Agni Purana — Sahitya-shastra, Shloka 42
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
अथ प्रथमपादस्य मूर्धन्यस्त्रिपदाक्षरं सर्वेषामेव पादानामन्ते तदुपजायते
atha prathamapādasya mūrdhanyastripadākṣaraṃ sarveṣāmeva pādānāmante tadupajāyate
এতিয়া প্ৰথম পাদত মূৰ্ধন্য লক্ষণযুক্ত ত্ৰিপদাক্ষৰ উদ্ভৱ হয়; সেই একে উপাদান সকলো পাদৰ অন্ততো উদ্ভৱ হয়।
Lord Agni (teaching to Vashistha, in the standard Agni Purana dialogue frame)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Prosodic/pāda analysis for composing or scanning metres: identifying a specific tripartite syllabic element (tripada-akṣara) with mūrdhanya articulation and locating it at pāda boundaries.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Mūrdhanya Tripadākṣara at Pāda-Endings (Chandas Rule)","lookup_keywords":["chandas","pāda","mūrdhanya","tripadākṣara","antya-akṣara"],"quick_summary":"Defines a metrical/phonetic element described as mūrdhanya and tripartite, stating it appears in the first pāda and likewise at the end of all pādas—useful for boundary-marking in scansion and composition."}
Concept: Śabda-śāstra precision: metrical structure is grounded in phonetic articulation and repeatable rules.
Application: When teaching/learning chandas, use consistent end-of-pāda markers to avoid scansion errors and preserve intended cadence in recitation.
Khanda Section: Sahitya-shastra (Chandas / Prosody)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A prosody lesson scene: a teacher points to a written verse divided into four pādas, with the final syllables highlighted and annotated as mūrdhanya tripartite units at each pāda end.","kerala_mural_prompt":"Kerala mural style classroom in a temple-vidyālaya: palm-leaf manuscript with pāda divisions, highlighted end-syllables, teacher demonstrating tongue-position (mūrdhanya) with stylized gestures, warm earthy palette.","tanjore_prompt":"Tanjore painting: ornate scholar seated with palm-leaf and stylus, gold detailing around a framed manuscript panel showing four pādas and highlighted antākṣaras, devotional academic ambience.","mysore_prompt":"Mysore painting: clean instructional diagram overlay—verse lines segmented into pādas, end markers colored, small phonetic note 'mūrdhanya', refined linework and soft wash.","mughal_miniature_prompt":"Mughal miniature: courtly scholar with manuscript, margins filled with neat annotations marking pāda endings, delicate calligraphy and geometric border."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: मूर्धन्यस्त्रिपदाक्षरं = मूर्धन्यः + त्रिपदाक्षरम्; सर्वेषामेव = सर्वेषाम् + एव; पादानामन्ते = पादानाम् + अन्ते; तदुपजायते = तत् + उपजायते.
Related Themes: Agni Purana 342 (sāhitya-śāstra/chandas segment)
FAQs
It gives a technical prosodic/phonetic rule: a specified mūrdhanya-associated tri-syllabic element is to be recognized as occurring at the end of each metrical pāda, with reference first to the opening pāda.
Beyond theology and ritual, the Agni Purana preserves śāstric instruction in Sahitya-shastra—metrics (chandas) and phonetics (varṇa/ucchāraṇa). This verse exemplifies its handbook-style coverage of technical literary rules.
Correct chandas and sound-formation support accurate recitation and textual preservation; in the Purāṇic worldview, precision in sacred speech aids purity of mantra-like utterance and reduces recitational faults (doṣa).