Agni Purana — Sahitya-shastra, Shloka 20
Chapter 342: शब्दालङ्काराः
Verbal/Sound-based Ornaments
वाक्यस्यावृत्तिरप्येवं यथासम्भवमिष्यते अलङ्काराद्यनुप्रासो लघुमध्येवमर्हणात् *
vākyasyāvṛttirapyevaṃ yathāsambhavamiṣyate alaṅkārādyanuprāso laghumadhyevamarhaṇāt *
اسی طرح جملے کی تکرار بھی جہاں تک ممکن ہو روا رکھی جاتی ہے۔ لیکن اَنوپراس اور دیگر صنعتیں ہلکی یا معتدل مقدار میں ہی برتنی چاہئیں، کیونکہ افراط مناسب نہیں۔
Lord Agni (in discourse to sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Use sentence-level repetition judiciously; apply anuprāsa and allied ornaments in moderate quantity to preserve elegance and avoid stylistic heaviness.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Commentary","entry_title":"Moderation Principle in Ornamentation: Sentence Repetition and Anuprāsa","lookup_keywords":["vākya-āvṛtti","anuprāsa","alaṅkāra maryādā","aucitya","ati-doṣa"],"quick_summary":"Permits repetition even at sentence level when appropriate, but prescribes moderation in alliteration and ornaments; excess becomes a fault (doṣa) against propriety (aucitya)."}
Alamkara Type: Anuprāsa; vākya-āvṛtti (repetition)
Concept: Maryādā/aucitya: restraint as a virtue in artistic practice
Application: In writing and performance, audit ornament density; keep anuprāsa light-to-moderate so meaning and rasa remain primary.
Khanda Section: Sahitya-shastra (Alankara & Kavya-vidya)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A poet revises a manuscript: one version is heavily alliterative and crossed out; the refined version keeps gentle anuprāsa. A balance-scale symbolizes 'moderation' in ornamentation.","kerala_mural_prompt":"Kerala mural, poet-scribe seated with palm-leaf, two text panels (dense vs refined) shown symbolically, a balance scale motif, strong outlines and earthy palette, serene scholarly mood.","tanjore_prompt":"Tanjore painting, poet with manuscript and stylus, gold-leaf balance scale and ornate border, two scrolls labeled 'ati' (excess) and 'madhyama' (moderate), rich reds and greens.","mysore_prompt":"Mysore painting, clean didactic composition: before/after lines of verse demonstrating heavy vs light anuprāsa, teacher guiding a student, subtle shading and fine linework.","mughal_miniature_prompt":"Mughal miniature, atelier scene with poet and critic, corrected folio with marginal notes 'aucitya', delicate scale on a low table, refined interior details and calligraphy."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"instructional"}
Sandhi Resolution Notes: vākyasyāvṛttir apy evam = vākyasya āvṛttiḥ api evam; yathāsambhavam = yathā-sambhavam (avyayībhāva); alaṅkārādyanuprāsaḥ = alaṅkāra-ādi-anuprāsaḥ; madhyevamarhaṇāt = madhye evam arhaṇāt.
Related Themes: Agni Purana 342.16; Agni Purana 342.17; Agni Purana 342.18; Agni Purana 342.19
FAQs
It teaches a practical rule of Sanskrit kāvya-śāstra: repetition may be used when appropriate, but anuprāsa (alliteration) and similar sound-ornaments should be applied only in a light-to-moderate degree, avoiding excess.
Beyond theology and ritual, the Agni Purana preserves technical instruction in literary aesthetics (alaṅkāra-śāstra), showing it functions as a compendium that also codifies standards for refined poetic composition.
By promoting measured, non-excessive expression, it aligns speech and composition with propriety (aucitya), supporting disciplined use of vāṅmayam (speech) that is traditionally regarded as purifying and conducive to sattvic conduct.