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stated, then it is the Upameya that assumes one-ness with the Upamāna and not the other way around. This naturally excludes examples like Ayurgratam which rest on causal relations and not likeness.
Hemachandra observes that total identity (absence of any Bheda) of the Upameya and Upamāna leads to Atisayokti (VI.10).
In the first kind of Atisayokti, with a view to describing the object of comparison in a picturesque way, the poet resorts to exaggeration (i.e., obliteration of difference) and deliberately conceals the real difference between two objects. But in the second kind of Atiśayokti difference is shown where there is really identification.
Thus Hemachandra connects Rūpaka and Atiśayokti on the principle of identification. 175
Nidarśanā of Hemachandra (VI. 6), defined as an illustration (Dṛṣṭanta) that serves to corroborate the matter in hand, which may be general or particular, is comprehensive enough to comprehend within itself not only Nidarśanā but also Dṛṣṭānta, Prativastūpamā and Arthāntaranyāsa (which is separately defined). Hemachandra, however, defends his views by citing a quotation (151) which defines Nidarśana as involving 'the corroboration of a general or particular statement by (only) a particular one' and in Arthantaranyasa as "containing a corroboration of a particular proposal by a General one." This is the distinction that we should bear in mind, according to the viveka-tikā (p. 353). Hence Arthantaranyasa, logically belonging here, is treated of separately on the basis of a very thin difference.
Mammata's Nidarśana (K.P. X.97) is an unlikely connection (between objects) which leads to the idea of similarity. But his Nidarśana or illustration is exemplification only. It may be noted that Mammata's instance of Prativastūpamā is cited here (v. 550) under Nidarśana. And Hemachandra takes up this matter in the Viveka commentary (p. 354) for further discussion. He points out that it is not proper to treat
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