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Handbook of Classical Sanskrit Rhetoric / 25 Image 25 of 262 (Page xiii)

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It is Ruyyaka who for the first time, gives a scientific classifica-
tion of all these three categories of figures mentioned above under
the following broad divisions :

1. figures of sound based on the art of repetitive pattern --
a) repetition of sense (such as punar-ukta-vadābhāsa),
b) repetition of consonants (such as cheka and vṛtti vari-
eties of anuprāsa),
c) repetition of both vowels and consonants (such as
yamaka),
d) repetition of both word and meaning (such as lāta vari-
ety of anuprāsa),
e) repetition of conjunct consonants giving various shapes
or figures (such as citra-bandhas);

2. figures of sense based on the art of mutual similitude --
a) based on both similitude and dissimilitude (such as
upamā, ananvaya, upameyopamā and smaraṇa),
b) based on strong likeness (such as rūpaka, pariņāma,
bhrāntimān, ullekha, apahnuti etc.), such likeness occurs
due to āropa or super-imposition,
c) based on likeness (such as utprekṣā and atiśayokti) which
occurs due to adhyavasāya or introsusception,
d) based on similitude not denoted but suggested (such as
tulyayogitā, dīpaka, prati-vastūpamā, dṛṣṭānta and
nidarśanā),
e) based on strong difference (such as vyatireka, virodha);

3. based on mutual attributes --
a) based on similitude brought about by attributive words
(such as samāsokti),
b) based on close similitude drawn by adjectival and nomi-
nal words (such as rūpaka based on paronomasia),
c) based on suggestive sense (such as ākṣepa, paryāyokti
and vyājastuti);

4. based on art of contradiction --
a) based on plain contradiction (such as virodha),

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