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
પ્રથમ પાદાર્ધમાં બીજા બે વર્ણસ્થાન સમાન હોય છે; તેમ જ સાતમું વગેરે પણ. ઉત્તર પાદાર્ધમાં પણ તે જ રીતે સદૃશતા રહે છે; તેથી બંને અર્ધોમાં દ્વિતીય-સ્થાનના આધારેથી છંદવિન્યાસ નક્કી થાય છે.
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.