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础迟颈艣补测辞办迟颈 is one of the most famous 补谤迟丑腻濒补峁僰腻谤补 in Sanskrit Poetics. The etymological meaning of the word 补迟颈艣补测辞办迟颈 is a heightened or hyperbolic mode of expression. 叠丑腻尘补丑补 treats this figure in accordance with this view and also gives it great importance as an 补谤迟丑腻濒补峁僰腻谤补.

His definition of the figure is鈥�

nimittato vaco yattu lok膩tikr膩ntagocaram/
manyate'ti艣ayokti峁� t膩m补濒补峁僰腻谤补tay膩yath膩//
&苍产蝉辫;&苍产蝉辫;鈥�碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) 2.81.

鈥擜 statement with a reason surpasses the ordinary or common perception of people is called 补迟颈艣补测辞办迟颈.

叠丑腻尘补丑补 regards that all poetic descriptions contain 补迟颈艣补测辞办迟颈 as far as possible鈥�

sarvaiv膩ti艣ayoktistu tarkayett膩峁� yath膩gamam/
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) 2.84.

叠丑腻尘补丑补 recognises vakrokti as identical with 补迟颈艣补测辞办迟颈 and maintains that this peculiar method of statement which renders beauty and charm to the meaning of a poem can be found in each and every 补濒补峁僰腻谤补鈥�

sai峁Ｄ乻arvaiva vakroktiranay膩rtho vibh膩vyate/
yatno'sy膩峁� ka惫颈苍腻k膩rya岣� ko'la峁僰膩ro'nay膩惫颈苍腻//
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) 2.85.

Kuntaka acknowledges 叠丑腻尘补丑补 in this regard鈥�

ucyate'ti艣ayokti岣� s膩sarv膩la峁僰膩ra箩墨惫颈迟补m/
&苍产蝉辫;&苍产蝉辫;鈥擵akrokti-箩墨惫颈迟补 (of Kuntaka) 3.33.

顿补峁囜笉颈苍 also recognises 补迟颈艣补测辞办迟颈 as the best of 补濒补峁僰腻谤补s.

He regards the figure as an expression of a particular thing which surpasses the limits of day-to-day usage鈥�

vivak峁Ｄ亂膩惫颈艣别峁�asya lokas墨m膩tivartin墨/
as膩v补迟颈艣补测辞办迟颈岣� sy膩t ala峁僰膩rottam膩yath膩//
&苍产蝉辫;&苍产蝉辫;鈥擪膩vy膩dar艣a (of 顿补峁囜笉颈苍) 2.214.

顿补峁囜笉颈苍 also asserts that this figure is honoured by all masters of speech as the ultimate figure鈥�

ala峁僰膩r膩ntar膩峁嚹乵apyekam膩hu岣� par膩ya峁嘺m/
惫腻驳墨艣补尘补丑颈迟腻尘耻办迟颈尘颈尘腻尘补迟颈艣补测腻丑惫补测腻尘//
&苍产蝉辫;&苍产蝉辫;鈥擪膩vy膩dar艣a (of 顿补峁囜笉颈苍) 2.220.

The same notion about the figure has been adopted by Hemacandra.

He even includes figures like 蝉腻尘腻苍测补, 尘墨濒颈迟补, 别办腻惫补濒墨, 苍颈诲补谤艣补苍腻 and 惫颈艣别峁�a in the broad sphere of 补迟颈艣补测辞办迟颈鈥�

eva峁僾idha峁� ca sarvatra vi峁�aye'ti艣ayoktireva pr膩峁嘺tven膩vati峁ａ弓hate / t膩峁� 惫颈苍腻 pr膩ye峁嚹乴a峁卥ara峁嘺tv膩yog膩diti na 蝉腻尘腻苍测补尘墨濒颈迟补ik膩val墨苍颈诲补谤艣补苍腻vi艣e峁Ｄ乨yala峁卥腻谤辞辫补ny膩sa岣� 艣rey膩n /
&苍产蝉辫;&苍产蝉辫;鈥擪膩vy膩nu艣膩sana (of Hemacandra) 6.11. 惫峁泃迟颈.

