Agni Purana — Sahitya-shastra, Shloka 15
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
तृतीयं त्रिविधं पादस्यादिमध्यान्तगोचरम् पादान्तयमकञ्चैव काञ्चीयमकमेव च
tṛtīyaṃ trividhaṃ pādasyādimadhyāntagocaram pādāntayamakañcaiva kāñcīyamakameva ca
யமகத்தின் மூன்றாம் வகை மூவகை—பாதத்தின் தொடக்கம், நடு, முடிவு இடங்களில் நிகழ்வது. இதில் ‘பாதாந்த யமகம்’ மற்றும் ‘காஞ்சீ யமகம்’ (இடுப்புப் பட்டை போன்ற வகை) என்பதும் அடங்கும்.
Lord Agni (instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Compose and identify the third yamaka variety by intra-pāda placement (beginning/middle/end) and by named patterns (pādānta-yamaka, kāñcī-yamaka), useful for ornamented verse and performative recitation.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Tṛtīya-yamaka: ādi–madhya–anta; pādānta and kāñcī types","lookup_keywords":["tṛtīya-yamaka","pādānta-yamaka","kāñcī-yamaka","ādi-madhya-anta","pāda"],"quick_summary":"States a third yamaka category that is threefold within a pāda (beginning, middle, end) and additionally recognizes pāda-end yamaka and the ‘kāñcī’ (girdle-like encircling) yamaka. This guides precise placement of repetition for aesthetic effect."}
Alamkara Type: Yamaka (śabda-alaṅkāra)
Concept: Form (rūpa/saṃsthāna) as a carrier of aesthetic cognition: placement rules generate recognizable beauty-patterns.
Application: During composition, choose a target locus (ādi/madhya/anta or pādānta) and enforce repetition accordingly; in recitation, emphasize the repeated segment to make the yamaka audible.
Khanda Section: Sahitya-shastra (Alankara/Kavya-poetics: Yamaka-bheda)
Primary Rasa: Adbhuta
Secondary Rasa: Shringara
Visual Art Cues: {"scene_description":"A verse is shown divided into a pāda with highlighted repetition at the beginning, middle, and end; a belt (kāñcī) motif encircles the line to symbolize kāñcī-yamaka; another example highlights repetition at pāda-end.","kerala_mural_prompt":"Kerala mural, stylized belt motif around a written pāda, repeated syllables painted in contrasting color at ādi/madhya/anta, guru demonstrating recitation emphasis, traditional palette","tanjore_prompt":"Tanjore painting, gold-leaf belt (kāñcī) motif framing the text strip, repeated syllables embossed, rich ornamentation, scholarly-devotional ambience","mysore_prompt":"Mysore style, clean segmented pāda diagram with three highlighted zones and a separate pādānta example, fine lines and readable annotations","mughal_miniature_prompt":"Mughal miniature, calligrapher illustrates a line with repeated endings, decorative sash/belt motif across the page, poets discussing subtle sound-ornament"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bageshri","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: पादस्यादिमध्यान्तगोचरम् = पादस्य + आदि-मध्य-अन्त-गोचरम्; पादान्तयमकञ्चैव = पादान्तयमकम् + च + एव; काञ्चीयमकमेव = काञ्चीयमकम् + एव
Related Themes: Agni Purana 342.12 (avyapeta/vyapeta); Agni Purana 342.13-342.14 (positional and enumerative schemes)
FAQs
It teaches a technical classification of yamaka (phonetic repetition) in kavya: repetition scoped to a single pāda at the beginning, middle, or end, including named subtypes like pādānta-yamaka and kāñcī-yamaka.
Beyond theology and ritual, the Agni Purana codifies literary science (sāhitya-śāstra), preserving formal categories of Sanskrit rhetoric used for composing and evaluating poetry.
Indirectly, it supports dharmic learning by refining sacred and courtly expression—mastery of śāstra-based composition is treated as a meritorious form of knowledge (vidyā) when used for truthful, elevating speech.