2023-03-29 18:09:56 by ambuda-bot
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repeated, and not verses or verse parts. As stated sub voce, the
critical case is that of lāta anuprāsa. While the concept anuprāsa
itself is subject to little dispute, various writers distinguish different
kinds which are obviously designed to produce different effects on
the ear: one melodious, one effeminate, one vigorous, and so on.
For this reason, the subject of alliteration is closely tied to the dis-
cussion of the different styles (rīti, guna), and various writers
(Dandin, Rudrata) attempt to specify the stylistic limits of the
different alliterations. Mammața attempts to equate style and
alliteration (see vrtti). Ānandavardhana, of course, wants to view
the questions of style and alliteration as attempts, however partial,
by earlier writers to come to grips with the problem of mood (rasa)
and the subordination of all discrete elements in the composition to
it. Despite these extrinsic differences of opinion, the importance of
alliteration in poetry was never questioned, provided that its use
corresponded to the effect desired.
GLOSSARY
upanāgarika (perhaps a Prakrit dialect): (1) a type of alliteration in
which figure prominently clusters of identical stops (kk, tt) and clus-
ters of stops with homorganic nasal preceding (ñk, nt). (2) U 1.5,
M 108. (3) săndrâravindavṛndôtthamakarandâmbubindubhiḥ । syan-
dibhiḥ sundarasyandam nanditêndindirā kvacit (Udbhața: "Some-
where a bumblebee is delighted by the flowing drops of liquid honey
from thick clusters of white lotuses"). (5) Upanagarika resembles
madhura anuprāsa of the Agni Purāņa and Rudrața. The term may
mean "cultured". Cf. grāmya, to which it is opposed.
komala, 'soft': (1) same as grāmya anuprāsa. (2) M 110.
grāmya, 'common': (1) a type of alliteration characterized by the absence
of clusters and the predominance of liquids and nasals. (2) B 2.6,
U 1.6, M 110. (3) kelilolâlimālānām kalaiḥ kolāhalaiḥ kvacit ।
kurvatī kānanárūḍhaśrīnūpuraravabhramam (Udbhata: "Sometimes
accompanied by the soft humming of the bee swarms, playfully
restless, she simulates the maddening sound of the anklets of Sri
wandering in the forest"). (5) Bhāmaha apparently considers this
type defective or vulgar, but the other two authors allow it as one
of the five legitimate types. It is probably to be opposed to upanā-
garika, which may mean 'cultured or citified', as opposed to 'rustic,
villageois'. Compare Bhämaha's example "kim tayā cintayā kānte
nitāntā" with that offered under upanāgarika (which term Bhāmaha
does not use). Mammața calls this figure komala.
cheka, 'clever': (1) a type of alliteration characterized by metathetic
repeated, and not verses or verse parts. As stated sub voce, the
critical case is that of lāta anuprāsa. While the concept anuprāsa
itself is subject to little dispute, various writers distinguish different
kinds which are obviously designed to produce different effects on
the ear: one melodious, one effeminate, one vigorous, and so on.
For this reason, the subject of alliteration is closely tied to the dis-
cussion of the different styles (rīti, guna), and various writers
(Dandin, Rudrata) attempt to specify the stylistic limits of the
different alliterations. Mammața attempts to equate style and
alliteration (see vrtti). Ānandavardhana, of course, wants to view
the questions of style and alliteration as attempts, however partial,
by earlier writers to come to grips with the problem of mood (rasa)
and the subordination of all discrete elements in the composition to
it. Despite these extrinsic differences of opinion, the importance of
alliteration in poetry was never questioned, provided that its use
corresponded to the effect desired.
GLOSSARY
upanāgarika (perhaps a Prakrit dialect): (1) a type of alliteration in
which figure prominently clusters of identical stops (kk, tt) and clus-
ters of stops with homorganic nasal preceding (ñk, nt). (2) U 1.5,
M 108. (3) săndrâravindavṛndôtthamakarandâmbubindubhiḥ । syan-
dibhiḥ sundarasyandam nanditêndindirā kvacit (Udbhața: "Some-
where a bumblebee is delighted by the flowing drops of liquid honey
from thick clusters of white lotuses"). (5) Upanagarika resembles
madhura anuprāsa of the Agni Purāņa and Rudrața. The term may
mean "cultured". Cf. grāmya, to which it is opposed.
komala, 'soft': (1) same as grāmya anuprāsa. (2) M 110.
grāmya, 'common': (1) a type of alliteration characterized by the absence
of clusters and the predominance of liquids and nasals. (2) B 2.6,
U 1.6, M 110. (3) kelilolâlimālānām kalaiḥ kolāhalaiḥ kvacit ।
kurvatī kānanárūḍhaśrīnūpuraravabhramam (Udbhata: "Sometimes
accompanied by the soft humming of the bee swarms, playfully
restless, she simulates the maddening sound of the anklets of Sri
wandering in the forest"). (5) Bhāmaha apparently considers this
type defective or vulgar, but the other two authors allow it as one
of the five legitimate types. It is probably to be opposed to upanā-
garika, which may mean 'cultured or citified', as opposed to 'rustic,
villageois'. Compare Bhämaha's example "kim tayā cintayā kānte
nitāntā" with that offered under upanāgarika (which term Bhāmaha
does not use). Mammața calls this figure komala.
cheka, 'clever': (1) a type of alliteration characterized by metathetic