Rhetoricians, in defining the figure of Syllepsis, have primarily focused on the lexical features of the mustakhdem, viewing it as a term possessing two meanings —real or metaphorical— that correspond to at least two other words within the sentence. With each of these, the mustakhdem adopts a distinct interpretation, such that, without accounting for both meanings, the sentence suffers from semantic and conceptual deficiency. In a previous study, it was demonstrated that classical scholars had overlooked a subtle point: at times, the two meanings aligned with the mustakhdem may be intricately interwoven within a single phrase or compound through a form of ambiguity, producing a refined rhetorical device known as “Developed Syllepsis.” In the present article, we have uncovered yet another variation of this figure, exemplified in the prose of Nafthat al-Masḍūr. Here, too, the meanings associated with the mustakhdem converge within a single word; however, in contrast to the previous form, the literal and figurative senses of that word stand in dynamic interplay with the multiple meanings of the mustakhdem itself. This yields a more intricate form of the figure, which we have termed “Real–Figurative Syllepsis.” Naturally, due to the brevity and density of such expressions, both Developed Syllepsis and Real–Figurative Syllepsis possess greater literary value than other types of this figure, offering the reader a higher level of rhetorical sophistication. Using a descriptive–analytical method, this study identifies and explicates all instances of Real–Figurative syllepsis employed in Nafthat al-Masdūr.