鲍诲产丑补峁璦 has followed the definition of 叠丑腻尘补丑补 very closely^[1] while Bhoja quotes the definition of 顿补峁囜笉颈苍 in verbatim. He also quotes another verse of 顿补峁囜笉颈苍 (K膩vy膩dar艣a (of 顿补峁囜笉颈苍) 2.220.) to emphasise the importance of the figure. Bhoja further adds that this figure involves only 驳耻峁嘺蝉 and 办谤颈测腻蝉 and not dravyas and 箩腻迟颈蝉^[2] .

痴腻尘补苍补 has also defined 补迟颈艣补测辞办迟颈 in a general and broad sense鈥�

蝉补峁僢丑腻惫测补诲丑补谤尘补迟补诲耻迟办补谤峁�a办补濒辫补苍腻迟颈艣补测辞办迟颈岣�/
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测腻濒补峁僰腻谤补s奴tra惫峁泃迟颈 (of 痴腻尘补苍补) 4.3.10.

鈥擶hen an assumption of some imaginary property or superior excellence of property is made, the figure is called 补迟颈艣补测辞办迟颈.

He illustrates the figure as鈥�

ubhau yadi vyomni 辫峁泃丑补办 patet膩m膩k膩艣aga峁単膩payasa岣� prav膩hau/
tenopam墨yate tam膩lan墨lam膩muktamukt膩latamasya 惫补办峁�a岣�//
  鈥敯�腻惫测腻濒补峁僰腻谤补s奴tra惫峁泃迟颈 (of 痴腻尘补苍补) 4.3.10. 惫峁泃迟颈.

鈥擨f in the sky there could appear two concurrent streams of the celestial Ganges, then that could be compared to his blue chest embellished with the pearl necklace.

Here the imaginary concurrent streams of the celestial Ganges have been assumed as property with the specific purpose of indicating that nothing existing can be regarded as similar to the object compared (the chest). The whole process thus points out the supreme excellence of the chest.

The 碍腻尘补诲丑别苍耻 commentator has clearly explained the existence of the first type of 补迟颈艣补测辞办迟颈 (补迟颈艣补测辞办迟颈 by means of 蝉补峁僢丑腻惫测补诲丑补谤尘补办补濒辫补苍腻) in this verse鈥�

yadi 迟补迟丑腻惫颈诲丑补峁� vyoma sambh膩vyeta tadev膩muktamukt膩phalasy a vak峁�asa
耻辫补尘腻苍补峁� bhavet na punaranyat ki帽cidity补迟颈艣补测补syokter补迟颈艣补测辞办迟颈岣�/
  鈥�碍腻尘补诲丑别苍耻, 碍腻惫测腻濒补峁僰腻谤补s奴tra惫峁泃迟颈 (of 痴腻尘补苍补) 4.3.10.

The example of the second type of 补迟颈艣补测辞办迟颈 (补迟颈艣补测辞办迟颈 by means of 耻迟办补谤峁�a办补濒辫补苍腻) is as follows鈥�

尘补濒补测补箩补谤补蝉补惫颈濒颈辫迟补迟补谤补迟补苍耻苍补惫补丑腻谤补濒补迟腻惫颈产丑奴峁�i迟腻岣�
sitataradantapatrak峁泃avaktraruco rucir膩mal膩峁兣泆k膩岣�/
艣a艣abh峁泃ivitatadh膩mni dhavalayati dhar膩mavibh膩vyat膩峁� gat膩岣�
priyavasati峁� pray膩nti sukhameva nirastabhiyo'bhis膩rik膩岣�//
  鈥敯�腻惫测腻濒补峁僰腻谤补s奴tra惫峁泃迟颈 (of 痴腻尘补苍补) 4.3.10.

鈥擳he bright shining moon-light has whitened the earth and thus the lovely ladies with their bodies covered with sandal-paint, necks shining with pearl necklaces, faces glowing with white teeth and who are wearing white cloths are going to meet their lovers with joy and fearlessness.

Here the superior excellence of the fair complexion of women rendered by sandal-paint etc. has been assumed. The fairness of the women is of such superior excellence that they are not being recognised in the white moon-light.

The 碍腻尘补诲丑别苍耻 commentator thus asserts鈥�

malayajarasanavah膩ralat膩d墨n膩峁� dh膩valyasyotkar峁�o'ti艣aya岣� kalpyate/
y膩vat膩 candrik膩y膩峁� tadvivecan膩k峁�amatva峁� cak峁�usoriti/
  鈥�碍腻尘补诲丑别苍耻. 碍腻惫测腻濒补峁僰腻谤补s奴tra惫峁泃迟颈 (of 痴腻尘补苍补) 4.3.10.

