Agni Purana — Sahitya-shastra, Shloka 17
Arthālaṅkāras (Ornaments of Meaning): Definitions, Taxonomy, and the Centrality of Upamā
प्रतियोगिनमारोप्य तदभेदेन कीर्तनम् उपमेयस्य सा मोहोपमासौ भ्रान्तिमद्वचः
pratiyoginamāropya tadabhedena kīrtanam upameyasya sā mohopamāsau bhrāntimadvacaḥ
Superponer el término patrón de comparación (pratiyogin) y describir el objeto comparado (upameya) como no diferente de él: esto se llama “mohopamā”; es un enunciado que implica ilusión o cognición errónea (deliberada).
Lord Agni (traditional Agni Purana narration to Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Philosophy","practical_application":"Craft mohopamā by stating identity (abheda) between upameya and upamāna to create deliberate illusion—useful for portraying enchantment, intoxication, love-delusion, or magical scenes.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Mohopamā (Illusory/Delusive Simile)","lookup_keywords":["mohopamā","bhrāntimat","abheda-kīrtana","pratiyogin-āropa","upameya"],"quick_summary":"A simile where the comparator is superimposed and the upameya is described as non-different from it, producing a deliberate illusion (bhrānti) in expression."}
Alamkara Type: Upamā (Mohopamā subtype; overlaps with Bhrāntimān/Bhrāntimat alaṅkāra in some traditions)
Concept: Distinction between empirical truth and aesthetic truth: kāvya may intentionally generate bhrānti for rasa without committing logical error in its own domain.
Application: Signal moha through diction (abheda phrasing), context cues, and controlled ambiguity so the audience enjoys illusion rather than confusion.
Khanda Section: Sahitya-shastra (Alankara-shastra / Kavya-nyaya)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"The upameya is portrayed as if identical to the comparator—two forms visually merging, creating a deliberate illusion where the viewer momentarily ‘misrecognizes’ the subject as the standard of comparison.","kerala_mural_prompt":"Kerala mural, two figures (upameya and upamāna) blending into one silhouette, swirling māyā-like cloud motifs, expressive eyes suggesting moha, saturated reds and greens, traditional borders","tanjore_prompt":"Tanjore style, single central figure with dual attributes (identity illusion), gold-leaf aura, ornate jewelry, subtle doubling effect in outline to suggest abheda-kīrtana","mysore_prompt":"Mysore painting, didactic composition: left label ‘upamāna’, right label ‘upameya’, center shows merged identity, fine linework, calm palette, classroom-like clarity","mughal_miniature_prompt":"Mughal miniature, refined scene of a lover or enchanted observer mistaking one for another, delicate facial expressions, layered textiles, illusion conveyed through mirrored poses"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Kafi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: प्रतियोगिनमारोप्य = प्रतियोगिनम् + आरोप्य; तदभेदेन = तद् + अभेदेन; मोहोपमा = मोह + उपमा; भ्रान्तिमद्वचः = भ्रान्तिमत् + वचः.
Related Themes: Agni Purana 343 (Upamā classifications around moha/bhrānti)
FAQs
It imparts kavya-vidya (Sanskrit poetics): the technical definition of mohopamā, where the upameya is described as identical to the object of comparison through deliberate superimposition.
By cataloging and defining a specific alankara (figure of speech) with precise terminology (upameya, pratiyogin, bhrānti), the Agni Purana functions as a compendium that includes not only ritual and dharma but also systematic literary theory.
Its primary purpose is aesthetic and pedagogical rather than ritual; it refines truthful, disciplined expression in sacred and learned discourse, supporting clarity of understanding and right knowledge (samyag-jñāna) through knowing how poetic “illusion” is intentionally crafted.