Handbook of Classical Sanskrit Rhetoric /79

object of description appears, as if, unreal. Apahnutiḥ is mainly
twofold:
 
(i) attribution through concealment and
(ii) concealment through attribution
 
Concealment
 
comes after or before the upamana (the object of description appears
comparison) is established and such concealment is made in order
to give prominence to the object of comparison, as if, unrealwhich is closely
similar to the object compared to it.
 
Apahnuti is mainly
tnother variety of this figure is also recognised in such cases
wofold:
 
(i) attribution through concealment and
 
(ii) concealment through attribution
 
Concealment comes after or before the upamana (the object of
comparison) is established and such concealment is made in order
to gihere something secret (ie not to be reve prominence to the object of comparison,aled explicitly) is
expressed in a different which is closely
similar to the object compared to it.
 
Another variety of this figure is also recognised in such cases
where something secret (ie not to be revealed explicitly) is
expressed in a different way through paronomasia (śleșa) or
ṣa) or
extended denotation (lakṣaṇā) or suggestion (dhvani).
 

 
Apahnuti is different from AĀksṣepa (Paraleipsis), Sandeha

(Doubt) or Rūpaka (Metaphor). In AĀkṣepa, the object in hand is

simply concealed; in Sandeha, there is simply doubt but no ascer-

tainment. In Apahnuti, we see denial of what the thing really is as

well as ascertainment of what it really is not. In Rūpaka, there is total

superimposition and no scope of concealment.
 

 
Appayya says that some forms of Apahnuti, according to

Udbhatṭa and others, should be treated as Vyājokti. In Apanhuti, the

two objects (ie the prākaraṇika and the aprākaraṇika or the contex-

tual and the non-contextual) are generally taken as conspicuously

similar; but Daṇḍin thinks that similarity might not be very close

and explains it as something established by anything else. Therefore,

Bhoja makes twofold division of Apanhuti:
 
(i)
 
one based on similitude and
 

(i) one based on similitude and
(ii) other based on non-similitude.
 

 
Hemacandra acknowledges several varieties of it:
 

(i) pure concealment (śuddha)
 
(ii) partial concealment (paryasta)
 
(iii) false concealment (bhränta)
 

(ii) partial concealment (paryasta)
(iii) false concealment (bhrānta)
(iv)
 
artistic or deceitful concealment (kaitava)
 
eg 1.
 
23
 
artistic or deceilful concealment ( nāyaṃ śudāngśuḥ kaitava)
 
nim tarhi?
śudhāyam ngśudāngśuḥ preyasī-mukim tarhi?
 
sudhāngśuḥ preyasi-mukham.
 
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UNIVERSITY OF MICHIGAN