惭补尘尘补峁璦 regards this verse as an example of the figure 蝉腻尘腻苍测补 (碍腻惫测补-辫谤补办腻艣补 10.202, 惫峁泃迟颈).

Vagbhata II^[3] has also defined the figure 补迟颈艣补测辞办迟颈 in its general etymological sense. 搁耻诲谤补峁璦 does not regard 补迟颈艣补测补 as an individual figure but rather treats it as a broad rhetorical parameter under which he has brought twelve figures (K膩vy补濒补峁僰腻谤补 (of Rudra峁���) 9.1-2.). Later rhetoricians have advocated 补诲丑测补惫补蝉腻测补 or 补诲丑测补惫补蝉腻苍补 as an essential feature of the figure. 惭补尘尘补峁璦 is probably the first rhetorician to introduce the concept. He uses the word 鈥�补诲丑测补惫补蝉腻苍补鈥� in the definition of the first kind of 补迟颈艣补测辞办迟颈^[4] . According to him, the 补诲丑测补惫补蝉腻苍补 means the swallowing up of the upameya by the 耻辫补尘腻苍补^[5] . This 补诲丑测补惫补蝉腻苍补 is an extreme state of superimposition. It is different from ordinary 腻谤辞辫补 or imposition where the two objects compared are allowed to retain their distinct nature. But in 补诲丑测补惫补蝉腻苍补, the upameya is completely dominated by the 耻辫补尘腻苍补.

Ruyyaka classifies 补诲丑测补惫补蝉腻测补 into two types鈥�蝉腻诲丑测补 and siddha.  In the 蝉腻诲丑测补 补诲丑测补惫补蝉腻测补 the process of swallowing up of the upameya by the 耻辫补尘腻苍补 does not reach its final or settled point. The action or quality which is the basis of this process seems to be continuing in the case of 蝉腻诲丑测补 补诲丑测补惫补蝉腻测补. But in siddha 补诲丑测补惫补蝉腻测补, the process of absorption of the upameya by the 耻辫补尘腻苍补 is completed and finally settled^[6] . The 蝉腻诲丑测补 补诲丑测补惫补蝉腻测补 is the basic feature of the figure 耻迟辫谤别办峁Ｄ� while the siddha 补诲丑测补惫补蝉腻测补 is the basis of the figure 补迟颈艣补测辞办迟颈. Ruyyaka clearly states that in 补迟颈艣补测辞办迟颈 the upameya or 惫颈峁�a测补 must be submerged by the 耻辫补尘腻苍补 or 惫颈峁�a测墨 and it should not have any prominent role in the figure^[7] .

As far as determining the sub -divisions or varieties of the figure are concerned, 叠丑腻尘补丑补 and 顿补峁囜笉颈苍 have made no attempts in this regard. 痴腻尘补苍补, as mentioned earlier, has put forth two basic varieties of the figure based on 蝉补峁僢丑腻惫测补诲丑补谤尘补办补濒辫补苍腻 and 耻迟办补谤峁�a办补濒辫补苍腻 respectively.

鲍诲产丑补峁璦 is the first rhetorician to classify the figure into four types鈥�

i) bhede'nanyatvam (imposing similarity where there is difference in reality),

ii) anyatra 苍腻苍腻迟惫补尘 (imagining difference where there is sameness in reality),

iii) 蝉补峁僢丑腻惫测补尘腻苍腻谤迟丑补苍颈产补苍诲丑补岣� (describing a thing which is really impossible),

iv) k膩ryak膩ra峁嘺yo岣� paurv膩paryaviparyayat yatra 膩艣ubh膩va峁� sam膩lambya badhyate (the reversal of cause and effect in order to show the promptness of effect)^[8] .

惭补尘尘补峁璦 has also furnished four varieties of the figure in a much more precise manner^[9] . The first two varieties of the figure mentioned by 鲍诲产丑补峁璦 can be included in the second variety of the figure admitted by 惭补尘尘补峁璦 while the third and fourth variet ies correspond to the same varieties of Mamma峁���. Ruyyaka has widened the sphere of 补诲丑测补惫补蝉腻测补 by defining the figure 补迟颈艣补测辞办迟颈 in terms of 补诲丑测补惫补蝉腻测补. He furnishes five varieties of the figure^[10] and puts forth 补诲丑测补惫补蝉腻测补 as common feature in all of them.

痴颈诲测腻诲丑补谤补 (Ek膩val墨 (of 痴颈诲测腻诲丑补谤补) 8.13 & 8.37.), 痴颈诲测腻苍腻迟丑补 (Prat膩parudraya艣obh奴峁�a峁嘺 (of 痴颈诲测腻苍腻迟丑补) Chapter-VIII, p-396.) and 痴颈艣惫补苍腻迟丑补 (10.46.) have followed the foot-steps of Ruyyaka in the treatment of the figure. Hemcandra, though admitting some of the popular varieties of the figure, has omitted 补诲丑测补惫补蝉腻测补 as an essential feature of it^[11] . 闯补驳补苍苍腻迟丑补 replaces the word 补诲丑测补惫补蝉腻测补 with 补迟颈艣补测补 in his definition of the figure^[12] . He thus combines the etymological approach relating to the figure 补迟颈艣补测辞办迟颈 of ancient rhetoricians and the relatively newer concept of 补诲丑测补惫补蝉腻测补 in his treatment of the figure.

Bhoja mentions several variations of the figure like:

1. 尘补丑补迟迟惫腻迟颈艣补测补,
2. 迟补苍耻迟惫腻迟颈艣补测补,
3. 办腻苍迟测腻迟颈艣补测补,
4. 辫谤补产丑腻惫腻迟颈艣补测补 and
5. 补苍耻产丑腻惫腻迟颈艣补测补.

And illustrates a few of them with the example verses furnished by 顿补峁囜笉颈苍 as examples of the figure.

Jayadeva and Appayya D墨k峁Ｄ玹a put forth six varieties of the figure鈥�

1. 补办谤补尘腻迟颈艣补测辞办迟颈,
2. 补迟测补苍迟腻迟颈艣补测辞办迟颈,
3. 肠补辫补濒腻迟颈艣补测辞办迟颈,
4. 蝉补尘产补苍诲丑腻迟颈艣补测辞办迟颈,
5. 产丑别诲补办腻迟颈艣补测辞办迟颈 and
6. 谤奴辫补办腻迟颈艣补测辞办迟颈.

[Cf. 颁补苍诲谤腻濒辞办补 (of Jayadeva) 5.41-46 & Kuvalay膩nanda (of Appayyad墨k峁Ｄ玹a) 36-43]

From the different doctrines of Sanskrit rhetoricians we can sketch out the following general features of the figure 补迟颈艣补测辞办迟颈鈥�

i) 础迟颈艣补测辞办迟颈 is basically a heightened or hyperbolic mode of expression.

ii) It surpasses the ordinary or common perception of people and thus can be regarded as the very foundation of all figures of speech.

iii) Rhetoricians like Mamma峁�膩have advocated 补诲丑测补惫补蝉腻测补 or 补诲丑测补惫补蝉腻苍补 as an essential feature of the figure.

iv) This 补诲丑测补惫补蝉腻苍补 means the swallowing up of the upameya by the 耻辫补尘腻苍补.

v) Several varieties of the figure have been mentioned by Sanskrit rhetoricians.

痴腻尘补苍补 has treated the figure 补迟颈艣补测辞办迟颈 in accordance to his predecessors 叠丑腻尘补丑补 and 顿补峁囜笉颈苍 but he has not rendered such great importance to the figure as his predecessors have. Again, he gives a two -fold sub-division of the figure which has probably helped later rhetoricians like Mamma峁�膩and Ruyyaka to develop several varieties of the figure.

Footnotes and references:

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[1]:

nimittato yattu vaco lok膩tikr膩ntagocaram/
manyate'ti艣ayokti峁� t膩m补濒补峁僰腻谤补tay膩budh膩岣� //
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测腻濒补峁僰腻谤补s膩rasa峁僩raha (of Udbha峁���) 2.11.

[2]:

s膩ca pr膩yo gu峁嚹乶膩峁� ca kriy膩n膩峁� copakalpyate/
na hi dravyasya j膩terv膩bhavaty补迟颈艣补测补岣� kvacit//
&苍产蝉辫;&苍产蝉辫;鈥�厂补谤补蝉惫补迟墨-办补峁囜弓丑腻产丑补谤补峁嘺 (of Bhoja) 4.82.

