2'2 1 The tenth Booh of the Sáhilya Darpana. [No. 3, 



This is produced by the use of the word, ' with,' or any equivalent 

 phrase, in connection with the exaggeration which is the especial 

 object of Atis'ayokti itself. The last instance in the first class of the 

 Sáhitya Darpana, (" The lover also had raga &c"), is thus an example 

 of the two figures combined. We have an example of Sahokti in 

 Byron's Giaour : 



For courtesy and pity died 



With Hasan on the mouutain-side. 



To illustrate the subject further, I add a translation of the account 

 of Atis'ayokti given in the tenth section of the Kávya Prakás'a, — 

 an older treatise on rhetoric compiled by Mammata Áchárya, a Cash- 

 mirian Brahmán, about five centuries ago. 



" Where the original topic is lost and swallowed up m something 

 else, — where the original subject is viewed as itself changed, — where 

 there is an artificial supposition by the forcé of'ú or its equivalente — 

 and tühere there is a contradiction of the prior it y and posteriority of 

 cause and effect, — in thesefour cases zue rnust recognise Atis'ayokti" 



a. The first kind is where the subject of comparison is swallowed 

 up in the object, as — 



" A lotus but not in the water, and two blue lotuses in that lotus, 

 and the three on a golden creeper ; — and the creeper itself tender 

 and dear ! what a series of portents is this !" 



Here the face, the eyes, and the form are swallowed up in the lotus, 

 the blue lotuses and the creeper. 



b. The second is where the original is lost by apparently becoming 

 something else, as, 



" Her beauty is something quite diíferent, the aspect of her form is 

 quite extraordinary ; this S'yámá was not the work of a common 

 Prajápati."* 



* The Prákrit of these lines is obscure, 



^tá ^^tHüW ^$t ÍV^ sjrT*; ^^^T^T I 



(The metre is Aryá.) The Schol. thus explains theni ^^Sf^r^Wí*^ ^flfa 

 T?3T fíJ^q | The S'yámá is teohnically defined thus ^^ ^iT^^^Í" íft ¿Ñfí <3 



