Handbook of Classical Sanskrit Rhetoric /61

Atiśayokti: Hyperbole
 

 
is a statement per excellence about the qualities or actions of

objects in a refined way and it is one of the artistic refinements of

language. Most of the rhetors have recognised the present figure

by the name Atiśayokti while a few (like Jayadeva and Appayya

called Atisśaya or Atyukti. Ātyantātiśayokti and Ākramātiśayokti are not

different from Atiśayokti:
 

 
Two broad divisions of this figure are as follows:
 

 
(i) one based on the idea of similitude and
 

 
(ii)
 
the other based on the sequence of cause-and-effect

relation.
 

 
There are five subdivisions of these two classes mentioned
 
There
 
above:
 

 
(i)
 
denial of difference (bheda) between the two when

there is acutal difference,
 

 
(ii) statement of difference even when there is no differ-

ence,
 

 
(iii) vice versa and
 

 
(iv)
 
reverse of the cause-and-effect order
 

 
eg 1. sahādhara-dalenāsyā/yauvane rāgabhāk priyaḥ

सहाधरदलेनास्या / यौवने रागभाक् प्रियः ।
 

 
By the passion of love her young lover is tinged afresh

Along with her petal lips crimsoned in youthfulness.
 
5
 

 
Here the poet states how the lover has become attracted to the

youthful charms of the beloved girl. The word raga meaning attach-

ment and redness is applicable to both the young lover as well as the

crimson petal-lips of the youthful maiden. So the statement is

based on similitude and it is a denial of difference between the two

(ie the lover and the lips) when there is actual difference.
 

 
2. asyāḥ sargavidhau prjāpatir abhūccandro nu kāntipradaḥ

śrngaāraikarasaḥ svayam nu madano maso nu pusāso nu puṣpākaraḥ.
vedābhya
vedābhyāsa-jaḍaḥ katham nu vişṣaya-vyāvṛtta-kautūhalo
nirmātum
nirmātuṃ prabhaven manoharam idam rūpamṃ purāṇo muniḥ.

अस्याः सर्गविधौ प्रजापतिरभूच्चन्द्रो नु कान्तिप्रदः

शृंगारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः ।
 
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UNIVERSITY OF MICHIGAN