Agni Purana — Sahitya-shastra, Shloka 30
Discrimination of the Qualities of Poetry (Kāvya-guṇa-viveka) — Closing Verse/Colophon Transition
अनेकस्य तथैकेन बहूनां बहुभिः शुभा कवीमां समुदाचारः समयो नाम गीयते
anekasya tathaikena bahūnāṃ bahubhiḥ śubhā kavīmāṃ samudācāraḥ samayo nāma gīyate
Ang matatag na kaugaliang kinikilala sa hanay ng mga makata—maging ang “isa” para sa “marami,” o ang “marami” para sa “marami”—ay tinatawag na samaya (konbensiyong makata).
Lord Agni (in discourse to sage Vasiṣṭha, within the Agni Purana’s instructional narration)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Samanya","practical_application":"Apply and recognize samaya (poetic convention): using singular for plural, one for many, or many for many as an accepted literary usage in composition and interpretation.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Samaya (Poetic Convention / Established Usage)","lookup_keywords":["samaya","kavi-samudācāra","eka-bahu-vyavahāra","rūḍhi","kāvya-rīti"],"quick_summary":"Samaya is the established convention among poets allowing flexible number-expression (one-for-many, many-for-many) as a sanctioned literary practice."}
Concept: Meaning in literature is guided by communal convention (samudācāra), not only by literal form.
Application: In reading kāvya, interpret number-shifts as conventional usage; in writing, employ them to achieve brevity, meter-fit, or stylistic elegance without being charged with doṣa.
Khanda Section: Sahitya-shastra (Kavya-śāstra / Poetics and Literary Convention)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A poetic assembly where a senior poet explains ‘samaya’ to younger poets, showing examples of singular used for plural on a manuscript while the audience nods in agreement.","kerala_mural_prompt":"Kerala mural, sabhā scene with elder poet teaching, palm-leaf manuscript with highlighted singular/plural markers, stylized attentive faces, ornamental borders","tanjore_prompt":"Tanjore painting, gold-leaf emphasis on the manuscript text ribbon labeled ‘samaya’, poet-guru seated on ornate throne, disciples with folded hands","mysore_prompt":"Mysore style, didactic scene with example phrases written in neat Devanagari, teacher pointing, students copying, soft colors and fine outlines","mughal_miniature_prompt":"Mughal miniature literary salon, poets with inkpots and folios, elder explaining convention, marginal glosses showing eka→bahu usage, rich textiles and architecture"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Kedar","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: तथा + एकेन → तथैकेन; कवीनाम् → कवीमाम् (आर्ष/वैदिक-प्रयोग); बहुभिः शुभा (no sandhi change); समयो नाम → समयो नाम (ओ + न = ओ न)
Related Themes: Agni Purana 346 (kāvya-lakṣaṇa, doṣa-guṇa, alaṅkāra)
FAQs
It imparts kāvya-śāstra knowledge: the technical definition of ‘samaya’ as an accepted poetic convention (samudācāra) governing how poets commonly use expressions to convey meanings.
Alongside ritual, polity, and other sciences, the Agni Purana also codifies literary theory; this verse shows its systematic treatment of Sanskrit poetics by defining core technical categories used in kavya interpretation.
By promoting disciplined, tradition-aligned speech and learning, it supports satya and saṃskāra in expression—valued as purifying and merit-producing when used in study, teaching, and sacred discourse.