Handbook of Classical Sanskrit Rhetoric /61

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 Atiśaya 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 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.
 
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
śrngāraikarasaḥ svayamṃ nu madano māso nu puṣpākaraḥ.
vedābhyāsa-jaḍaḥ kathamṃ nu viṣaya-vyāvṛtta-kautūhalo
nirmātuṃ prabhaven manoharam idam rūpaṃ purāṇo muniḥ.

अस्याः सर्गविधौ प्रजापतिरभूच्चन्द्रो नु कान्तिप्रदः
शृंगारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः ।