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
เมื่อสองบาท (pāda) มีถ้อยคำซ้ำกัน ให้ถือว่าเป็น ‘สมัสตา’ (รวมเป็นสมาส) ตามกฎสมาส. แต่ถ้าเป็นแบบไม่สมาส ก็ให้ถือว่าเป็น ‘วยัสตา’ (แยกกัน); และภายในบาทเดียว จุดที่ทำวิครหะ (การแยกวิเคราะห์) อย่างชัดเจน ตรงนั้นเป็นเกณฑ์แห่งการแยก.
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.