[3]:

atyuktir补迟颈艣补测辞办迟颈岣�/
&苍产蝉辫;&苍产蝉辫;鈥擪膩vy膩nu艣膩sana (of V膩gbha峁��� II) Chapter-III, p-37.

[4]:

nig墨ry膩dhyavas膩na峁� tu prak峁泃asya pare峁嘺 yat/
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测��-辫谤补办腻艣补 (of 惭补尘尘补峁璦) 10.153.

[5]:

upam膩nen膩ntarn墨gir峁嘺syopameyasya yad补诲丑测补惫补蝉腻苍补峁� saik膩/
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测��-辫谤补办腻艣补 (of 惭补尘尘补峁璦) 10.153. 惫峁泃迟颈.

[6]:

惫颈峁�a测补nigara峁噀n膩bhedapratipattirvi峁�ayi峁噊'dhyavas膩ya岣�/ sa ca dvividh-a岣�-蝉腻诲丑测补岣� siddha艣ca / s膩dhyo yatra vi峁�ayi峁噊'satyatay膩prat墨ti岣� / ... yasy膩satyatva峁� t asya satyatvaprat墨t膩v补诲丑测补惫补蝉腻测补岣� 蝉腻诲丑测补岣� / ata艣ca vy膩p膩rapr膩dh膩nya峁� siddho yatra vi峁�ayi峁噊 vastuto'satyasy膩pi satyat膩prat墨ti岣�/
&苍产蝉辫;&苍产蝉辫;鈥擜la峁僰膩rasarvasva (of Ruyyaka) p-56.

[7]:

惫颈峁�a测补pr膩dh膩nyamadhyavas膩ye naiva sa峁僢havati / adhyavasitapr膩dh膩nyaiv膩ti艣ayokti岣�/
&苍产蝉辫;&苍产蝉辫;鈥擜la峁僰膩rasarvasva (of Ruyyaka) p-65.

[8]:

bhedenanyatvamanyatra n膩n膩tva峁� yatra badhyate/
迟补迟丑腻蝉补尘产丑补惫测补尘腻苍腻谤迟丑补苍颈产补苍诲丑别'迟颈艣补测辞办迟颈驳墨岣�//
k膩ryak膩ra峁嘺yoryatra paurv膩paryaviparyay膩t/
膩艣ubh膩va峁� sam膩lambya badhyate so'pi 辫奴谤惫补惫补迟//
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测腻濒补峁僰腻谤补s膩rasa峁僩raha (of Udbha峁���) 2.12-13.

[9]:

nig墨ry膩dhyavas膩na峁� tu prak峁泃asya pare峁嘺 yat/
prastutasya yadanyatva峁� yadyarthoktau ca kalpanam//
k膩ryak膩ra峁嘺yo艣ca paurv膩paryaviparyaya岣�/
vij帽ey膩ti艣ayokti岣� s膩//
&苍产蝉辫;&苍产蝉辫;鈥敯�腻惫测��-辫谤补办腻艣补 (of 惭补尘尘补峁璦) 10.153.

[10]:

补蝉测腻艣肠补 辫补帽肠补 产丑别诲腻岣�-产丑别诲别'产丑别诲补岣�/abhede 产丑别诲补岣� / sa峁僢andhe'蝉补峁僢补苍诲丑补岣�/ asa峁僢andhe 蝉补峁僢补苍诲丑补岣� / k膩ryak膩ra峁嘺paurv膩paryavidhva峁僺a艣ca/
&苍产蝉辫;&苍产蝉辫;鈥擜la峁僰膩rasarvasva (of Ruyyaka) pp-65-66.

[11]:

惫颈艣别峁�avivak峁�aya bhed膩bhedayog膩yogavyatyayo'ti艣ayokti岣�/
&苍产蝉辫;&苍产蝉辫;鈥擪膩vy膩nu艣膩sana (of Hemacandra) 6.20.

[12]:

vi峁�ayi峁嘺 惫颈峁�a测补sya nigaranam补迟颈艣补测补岣�/ tasyokti岣�/
&苍产蝉辫;&苍产蝉辫;鈥�Rasa-驳补峁単腻诲丑补谤补 (of 闯补驳补苍苍腻迟丑补) Chapter-II, p-307.