Agni Purana — Sahitya-shastra, Shloka 16
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
संसर्गयमकञ्चैव विक्रान्तयमकन्तथा पादादियमकञ्चैव तथाम्रेडितमेव च
saṃsargayamakañcaiva vikrāntayamakantathā pādādiyamakañcaiva tathāmreḍitameva ca
संसर्गयमकं चैव विक्रान्तयमकं तथा। पादादियमकं चैव तथाऽऽम्रेडितमेव च॥ एतेऽपि यमकभेदाः परिगण्यन्ते।
Lord Agni (in instruction to the sage Vasiṣṭha, in the Agni Purana’s poetics section)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Samanya","practical_application":"Classify and deploy yamaka (phonetic repetition) subtypes while composing or analyzing kavya; use as a checklist for identifying patterns in verses.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Additional Yamaka Varieties: Saṃsarga, Vikrānta, Pādādi, Āmreḍita","lookup_keywords":["yamaka","saṃsarga-yamaka","vikrānta-yamaka","pādādi-yamaka","āmreḍita"],"quick_summary":"Names further sub-varieties of yamaka and related repetition (āmreḍita). Useful as a taxonomy node for kavya analysis and ornament selection."}
Alamkara Type: Yamaka; Āmreḍita (repetition)
Concept: Śabda-alaṅkāra bheda (systematic naming of sound-ornaments)
Application: Apply labels consistently in commentary, teaching, and composition to avoid conflating distinct repetition-patterns.
Khanda Section: Sahitya-shastra (Alankara and Kavya-lakshana / Sanskrit Poetics)
Primary Rasa: adbhuta
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"A traditional Sanskrit paṇḍita instructs students, pointing to a palm-leaf manuscript listing yamaka varieties: saṃsarga, vikrānta, pādādi, and āmreḍita, with example couplets on a board.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, guru in white dhoti teaching seated śiṣyas, palm-leaf manuscript with Devanagari headings 'saṃsarga-yamaka, vikrānta-yamaka, pādādi-yamaka, āmreḍita', stylized interior of a vidyāśālā, flat iconic composition.","tanjore_prompt":"Tanjore painting, guru and disciples in a scholarly hall, gold-leaf highlights on manuscript edges and halo-like aureole behind Sarasvatī in the background, Devanagari headings for yamaka types, rich reds and greens, ornamental borders.","mysore_prompt":"Mysore painting style, delicate linework, instructional scene with labeled examples of repetition patterns, manuscript and chalkboard showing the four yamaka names, calm scholarly ambience, muted pastel colors.","mughal_miniature_prompt":"Mughal miniature, courtly library setting, scholar presenting a folio titled with yamaka varieties, fine architectural details, patterned carpets, precise calligraphy panels with the four terms, naturalistic faces and textiles."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Sarasvati","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: -ñcaiva = -m ca eva; -ntathā = -m tathā. Compounds treated as standard alaṅkāra-names.
Related Themes: Agni Purana 342.17; Agni Purana 342.18; Agni Purana 342.20
FAQs
It imparts kavya-vidya (Sahitya-shastra) by listing specific sub-types of yamaka (phonetic echo ornament) and the related repetition figure called āmreḍita, useful for composing and analyzing Sanskrit poetry.
Beyond ritual and dharma, the Agni Purana catalogues technical disciplines; here it functions like a poetics manual by enumerating recognized categories of sound-ornaments used in classical Sanskrit literature.
Mastery of śāstra-guided speech and poetry is traditionally seen as refining vāṇī (sacred expression) and supporting dharmic learning; while not a ritual act itself, it promotes disciplined knowledge and cultured recitation.