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to the point of making them invisible in the moonlight: "Wearing
garlands of white jasmine and clothes of linen, their limbs moist
with sandal paste, the trysting ladies are hidden in the moonlight").
(4) "Pardon, once more; if you are going to load anything more
onto that statement, you want to get a couple of lighters and tow the
rest, because it's drawing all the water there is in the river already:
stick to facts... "(Mark Twain; the "weight" of the statement is
exaggerated to the point of threatening the seaworthiness of the
river packet). (5) Many types of upamā are based upon exaggerations
of the common property of one sort or another; these distortions
are, however, all subservient to the end of comparison: in hyperbole
there is no end other than the magnification of the subject itself.
Similarly, in utprekṣā, an attribute is figuratively associated with a
subject, but the distortion lies in that unlikely association, not in
the representation of the attribute itself. In hyperbole, the attribute
in its literal form should be naturally inherent in the given subject;
it is only its unworldly (lokâtikrāntagocara) or preposterous exten-
sion that makes it figurative.
Different writers have distinguished different characteristic ex-
aggerations. The most common (Bhāmaha, Daṇḍin, Vāmana,
Udbhața) is that of two objects in the presence of one another being
made indistinguishable by the property which both share (cf.
adhyavasāna). Daṇḍin recognizes the exaggeration of size to the
point of ultimate smallness (samśaya), as well as ultimate greatness
(ādhikya). Udbhața and Mammața allow the inversion of the first
type, where the same subject is considered multiple because of differ-
ent qualities (cf. nānātva). In addition, three types are based upon
a figurative transference of an attribute from one subject to another
(cf. sambhāvyamānârtha) and are distinguishable only with great
subtlety from other figures variously defined. Lastly, there is ex-
aggeration of a quality by attributing to it the nature of a cause in
respect of its own cause (kāryakāraṇapaurvâparyavīparyaya).
adhyavasāna, 'determination': (1) a type of atiśayôkti in which one thing
is characterized as another so as to exaggerate a quality which they
in some degree share. (2) M 153. (3) kamalam anambhasi kamale ca
kuvalaye tāni kanakalatikāyām । sā ca sukumārasubhagêty utpātapa-
ramparā kêyam (Mammaţa: "A lotus grows where no water is;
on this lotus are two buds; and the lotus with its buds grows on a
golden vine: Who can she be, this concatenation of wonders? Call
her fortunate and lovely"). (4) "She seemed to belong rightly to a
garlands of white jasmine and clothes of linen, their limbs moist
with sandal paste, the trysting ladies are hidden in the moonlight").
(4) "Pardon, once more; if you are going to load anything more
onto that statement, you want to get a couple of lighters and tow the
rest, because it's drawing all the water there is in the river already:
stick to facts... "(Mark Twain; the "weight" of the statement is
exaggerated to the point of threatening the seaworthiness of the
river packet). (5) Many types of upamā are based upon exaggerations
of the common property of one sort or another; these distortions
are, however, all subservient to the end of comparison: in hyperbole
there is no end other than the magnification of the subject itself.
Similarly, in utprekṣā, an attribute is figuratively associated with a
subject, but the distortion lies in that unlikely association, not in
the representation of the attribute itself. In hyperbole, the attribute
in its literal form should be naturally inherent in the given subject;
it is only its unworldly (lokâtikrāntagocara) or preposterous exten-
sion that makes it figurative.
Different writers have distinguished different characteristic ex-
aggerations. The most common (Bhāmaha, Daṇḍin, Vāmana,
Udbhața) is that of two objects in the presence of one another being
made indistinguishable by the property which both share (cf.
adhyavasāna). Daṇḍin recognizes the exaggeration of size to the
point of ultimate smallness (samśaya), as well as ultimate greatness
(ādhikya). Udbhața and Mammața allow the inversion of the first
type, where the same subject is considered multiple because of differ-
ent qualities (cf. nānātva). In addition, three types are based upon
a figurative transference of an attribute from one subject to another
(cf. sambhāvyamānârtha) and are distinguishable only with great
subtlety from other figures variously defined. Lastly, there is ex-
aggeration of a quality by attributing to it the nature of a cause in
respect of its own cause (kāryakāraṇapaurvâparyavīparyaya).
adhyavasāna, 'determination': (1) a type of atiśayôkti in which one thing
is characterized as another so as to exaggerate a quality which they
in some degree share. (2) M 153. (3) kamalam anambhasi kamale ca
kuvalaye tāni kanakalatikāyām । sā ca sukumārasubhagêty utpātapa-
ramparā kêyam (Mammaţa: "A lotus grows where no water is;
on this lotus are two buds; and the lotus with its buds grows on a
golden vine: Who can she be, this concatenation of wonders? Call
her fortunate and lovely"). (4) "She seemed to belong rightly to a