2023-03-29 18:09:57 by ambuda-bot
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GLOSSARY
variation of consonants and vocalic substitutions. (2) U 1.3, M 106.
(3) sa devo divasān ninye tasmiñ śailêndrakandare । garișthagoșthi-
prathamaiḥ pramathaiḥ paryupäsitaḥ (Udbhata: metathesis, as of
th-m to m-th, and substitutions, as of i and a fore and o: "The God
Siva spends his days in this cave of the high Himalaya, served by his
attendants, principal among the great assemblies"). (5) Both
authors distinguish this type from alliteration properly speaking,
inasmuch as its effect depends upon variation rather than repetition.
paruşa, "harsh': (1) a type of alliteration characterized by a predominance
of sibilants and of clusters involving sibilants or "r". (2) U 1.4,
AP 343.6-11, R 2.26-28, M 109. (3) lipsün sarvän so'ntarbrahmôdyair
brāhmaṇair vrtaḥ paśyan । jihrety agarhyabarhiḥśeşasayaḥ koşaśünyaḥ
san (Rudraţa; -ps-, -rbr-, -hm- and many single sibilants, including
the gutteral: "Surrounded by Brahmins who have penetrated the
Veda, he sits, watching avaricious people. He is ashamed deep
within himself, for he has abandoned his wealth; all that remains to
him is a bed of blameless feathers"). (5) The four writers who
distinguish five types of alliteration agree only on the name of this
one, though two other of the five types seem to be comparable
(cf. upanāgarika and madhura, grāmya and lalita). Parușa is said to
contribute to ojas guna, but this is a late attempt to rationalize two
unrelated systems. Dandin treats all alliterations as aspects of
mādhurya guna.
pādânuprāsa, 'foot-alliteration': (1) same as lāța anuprāsa. (2) V 4.1.10.
praudha, 'proud': (1) a type of alliteration characterized by clusters of
"T" followed by "y" or "n" or any stop except cerebrals or nasals,
and clusters of "t" with "p" or "k", (2) AP 343.5, R 2.24-25. (3)
káryákāryam anaryair unmārganirargalair galanmatibhiḥ / nâkarnyate
vikarṇair yuktóktibhir uktam uktam api (Rudrața; as -ry-, -rg-, -rn-,
-kt-: "The lowborn, heedless ones, who unfettered tread the paths of
unrighteousness as though they had lost their minds, do not heed
their duties or proscriptions, even though they be spoken by men of
sage counsel"). (5) According to Rudrata's commentator, this
anuprāsa is called by others ojas, which was originally defined by
Dandin as a stylistic quality consisting in the use of long compounds.
Praudha has no apparent counterpart in the five alliterations of
Udbhata and Mammața. See parușa.
bhadra, 'pleasant': (1) a type of alliteration characterized by the pre-
dominance of unvoiced gutterals and cerebrals and by the absence
of clustering. (2) AP 343.6, R 2.29-31. (3) utkatakarikaratatata-
GLOSSARY
variation of consonants and vocalic substitutions. (2) U 1.3, M 106.
(3) sa devo divasān ninye tasmiñ śailêndrakandare । garișthagoșthi-
prathamaiḥ pramathaiḥ paryupäsitaḥ (Udbhata: metathesis, as of
th-m to m-th, and substitutions, as of i and a fore and o: "The God
Siva spends his days in this cave of the high Himalaya, served by his
attendants, principal among the great assemblies"). (5) Both
authors distinguish this type from alliteration properly speaking,
inasmuch as its effect depends upon variation rather than repetition.
paruşa, "harsh': (1) a type of alliteration characterized by a predominance
of sibilants and of clusters involving sibilants or "r". (2) U 1.4,
AP 343.6-11, R 2.26-28, M 109. (3) lipsün sarvän so'ntarbrahmôdyair
brāhmaṇair vrtaḥ paśyan । jihrety agarhyabarhiḥśeşasayaḥ koşaśünyaḥ
san (Rudraţa; -ps-, -rbr-, -hm- and many single sibilants, including
the gutteral: "Surrounded by Brahmins who have penetrated the
Veda, he sits, watching avaricious people. He is ashamed deep
within himself, for he has abandoned his wealth; all that remains to
him is a bed of blameless feathers"). (5) The four writers who
distinguish five types of alliteration agree only on the name of this
one, though two other of the five types seem to be comparable
(cf. upanāgarika and madhura, grāmya and lalita). Parușa is said to
contribute to ojas guna, but this is a late attempt to rationalize two
unrelated systems. Dandin treats all alliterations as aspects of
mādhurya guna.
pādânuprāsa, 'foot-alliteration': (1) same as lāța anuprāsa. (2) V 4.1.10.
praudha, 'proud': (1) a type of alliteration characterized by clusters of
"T" followed by "y" or "n" or any stop except cerebrals or nasals,
and clusters of "t" with "p" or "k", (2) AP 343.5, R 2.24-25. (3)
káryákāryam anaryair unmārganirargalair galanmatibhiḥ / nâkarnyate
vikarṇair yuktóktibhir uktam uktam api (Rudrața; as -ry-, -rg-, -rn-,
-kt-: "The lowborn, heedless ones, who unfettered tread the paths of
unrighteousness as though they had lost their minds, do not heed
their duties or proscriptions, even though they be spoken by men of
sage counsel"). (5) According to Rudrata's commentator, this
anuprāsa is called by others ojas, which was originally defined by
Dandin as a stylistic quality consisting in the use of long compounds.
Praudha has no apparent counterpart in the five alliterations of
Udbhata and Mammața. See parușa.
bhadra, 'pleasant': (1) a type of alliteration characterized by the pre-
dominance of unvoiced gutterals and cerebrals and by the absence
of clustering. (2) AP 343.6, R 2.29-31. (3) utkatakarikaratatata-