Agni Purana — Sahitya-shastra, Shloka 31
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
सुश्लिष्टपद्यमेकं यन्नानाश्लोकांशनिर्मितम् सा ममस्या परस्यात्मपरयोः कृतिसङ्करात्
suśliṣṭapadyamekaṃ yannānāślokāṃśanirmitam sā mamasyā parasyātmaparayoḥ kṛtisaṅkarāt
अनेक श्लोकांच्या अंशांनी बनलेले एक सुबद्ध पद्य—स्वतःची व परकी रचना मिसळून झाले तर ते ‘मम’ म्हणतात; आणि स्वतःच्या रचनेत दुसऱ्या कवीची रचना मिसळली तर ते ‘परस्य’ असे म्हणतात।
Lord Agni (instructing Sage Vasiṣṭha, in the Agni Purana’s didactic frame)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Samanya","practical_application":"Classifying and ethically evaluating composite verses (cento-style) in poetic composition and citation practice; distinguishing self/other contribution for attribution.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Suśliṣṭa-padyam (Composite Verse): Mama vs Parasya","lookup_keywords":["suśliṣṭa-padyam","mama","parasya","kṛti-saṅkara","composite verse"],"quick_summary":"Defines a single well-knit verse assembled from parts of many verses, and distinguishes whether the mixture is primarily one’s own with another’s (mama) or one’s own mixed with another author’s work (parasya), guiding attribution."}
Alamkara Type: Shabda-shilpa (cento/patchwork composition; kṛti-saṅkara as a compositional category)
Concept: Disciplined discernment (viveka) in recognizing sources and mixtures within crafted speech.
Application: Maintain scholarly integrity: mark quotations, acknowledge sources, and avoid uncredited kṛti-saṅkara in public recitation or courtly presentation.
Khanda Section: Sahitya-shastra (Kavya/Alankara and poetic composition)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A poet-scribe at a desk assembling a single verse by selecting fragments from multiple palm-leaf manuscripts, labeling portions as ‘mama’ and ‘parasya’.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, a seated kavi with palm-leaf bundles, stylus and ink, fragments of verses floating as scroll-ribbons, inscriptions ‘mama’ ‘parasya’, ornate border motifs, flat iconic composition","tanjore_prompt":"Tanjore painting, gold-leaf highlights on manuscripts and writing tools, a courtly poet with halo-like aureole of learning, richly patterned textiles, clear labels on scrolls ‘mama’ ‘parasya’, frontal symmetry","mysore_prompt":"Mysore painting style, delicate linework, instructional tableau of manuscript fragments being arranged into one śloka, small captions indicating source-mixing, subdued pastel background","mughal_miniature_prompt":"Mughal miniature, detailed library interior, multiple open codices, poet compiling a composite couplet, attendants bringing texts, fine calligraphy panels marked ‘mama’ and ‘parasya’, naturalistic shading"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Raga Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: सुश्लिष्टपद्यमेकम् = सुश्लिष्ट + पद्यम् + एकम्; यन्नानाश्लोकांशनिर्मितम् = यत् + नाना + श्लोकांशैः + निर्मितम् (IAST shows -āṃśa-; sense requires instrumental plural); ममस्या = मम + अस्या; परस्यात्मपरयोः = परस्य + आत्मपरयोः; कृतिसङ्करात् = कृति-सङ्करात्.
Related Themes: Agni Purana 342 (Sahitya-shastra section: shabda-shilpa, bandha, vikalpa)
FAQs
This verse imparts Sahitya-shastra (poetics) knowledge: it defines a compositional practice where a single metrical verse is formed by stitching together fragments of multiple verses, and it classifies such mixed composition (kṛti-saṅkara) by authorship.
By including technical kavya-lakshana terminology and authorship-based classifications, the Agni Purana functions as a compendium not only of ritual and dharma, but also of literary science—documenting how Sanskrit verse is composed, evaluated, and ethically attributed.
While primarily technical, it implicitly supports dharmic speech and truthfulness by distinguishing one’s own composition from another’s, encouraging correct attribution and disciplined use of inherited textual material.