Handbook of Classical Sanskrit Rhetoric /26

b) based on contradiction of cause-and-effect (such as vib-
hāvanā and atiśayokti),
c) based on mixiv
 
A Handbook of Classical Sanskrit Rhetoric
 
b) based on contradiction of causeed contradiction (such as asangati,
vișama, vicitra and vyāghāṭa),
d) based on reciprocal contradiction due to mutual rela-and-effect
tion,
e) based on mutual contradiction (such as vib
hāvanā and atiśayokti),
 
c) based on mixed contradiction (such as asangati,
vișama, vicitra and vyāghāṭa),
 
d) based on reciprocal contradiction due to mutual rela-
tion,
 
e) based on mutual contradiction (such as anyonya);
 
-
 

 
5. figures based on the artistic device of logical relationship -
-
a) based on pure logic (such as parisamṃkhyā and vikalpa),

b) based on artistic logic (such as samuccaya and samadhi),
ādhi),
c) based on common-sense logic (such as atadguṇa,

pratyanika, pratīka, mpratīka, mīlita and tadguṇa);
 

 
6. figures of sense based on artistic refinement of extra-ordi-

nary or suggestive meaning -
 
-
a) based purely on suggestion (such as vyājokti, vakrokti

and svabhāvokti),
 
b)
 

b) based on extra-ordinary but clear sense (such as

bhāvika),
 

c) based on the merit of suggestive meaning (such as

udātta);
 

 
7. figures based on meaning expressing psychological reactions

through different kinds of sentiments and feelings like love,

pathos, valour, joy, hatred etc. (such as rasavat, preyas, urjasvi,

samāhita, bhāvodaya, bhāvasandhi, bhāva-śavalatā);
 

 
8. mixed figures based on sound and sense dependently or

independently (ie samṃkara and samṃsṛṣṭi)
 
--
a) figures of sound mixed together,
 

b) figures of sense mixed together,
 

c) figures of sound and sense mixed together.
 

 
But Rudratṭa, in his Kāvyālamṃkāra, classifies the figures of sense

in his own novel method. He analyses them in the following four

broad groups:
 

1. figures based on objective relation (sahokti, samuccaya,

jāti, yathāsamṃkhya, anumāna, bhāva, paryāya, viṣama, any-
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