstra and enables precise learning and chanting.