2023-03-29 18:09:58 by ambuda-bot
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GLOSSARY
107
of Brahmins, attained prosperity, there was a festival of righteousness
in the world") where the "s" of esa and the "r" of rājā are both
cerebrals, the "j" and following "y" are palatals, "d" and "1"" are
dentals, and so on. Vāmana, however, distinguishes varṇânuprāsa
from pādânuprāsa, or the repetition of metrical units (feet); in this
context, also, it amounts to alliteration in the usual sense: repetition
of identical phonemes in adjacent syllables. Anuprāsa, according
to Dandin, consists in observing the mean; the effect is lost if the
repeated phoneme is too far away (1.58), or if the phrase is too
broken by harsh junctures (1.59). The repetitions must be close
enough, but not too close, within these two limits.
vṛtti, 'mode': (1) a word applied to some or all of the kinds of alliteration.
(2) R 2.19, M 105-107. (5) The vṛtti is an old element of dramatic
theory, mentioned in Bharata, which seems to signify the basic
context of the play insofar as it determines a style of representation,
similar to Shakespeare's "tragical-comical-historical-pastoral". The
term thus has little relevance to poetics and the early writers ignore
it. Rudrata, however, uses the word in a neutral sense to mean the
five kinds of alliteration taken individually (vrtti literally signifies
only 'existence' or 'specific mode of existence') as the modes of
alliteration. At the same time, the dhvani theorists were examining
the older vocabulary in the light of their novel doctrine, and with
their general disposition to belittle or collapse such extrinsic distinc-
tions, vṛtti was lumped together with other stylistic concepts of the
older writers such as guna and rīti (see Dhvanyaloka 3.33; Ānandav-
ardhana on the Dhvanyāloka, p. 182). Ānandavardhana says that
the vrtti of Bharata is a function of the meaning (vācya), while that
of other writers is a function of the outward shape of the words
(vācaka). By the latter, he apparently signifies the kinds of allitera-
tion as distinguished by Udbhața (upanāgarikâdi). Out of this
confusion, Mammața, who everywhere attempts to reconcile the
views of the dhvani theorists with the older doctrines, propounds
the novel view that the three kinds of alliteration involving phonemic
repetition (that is, excepting cheka and lata) are to be called vṛtti,
and that these three are the equivalents of the three rītis, or styles of
diction, proposed by Vāmana, which originally referred to the entire
context of word and meaning ("ornate", "limpid", "intense", etc.),
but very little else can be expected of Mammața, who represents the
worst of the syncretistic tendency. Cf. Abhinavagupta on the Dhvan-
yaloka, p. 6.
107
of Brahmins, attained prosperity, there was a festival of righteousness
in the world") where the "s" of esa and the "r" of rājā are both
cerebrals, the "j" and following "y" are palatals, "d" and "1"" are
dentals, and so on. Vāmana, however, distinguishes varṇânuprāsa
from pādânuprāsa, or the repetition of metrical units (feet); in this
context, also, it amounts to alliteration in the usual sense: repetition
of identical phonemes in adjacent syllables. Anuprāsa, according
to Dandin, consists in observing the mean; the effect is lost if the
repeated phoneme is too far away (1.58), or if the phrase is too
broken by harsh junctures (1.59). The repetitions must be close
enough, but not too close, within these two limits.
vṛtti, 'mode': (1) a word applied to some or all of the kinds of alliteration.
(2) R 2.19, M 105-107. (5) The vṛtti is an old element of dramatic
theory, mentioned in Bharata, which seems to signify the basic
context of the play insofar as it determines a style of representation,
similar to Shakespeare's "tragical-comical-historical-pastoral". The
term thus has little relevance to poetics and the early writers ignore
it. Rudrata, however, uses the word in a neutral sense to mean the
five kinds of alliteration taken individually (vrtti literally signifies
only 'existence' or 'specific mode of existence') as the modes of
alliteration. At the same time, the dhvani theorists were examining
the older vocabulary in the light of their novel doctrine, and with
their general disposition to belittle or collapse such extrinsic distinc-
tions, vṛtti was lumped together with other stylistic concepts of the
older writers such as guna and rīti (see Dhvanyaloka 3.33; Ānandav-
ardhana on the Dhvanyāloka, p. 182). Ānandavardhana says that
the vrtti of Bharata is a function of the meaning (vācya), while that
of other writers is a function of the outward shape of the words
(vācaka). By the latter, he apparently signifies the kinds of allitera-
tion as distinguished by Udbhața (upanāgarikâdi). Out of this
confusion, Mammața, who everywhere attempts to reconcile the
views of the dhvani theorists with the older doctrines, propounds
the novel view that the three kinds of alliteration involving phonemic
repetition (that is, excepting cheka and lata) are to be called vṛtti,
and that these three are the equivalents of the three rītis, or styles of
diction, proposed by Vāmana, which originally referred to the entire
context of word and meaning ("ornate", "limpid", "intense", etc.),
but very little else can be expected of Mammața, who represents the
worst of the syncretistic tendency. Cf. Abhinavagupta on the Dhvan-
yaloka, p. 6.