In Thai classical literature there is a kind of description used in portraying love scenes. Disguised in expressions of double meaning, these passages are, at the same time, rather risqué. The portrayal is called ‘miracle scene’ after the word ‘āscarya’ (miracle) at the beginning if each passage. The literary device in the description is somewhat similar to the Sanskrit alajkāra, ‘samāsokti’ in which a second meaning is understood because of the epithets common to both meanings. 

The paper is an attempt to trace this device in Thai literary convention, gleaning insight from the passage in the masterpieces of different periods. The linkage with the Sanskrit figure of speech (alajkāra) is also analyzed on an assumption that poetry in any language shares the same purpose in literary wit: to present tasteless passion in a refined depiction.