2023-03-29 18:09:56 by ambuda-bot
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GLOSSARY
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madrigal to require viewing through rhyme and harmony"
(Thomas Hardy). (5) Here the speaker is describing the girl as though
she were a lotus, and in Hardy's example, the girl is described as
though she were a song. The point of "indistinguishability" seems
to cross the subtle boundary of conscious rapprochement and, as
such, intrudes upon the domain of samāsôkti, an abbreviated
metaphor in which the subject is not mentioned. I think such cases
must be taken as examples of Mammata's sloppy encyclopedism.
ananyatva, 'identification': (1) a type of atiśayókti in which two qualities
or attributes, though in fact contrary, are considered indistin-
guishable. (2) U 2.12. (3) sa dadarśômām tapastejaḥsphuritayā
nijalāvaṇyasampadā । kṛśām apy akṛśām eva dṛśyamānām asamśayam
(Udbhata; though Umā is emaciated by her fasting, she appears
full blown because of the beauty which her penance imparts: "He
saw Umā ... wasted away but appearing full blown in the wealth of
beauty born of her ascetic power"). (4) "His departure gave Catherine
the first experimental conviction that a loss may sometimes be a
gain" (Jane Austen). (5) In these examples, two qualities are
mentioned; in the Sanskrit example given under atiśayókti, two
objects are "rendered indistinguishable". It would seem that this
latter case is most typical of atiśayokti, given as it is by most of the
writers whether they allow subtypes or not (Bhāmaha, Daṇḍin,
Vāmana, Udbhaţa, Mammața). This figure resembles an exaggerated
simile (cf. catu upamā), but it should be noticed that the qualities
compared here are contraries (kṛśatvam-akṛśatvam, "loss-gain"). The
aspect of similitude is an incidental consequence of a fortiori
premises. One may ask how the present examples differ from rūpaka
(metaphor). First, there can be no metaphorical identification of
qualities; second, metaphor need not be based on the identification
of items somehow contrary.
ādhikya, 'superabundance': (1) a type of atiśayóôkti in which a quality or
attribute is quantitatively exaggerated out of all proportion. (2)
D 2.219. (3) aho višālam bhūpāla bhuvanatritayôdaram । māti mātum
asakyo'pi yaśorāśir yad atra te (Dandin: "The extent of your fame,
itself measureless, comprehends, O King, the prosperity of the three
worlds"). (4) "I will not deceive you; he told me such a monstrous
lie once that it swelled my left ear up, and spread it so that I was
actually not able to see around it; it remained so for months, and
people came miles to see me fan myself with it" (Mark Twain).
(5) Cf. samsaya, where the attribute is minimized out of all propor-
99
madrigal to require viewing through rhyme and harmony"
(Thomas Hardy). (5) Here the speaker is describing the girl as though
she were a lotus, and in Hardy's example, the girl is described as
though she were a song. The point of "indistinguishability" seems
to cross the subtle boundary of conscious rapprochement and, as
such, intrudes upon the domain of samāsôkti, an abbreviated
metaphor in which the subject is not mentioned. I think such cases
must be taken as examples of Mammata's sloppy encyclopedism.
ananyatva, 'identification': (1) a type of atiśayókti in which two qualities
or attributes, though in fact contrary, are considered indistin-
guishable. (2) U 2.12. (3) sa dadarśômām tapastejaḥsphuritayā
nijalāvaṇyasampadā । kṛśām apy akṛśām eva dṛśyamānām asamśayam
(Udbhata; though Umā is emaciated by her fasting, she appears
full blown because of the beauty which her penance imparts: "He
saw Umā ... wasted away but appearing full blown in the wealth of
beauty born of her ascetic power"). (4) "His departure gave Catherine
the first experimental conviction that a loss may sometimes be a
gain" (Jane Austen). (5) In these examples, two qualities are
mentioned; in the Sanskrit example given under atiśayókti, two
objects are "rendered indistinguishable". It would seem that this
latter case is most typical of atiśayokti, given as it is by most of the
writers whether they allow subtypes or not (Bhāmaha, Daṇḍin,
Vāmana, Udbhaţa, Mammața). This figure resembles an exaggerated
simile (cf. catu upamā), but it should be noticed that the qualities
compared here are contraries (kṛśatvam-akṛśatvam, "loss-gain"). The
aspect of similitude is an incidental consequence of a fortiori
premises. One may ask how the present examples differ from rūpaka
(metaphor). First, there can be no metaphorical identification of
qualities; second, metaphor need not be based on the identification
of items somehow contrary.
ādhikya, 'superabundance': (1) a type of atiśayóôkti in which a quality or
attribute is quantitatively exaggerated out of all proportion. (2)
D 2.219. (3) aho višālam bhūpāla bhuvanatritayôdaram । māti mātum
asakyo'pi yaśorāśir yad atra te (Dandin: "The extent of your fame,
itself measureless, comprehends, O King, the prosperity of the three
worlds"). (4) "I will not deceive you; he told me such a monstrous
lie once that it swelled my left ear up, and spread it so that I was
actually not able to see around it; it remained so for months, and
people came miles to see me fan myself with it" (Mark Twain).
(5) Cf. samsaya, where the attribute is minimized out of all propor-