Agni Purana — Sahitya-shastra, Shloka 20
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
वाक्यस्यावृत्तिरप्येवं यथासम्भवमिष्यते अलङ्काराद्यनुप्रासो लघुमध्येवमर्हणात् *
vākyasyāvṛttirapyevaṃ yathāsambhavamiṣyate alaṅkārādyanuprāso laghumadhyevamarhaṇāt *
এইদৰে বাক্যৰ পুনৰাবৃত্তিও যথাসম্ভৱ গ্ৰহণযোগ্য। কিন্তু অনুপ্ৰাস আদি অলংকাৰ লঘু বা মধ্যম মাত্ৰাতেই প্ৰয়োগ কৰা উচিত, কিয়নো অতিশয়তা অনুচিত।
Lord Agni (in discourse to sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Use sentence-level repetition judiciously; apply anuprāsa and allied ornaments in moderate quantity to preserve elegance and avoid stylistic heaviness.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Moderation Principle in Ornamentation: Sentence Repetition and Anuprāsa","lookup_keywords":["vākya-āvṛtti","anuprāsa","alaṅkāra maryādā","aucitya","ati-doṣa"],"quick_summary":"Permits repetition even at sentence level when appropriate, but prescribes moderation in alliteration and ornaments; excess becomes a fault (doṣa) against propriety (aucitya)."}
Alamkara Type: Anuprāsa; vākya-āvṛtti (repetition)
Concept: Maryādā/aucitya: restraint as a virtue in artistic practice
Application: In writing and performance, audit ornament density; keep anuprāsa light-to-moderate so meaning and rasa remain primary.
Khanda Section: Sahitya-shastra (Alankara & Kavya-vidya)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A poet revises a manuscript: one version is heavily alliterative and crossed out; the refined version keeps gentle anuprāsa. A balance-scale symbolizes 'moderation' in ornamentation.","kerala_mural_prompt":"Kerala mural, poet-scribe seated with palm-leaf, two text panels (dense vs refined) shown symbolically, a balance scale motif, strong outlines and earthy palette, serene scholarly mood.","tanjore_prompt":"Tanjore painting, poet with manuscript and stylus, gold-leaf balance scale and ornate border, two scrolls labeled 'ati' (excess) and 'madhyama' (moderate), rich reds and greens.","mysore_prompt":"Mysore painting, clean didactic composition: before/after lines of verse demonstrating heavy vs light anuprāsa, teacher guiding a student, subtle shading and fine linework.","mughal_miniature_prompt":"Mughal miniature, atelier scene with poet and critic, corrected folio with marginal notes 'aucitya', delicate scale on a low table, refined interior details and calligraphy."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: vākyasyāvṛttir apy evam = vākyasya āvṛttiḥ api evam; yathāsambhavam = yathā-sambhavam (avyayībhāva); alaṅkārādyanuprāsaḥ = alaṅkāra-ādi-anuprāsaḥ; madhyevamarhaṇāt = madhye evam arhaṇāt.
Related Themes: Agni Purana 342.16; Agni Purana 342.17; Agni Purana 342.18; Agni Purana 342.19
FAQs
It teaches a practical rule of Sanskrit kāvya-śāstra: repetition may be used when appropriate, but anuprāsa (alliteration) and similar sound-ornaments should be applied only in a light-to-moderate degree, avoiding excess.
Beyond theology and ritual, the Agni Purana preserves technical instruction in literary aesthetics (alaṅkāra-śāstra), showing it functions as a compendium that also codifies standards for refined poetic composition.
By promoting measured, non-excessive expression, it aligns speech and composition with propriety (aucitya), supporting disciplined use of vāṅmayam (speech) that is traditionally regarded as purifying and conducive to sattvic conduct.