2023-03-29 18:09:58 by ambuda-bot
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GLOSSARY
differing in acceptation. (2) B 2.8, U 1.8-10, M 112-16, V 4.1.10.
(3) drstim dṛṣṭisukhām dhehi candras candramukhôditaḥ (Bhāmaha;
candramukhā is apparently a vocative despite the ending, or it
represents secondary sandhi: "Let us see your face, lovely-to-see;
the moon, moon-face, is risen"). (4) "It w the same rounded,
pouting, childish prettiness, but with all love and belief in love
departed from it-the sadder for its beauty, like that wondrous
Medusa face, with the passionate, passionless lips" (George Eliot).
(5) Udbhata and Mammața give an elaborate classification of this
figure according to whether the word repeated follows immediately
(as here) or is placed at the beginning or the end of the half-verse;
similarly, they distinguish words free (having a case termination)
from words bound (in compound). Mammața and Vāmana (who
calls the figure pādânuprāsa) allow the repetition of the entire
half-sloka, provided that the words in both halves are the same
as: "yasya na savidhe dayità davadahanas tuhinadidhitis tasya ।
yasya ca savidhe dayită davadahanas tuhinadīdhitis tasya" (Mammaţa;
in the first half, dava- is attributive to tuhina-, in the second half,
just the reverse; "For him whose beloved is absent, the cool-rayed
moon is burning fire; for him whose beloved is present, the burning
fire [of the sun] is cool-rayed"). In this case, the alliteration has
become for all intents and purposes a yamaka, except that the indi-
vidual words are taken as the same words in both utterances, instead
of splitting the utterances differently. The figure lățânuprāsa thus
occupies the mid-position between alliteration and cadence, differing
from the former in its concern with words rather than phonemes,
and from the latter in its concern with meaning rather than phonemic
sequence. Cf. ävṛtti.
varņânuprāsa, "letter-alliteration': (1) same as varṇâvṛtti. (2) V 4.1.9.
varnâvṛtti, 'letter-repetition': (1) alliteration. (2) D 1.55, V 4.1.9. (3)
candre śaranniśôttamse kundastavakavibhrame । indranīlanibham
lakṣma samdadhāty anilaḥ [sic] śriyam (Dandin; we prefer the alinaḥ
of D. T. Tatacharya and most other Indian editors: "Its marks,
dark as sapphires, give the beauty of the bee swarm to the ornament
of the autumn night-the full moon, lovely as the jasmine bud").
(5) In Dandin, this is anuprāsa in the narrow sense, distinguished
from a kind of semi-alliteration in which only phonetic features,
such as dentality or gutturalness, are repeated: for example: eşa
räjā yada lakṣmīm prāptavān brāhmaṇapriyaḥ । tataḥ prabhṛti
dharmasya loke'sminn utsavo'bhavat ("as soon as that king, beloved
GLOSSARY
differing in acceptation. (2) B 2.8, U 1.8-10, M 112-16, V 4.1.10.
(3) drstim dṛṣṭisukhām dhehi candras candramukhôditaḥ (Bhāmaha;
candramukhā is apparently a vocative despite the ending, or it
represents secondary sandhi: "Let us see your face, lovely-to-see;
the moon, moon-face, is risen"). (4) "It w the same rounded,
pouting, childish prettiness, but with all love and belief in love
departed from it-the sadder for its beauty, like that wondrous
Medusa face, with the passionate, passionless lips" (George Eliot).
(5) Udbhata and Mammața give an elaborate classification of this
figure according to whether the word repeated follows immediately
(as here) or is placed at the beginning or the end of the half-verse;
similarly, they distinguish words free (having a case termination)
from words bound (in compound). Mammața and Vāmana (who
calls the figure pādânuprāsa) allow the repetition of the entire
half-sloka, provided that the words in both halves are the same
as: "yasya na savidhe dayità davadahanas tuhinadidhitis tasya ।
yasya ca savidhe dayită davadahanas tuhinadīdhitis tasya" (Mammaţa;
in the first half, dava- is attributive to tuhina-, in the second half,
just the reverse; "For him whose beloved is absent, the cool-rayed
moon is burning fire; for him whose beloved is present, the burning
fire [of the sun] is cool-rayed"). In this case, the alliteration has
become for all intents and purposes a yamaka, except that the indi-
vidual words are taken as the same words in both utterances, instead
of splitting the utterances differently. The figure lățânuprāsa thus
occupies the mid-position between alliteration and cadence, differing
from the former in its concern with words rather than phonemes,
and from the latter in its concern with meaning rather than phonemic
sequence. Cf. ävṛtti.
varņânuprāsa, "letter-alliteration': (1) same as varṇâvṛtti. (2) V 4.1.9.
varnâvṛtti, 'letter-repetition': (1) alliteration. (2) D 1.55, V 4.1.9. (3)
candre śaranniśôttamse kundastavakavibhrame । indranīlanibham
lakṣma samdadhāty anilaḥ [sic] śriyam (Dandin; we prefer the alinaḥ
of D. T. Tatacharya and most other Indian editors: "Its marks,
dark as sapphires, give the beauty of the bee swarm to the ornament
of the autumn night-the full moon, lovely as the jasmine bud").
(5) In Dandin, this is anuprāsa in the narrow sense, distinguished
from a kind of semi-alliteration in which only phonetic features,
such as dentality or gutturalness, are repeated: for example: eşa
räjā yada lakṣmīm prāptavān brāhmaṇapriyaḥ । tataḥ prabhṛti
dharmasya loke'sminn utsavo'bhavat ("as soon as that king, beloved