Agni Purana

स्वतन्त्रस्यान्यतन्त्रस्य पदस्यावर्त्तना द्विधा । भिन्नप्रयोजनपदस्यावृत्तिं त्वेकत्र विग्राहात् ।। ३४३.

The repetition of an independent or dependent word is twofold; but the repetition of a word with a different function, when separated, is considered singular.

द्वयोरावृत्तपदयोः समस्ता स्यात्समासतः । असमासात्तयोर्व्यस्ता पादे त्वेकत्र विग्रहात् ।। ३४३.

When two repeated words are joined, it is called 'samasta' (together); when not joined, it is 'vyasta' (separate), and when separated within a foot, it is considered singular.

वाक्यस्यावृत्तिरप्येवं यथासम्भवमिष्यते । अलङ्काराद्यनुप्रासो लघुमध्येवमर्हणात् ।। ३४३.

The repetition of a sentence is also accepted as possible; among figures of speech, 'anuprāsa' is considered light, medium, or excellent according to its merit.

यया कयाचिद्‌वृत्या यत् समानमनुभूयते । तद्रूपादिपदासत्तिः सानुप्रासा रसावहा ।। ३४३.

Whatever is experienced as similar through any kind of repetition, that connection of words is called 'anuprāsa', which brings forth aesthetic flavor.

गोष्ठ्यां कुतूहलाध्यायी वाग्बन्धश्चित्रमुच्यते । प्रश्नः प्रहेलिका गुप्तं च्युतदक्ते तथोभयम् ।। ३४३.

In an assembly, a composition recited out of curiosity is called 'citram' (a riddle); a question, a riddle, something hidden, something omitted, and both together are also described.

समस्या सप्त तद्‌भेदा नानार्थस्यानुयोगतः । यत्र प्रदीयते तुल्यवर्णविन्यासमुत्तरं ।। ३४३.

'Samasya' is sevenfold, with those divisions, according to the pursuit of various meanings; where a response is given with the same arrangement of letters.

स प्रश्नः स्यादेकपृष्टद्वपृष्टोत्तरभेदतः । द्विधैकपृष्टो द्विविधः समस्तो व्यस्त एव च ।। ३४३.

That is called a question, distinguished as having one or two parts in the answer; the single-part question is twofold, and the complete and separate forms are also twofold.

द्वयोरप्यर्थयोर्गुह्यमानशब्दा प्रहेलिका । सा द्विधार्थी च शाब्दी च तत्रार्थी चार्थबोधतः ।। ३४३.

A riddle is where the words of two meanings are hidden; it is of two kinds: based on meaning and based on words; the former is understood by meaning.

शब्दावबोधतः शाब्दी प्राहुः षोढा प्रहेलिकां । यस्मिन् गुप्तेऽपि वलाक्याङ्गे बाव्यर्थोऽपारमार्थिकः ।। ३४३.

When understood by the words themselves, it is called 'śābdī'; thus, a riddle is said to be sixfold. In which, even when hidden in the limbs of the phrase, the intended meaning is not the literal one.

तदङ्गविहिताकाङ्‌क्षस्तद्‌गुप्तं गूढ़मप्यदः । यत्रार्थान्तरनिर्बासो वाक्याङ्गच्यवनादिभिः ।। ३४३.

When one expects a component of a sentence, but it is hidden or secret, and the meaning is revealed by the omission or displacement of a part of the sentence, that is called by this name.

तदङ्गविहिताकाङ्क्षस्तच्चुतं स्याच्चतुर्विधम् । स्वरव्यञ्जनविन्दूनां विसर्गस्य च विच्युतेः ।। ३४३.

When one expects a component of a sentence, and it is missing, this absence is of four kinds: the omission of a vowel, a consonant, a dot, or the visarga.

दत्तेपि यत्र वाक्याङ्गे द्वितीयोर्थः प्रतीयते । तद्द्न्तदाहुस्तद्भेदाः स्वराद्यैः पूर्व्ववन्मताः ।। ३४३.

Even when a part of a sentence is present, if a second meaning is understood, that is called by that name; its varieties are considered to arise from differences in vowels and so on, as previously stated.

अपनीताक्षरस्थाने न्यस्ते वर्णान्तरेऽपि च । भासतेऽर्थान्तरं यत्र च्युतदत्तं तदुच्यते ।। ३४३.

When, in place of a removed letter, another letter is inserted, and a different meaning appears, that is called 'cyutadatta' (omitted-given).

सुश्लिष्टपद्यमेकं यन्नानाश्लोकांशनिर्म्मितम् । सा ममस्या परस्यात्मपरयोः कृतिसङ्करात् ।। ३४३.

A single, well-joined verse composed of parts from various other verses is called 'mamasyā', due to the mixing of the works of oneself and others.

