2023-03-29 18:09:59 by ambuda-bot
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GLOSSARY
Apahnuti is a figure found in all the writers after Bhāmaha, but no
unanimity as to its acceptation is discernable. It is related on the
one hand (by Bhāmaha and Vāmana) to the tattvåpahnava rūpaka
(which figure appears only in Dandin), and on the other to the
mata alamkāra (as here), wherein the interest attaches to the mis-
representation of the subject in a certain way. Subtypes are distin-
guished as to the intellective basis (opinion, necessity) of that
misrepresentation (Dandin) and as to the mode of its affirmation
(mere attribution, transformation: Mammața). See visaya, svarūpa,
śābdī, ārthi.
apahnuti (III): (1) a figure in which the subject of comparison is portrayed
as possessing a quality which in nature belongs to the object of
comparison. (2) R 8.57 (58). (3) navabisakisalayakomalasakalâva-
yavā vilāsinī saîşă । anandayati janānām nayanāni sitâmśulekhêva
(Rudrața: "A lovely, wanton lady with limbs as soft as new lotus
shoots delights the eyes of men just like the cool-rayed crescent").
(4) "Ask not the Cause, why sullen Spring / So long delays her
flow'rs to bear; / Why warbling birds forget to sing, / And Winter
Storms invert the year? / Chloris is gone: and fate provides / To
make it spring, where she resides" (John Dryden). (5) This figure
is just the reverse of adbhuta upamā, where a striking property of
the subject is transferred to the object. Cf. asambhava upamā, where
the quality is transferred from the subject to the object.
ārthi, 'implied': (1) a type of apahnuti in which the misrepresentation is
expressed via a transformation of the subject in question. (2) M 146C.
(3) amuşmiml lävaṇyâmṛtasarasi nūnam mrgadṛśaḥ smaraḥ sarvaplu-
staḥ prthujaghanabhāge nipatitaḥ / yad añgâñgārāṇām praśamapiśunā
näbhikuhare sikhādhūmasyêyam pariṇamati româvalivapuḥ (Mamma-
ța: "The God of Love, whose body was consumed [in the fire of] Siva's
[wrath], has now taken up his abode between that doe-eyed maiden's
broad thighs-veritable streams of beauty's nectar. See how the thin
line of hair on her navel has assumed the form of a wisp of smoke;
thus the smouldering coals of Love's body are being extinguished").
(4) "Full fathom five thy father lies; / Of his bones are coral made: /
Those are pearls that were his eyes: / Nothing of him that doth fade, /
But doth suffer a sea-change / Into something rich and strange"
(Shakespeare). (5) In śäbdi, the misrepresentation is accomplished
by simple denial and affirmation: hence it is called "explicit".
vişaya, 'circumstance': (1) a type of apahnuti in which the misrepresentation
is stated to depend upon a difference in point of view or condition.
GLOSSARY
Apahnuti is a figure found in all the writers after Bhāmaha, but no
unanimity as to its acceptation is discernable. It is related on the
one hand (by Bhāmaha and Vāmana) to the tattvåpahnava rūpaka
(which figure appears only in Dandin), and on the other to the
mata alamkāra (as here), wherein the interest attaches to the mis-
representation of the subject in a certain way. Subtypes are distin-
guished as to the intellective basis (opinion, necessity) of that
misrepresentation (Dandin) and as to the mode of its affirmation
(mere attribution, transformation: Mammața). See visaya, svarūpa,
śābdī, ārthi.
apahnuti (III): (1) a figure in which the subject of comparison is portrayed
as possessing a quality which in nature belongs to the object of
comparison. (2) R 8.57 (58). (3) navabisakisalayakomalasakalâva-
yavā vilāsinī saîşă । anandayati janānām nayanāni sitâmśulekhêva
(Rudrața: "A lovely, wanton lady with limbs as soft as new lotus
shoots delights the eyes of men just like the cool-rayed crescent").
(4) "Ask not the Cause, why sullen Spring / So long delays her
flow'rs to bear; / Why warbling birds forget to sing, / And Winter
Storms invert the year? / Chloris is gone: and fate provides / To
make it spring, where she resides" (John Dryden). (5) This figure
is just the reverse of adbhuta upamā, where a striking property of
the subject is transferred to the object. Cf. asambhava upamā, where
the quality is transferred from the subject to the object.
ārthi, 'implied': (1) a type of apahnuti in which the misrepresentation is
expressed via a transformation of the subject in question. (2) M 146C.
(3) amuşmiml lävaṇyâmṛtasarasi nūnam mrgadṛśaḥ smaraḥ sarvaplu-
staḥ prthujaghanabhāge nipatitaḥ / yad añgâñgārāṇām praśamapiśunā
näbhikuhare sikhādhūmasyêyam pariṇamati româvalivapuḥ (Mamma-
ța: "The God of Love, whose body was consumed [in the fire of] Siva's
[wrath], has now taken up his abode between that doe-eyed maiden's
broad thighs-veritable streams of beauty's nectar. See how the thin
line of hair on her navel has assumed the form of a wisp of smoke;
thus the smouldering coals of Love's body are being extinguished").
(4) "Full fathom five thy father lies; / Of his bones are coral made: /
Those are pearls that were his eyes: / Nothing of him that doth fade, /
But doth suffer a sea-change / Into something rich and strange"
(Shakespeare). (5) In śäbdi, the misrepresentation is accomplished
by simple denial and affirmation: hence it is called "explicit".
vişaya, 'circumstance': (1) a type of apahnuti in which the misrepresentation
is stated to depend upon a difference in point of view or condition.