Agni Purana — Sahitya-shastra, Shloka 19
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
द्वयोरावृत्तपदयोः समस्ता स्यात्समासतः असमासात्तयोर्व्यस्ता पादे त्वेकत्र विग्रहात्
dvayorāvṛttapadayoḥ samastā syātsamāsataḥ asamāsāttayorvyastā pāde tvekatra vigrahāt
When two pādas have repeated wording, they are to be treated as ‘samastā’ (combined) by applying the rule of samāsa. But if the construction is non-compounded (asamāsa), then those two are to be treated as ‘vyastā’ (separated); and within a single pāda, separation is determined wherever an explicit analysis (vigraha) is made.
Lord Agni (traditionally instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Apply samāsa vs. asamāsa and vigraha logic to decide whether repeated pāda-phrases should be treated as combined (samastā) or separated (vyastā) in yamaka/anuprāsa analysis and scansion.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Samastā vs. Vyastā in Repeated Pādas: Samāsa, Asamāsa, and Vigraha Rule","lookup_keywords":["samastā","vyastā","samāsa","vigraha","pāda repetition"],"quick_summary":"Gives a decision rule: if repeated pādas form a compound-like unity, treat as samastā; if not compounded, treat as vyastā, and within a pāda separate where explicit vigraha is intended."}
Alamkara Type: Yamaka (structural handling across pādas)
Concept: Śāstric parsing: unity vs. separation decided by samāsa and vigraha
Application: In annotation and teaching, mark compounds and their vigrahas before judging whether repetition constitutes a single ornament or multiple occurrences.
Khanda Section: Sahitya-shastra (Chandas & Prosody / Pada-vyavastha)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A metrical verse is written in four pādas; two pādas share repeated words. A teacher draws brackets showing 'samastā' (combined) and 'vyastā' (separated), and writes a vigraha expansion beneath one pāda.","kerala_mural_prompt":"Kerala mural, four horizontal pāda bands with repeated phrases, bold bracket motifs indicating samastā/vyastā, guru with stylus, palm-leaf manuscript aesthetics, limited palette and strong outlines.","tanjore_prompt":"Tanjore painting, gold-bordered manuscript page with four pādas, ornamental brackets in gold, labels 'samastā' and 'vyastā', scholarly setting with lamps and rich textiles.","mysore_prompt":"Mysore painting, instructional blackboard-like panel showing pāda segmentation, compound bracket and vigraha line-by-line, precise thin lines and soft colors, teacher demonstrating parsing.","mughal_miniature_prompt":"Mughal miniature, scribe and scholar over a folio with four-line poem, red ink brackets for samāsa, marginal gloss for vigraha, detailed study room with books and pen-case."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: dvayorāvṛttapadayoḥ = dvayoḥ āvṛtta-padayoḥ; syātsamāsataḥ = syāt samāsataḥ; asamāsāttayorvyastā = asamāsāt tayoḥ vyastā; tvekatra = tu ekatra.
Related Themes: Agni Purana 342.18; Agni Purana 342.20
FAQs
It teaches a technical rule of Sanskrit prosody/poetics: how to classify and read repeated pādas using samāsa (compound reading) versus asamāsa (non-compound, separated reading), guided by where a vigraha (analytic split) is intended.
Beyond mythology and ritual, the Agni Purana preserves formal śāstric instruction—here, chandas and grammatical analysis—showing it functions as a compendium that also codifies literary and linguistic technique.
Correct recitation and accurate textual understanding are traditionally viewed as preserving mantra/śāstra integrity; this rule supports faultless reading and transmission, which is associated with purity of learning and merit from faithful study.