काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

SECOND PARICCHHEDA 69
infra. Rūpaka is generally rendered in English as
metaphor. In Verses 21 to 24 the author deals with
रूपक. Verse 21 defines रूपक, Verse 22 classifies it
into two, Verse 23 illustrates the first type of रूपक
and Verse 24 illustrates the second type of रूपक. गुणानां
समतां दृष्ट्वा On a consideration of the commonness of
qualities. उपमानेन उपमेयस्य तत्त्वं Identity. यत् रूप्यते तत्
रूपकं. रूपक or metaphor arises where there is complete
identification of Upamāna and Upameya, both be-
ing expressed. Rūpaka is so called, because the रूप or
colour or the form of the उपमान is ascribed to the
उपमेय. The colour of Upamāna is fully imparted to
the Upameya. Upameya shines in the colours of
Upamāna. मुखचन्द्रः is a typical example of रूपक. मुखमेव
चन्द्रः मुखचन्द्रः The moon in the form of the face. Com-
pound words setting out a रूपक or रूपकसमासs as they
are called, fall under the मयूरव्यंसकादि group sanc-
tioned by Pāṇini. The essence of Rūpaka is आरोप as
distinguished from अध्यवसान which is of the essence
of अतिशयोक्ति. आरोप is the identification of the Upa-
meya with an Upamāna without the Upameya being
eclipsed by the Upamāna. विषयिणा अनिगीर्णस्य विषयस्य तेनैव
सह तादात्म्यप्रतीतिः आरोपः. अध्यवसान is the identification of
the Upameya with an Upamāna which completely
eclipses the Upameya. निगीर्णस्य पुनर्विषयस्य अन्यतादात्म्य-
प्रतीतिः अध्यवसायः. To express the same idea in simpler
language, in Rūpaka the Upameya will be express-
ed. In Atiśayokti it merges into the Upamāna ;