दुःखेन कृतमत्यर्थं कविसामर्थ्यसूचकम् । दुष्करं नीरसत्वेपि विदग्धानां महोत्सवः ।। ३४३.

Though extremely difficult to compose and indicating the poet’s great skill, even if lacking in charm, it is a great delight for the learned.

नियमाच्च विदर्बाच्च बन्धाच्च भवति त्रिधा । कवेः प्रतिज्ञा निर्म्माणरम्यस्य नियमः समृतः ।। ३४३.

By rule, by arrangement, and by structure, there are three kinds; the rule for the creation of a beautiful composition by a poet is thus declared.

प्रातिलोम्यानुलोम्यञ्च शब्देनार्थेन जायते । अनेकधावृत्तवर्णविन्यासैः शिल्पकल्पना ।। ३४३.

By inversion and by direct order, both in words and in meaning, many kinds of metrical and phonetic arrangements are created as poetic art.

प्रातिलोम्यानुलोम्यञ्च शब्देनार्थेन जायते । अनेकधावृत्तवर्णविन्यासैः शिल्पकल्पना ।। ३४३.

By inversion and by direct order, both in words and in meaning, many kinds of metrical and phonetic arrangements are created as poetic art.

तत्तत्प्रसिद्धवस्तूनां बन्ध इत्यभिधीयते । गोमूत्रिकार्द्धभ्रमणे सर्व्वतोभद्रमम्बुजम् ।। ३४३.

The arrangement of well-known forms is called 'bandha'; these include the gomūtrikā, half-turn, sarvatobhadra, and the lotus.

चक्रञ्चक्राब्जकं दण्डो मुरजाश्चेति चाष्टधा । प्रत्यर्धं प्रतिपादं स्यादेकान्तरसमाक्षरा ।। ३४३.

The cakra, cakrābjaka, daṇḍa, and muraja—these are eightfold; half by half, line by line, or with alternating syllables.

द्विधा गोमूत्रिकां पूर्व्वामाहुरश्वपदां परे । अन्त्याङ्गोमूत्रिकां धेनुं जालबन्धं वदन्ति हि ।। ३४३.

The gomūtrikā is said to be twofold: the first is called aśvapadā, the second, with the gomūtrikā at the end, is called dhenu; the net arrangement is also mentioned.

अर्द्धाभ्यामर्धपादैश्च कुर्य्याद्विन्यासमेतयोः । न्यस्तानामिह वर्णानामधोधः क्रमभागिनां ।। ३४३.

By means of halves and half-lines, one should arrange the letters of these two, placing the letters below in sequential order.

अधोधः स्थितवर्णानां यावत्तूर्य्यपदन्नयेत् । तुर्य्यपादान्नयेदूद्‌र्ध्वं पादार्द्धं प्रातिलोम्यतः ।। ३४३.

As for the letters placed below, one should lead up to the fourth line; from the fourth line, one should lead upward, and half a line in reverse order.

तदेव सर्व्वतोभद्रं त्रिविधं सरसीरुहं । चतुष्पत्रं ततो विघ्नं चतुष्पत्रे उभे अपि ।। ३४३.

That very sarvatobhadra is threefold, and the lotus is also threefold; the four-petaled form is called vighna, and both are found in the four-petaled arrangement.

अथ प्रथमपादस्य मूर्द्धन्यस्त्रिपदाक्षरं । सर्व्वेषामेव पादानामन्ते तदुपजायते ।। ३४३.

Now, the triplet of syllables at the beginning of the first line appears at the end of all the lines.

प्राक्पदस्यान्तिमं प्रत्यक् पादादौ प्रातिलोम्यतः । अन्त्यपादान्तिमञ्चाद्यपादादावक्षरद्वयं ।। ३४३.

The last syllable of the previous line is placed at the beginning of the next line in reverse order; and the last syllable of the last line is placed at the beginning of the first line, with two syllables.

चतुश्छदे भवेदष्टच्छदे वर्णत्रयं पुनः । स्यात् षोड़शच्छदे त्वेकान्तरञ्चेदेकमक्षरं ।। ३४३.

In the four-sided form there are three syllables, in the eight-sided again; in the sixteen-sided, if there is an interval, there is one syllable.

कर्णिकां तोलयेदूद्‌र्ध्वं पत्राकाराक्षरावलिं । प्रवेशयेत् कर्णिकायाञ्चतुष्पत्रसरोरुहे ।। ३४३.

One should raise the pericarp upward, with a row of letters shaped like petals, and insert it into the four-petaled lotus.

कर्णिकायां लिखेदेकं द्वे द्वे दिक्षु विदिक्षु च । प्रवेशनिर्गमौ दिक्षु कुर्य्यादष्टच्छदेऽम्बुजे ।। ३४३.

In the pericarp, one should inscribe one letter, and two each in the directions and intermediate directions; the entry and exit should be made in the eight-petaled lotus.