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
Ang paglalapat ng pamantayang pinaghahambingan (pratiyogin) at pagbanggit sa bagay na inihahambing (upameya) na tila hindi naiiba rito—ito ang “mohopamā”; isang pahayag na may sangkot na sinadyang ilusyon o maling pagkilala.
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.