2023-03-29 18:10:00 by ambuda-bot
This page has not been fully proofread.
113
describes the cause of his early return from a journey: "Those who
have gone to another country, why should they not return? Beloved,
you must grieve for me no longer; you have grown so thin! Even
while I speak to you in tears, you look at me with eyes downcast
with shame and full of pale tears, while your hysterical laughter
surely portends approaching death!"). (4) "With how sad steps,
O Moon! thou climb'st the skies! / How silently, and with how wan
a face! / What! may it be, that even in heavenly place / That busy
archer his sharp arrows tries?" (Sir Philip Sydney; the effect of
being in love is described through its causc). (5) Cf. nimitta.
tulya, 'equal': (1) a type of aprastutapraśamsă in which the relation be-
tween the implicit and explicit subjects is one of similitude, real or
apparent. (2) M 152. (5) If the similitude is real, we have sädṛśya-
matra; if only punned, samāsókti; if the implicit subject itself is
punned, sleșa. See these terms for examples.
For the earlier writers, intimation seems only to have been used
where a relation of similitude could be seen; it is often described in
the same terms as upamā ('simile"), the implicit term being the subject
of comparison (upameya). But Mammața broadens the figure to
include other relations: that of cause-effect, and general-specific.
See aprastutapraśamsā.
nimitta, 'cause': (1) a type of aprastutapraśamsā in which the real subject
is a cause and is intimated through a description of its effect. (2)
M 152. (3) rājan rājasutā na pāṭhayati mām devyo'pi tūṣṇīm sthitaḥ /
kubje bhojaya mām kumāra sacivair nâdyâpi kim bhujyate /ittham nātha
śukas tavāribhavane mukto'dhvagaiḥ pañjarāt । citrasthān avalokya
šūnyavalabhāv ekaîkam ābhāṣate (Mammaţa; describing the fright
caused by the news that the king has set out against his enemies:
""O King, the princesses do not address me! Even the Queens
remain silent! Hey, humpback! come play with me! Prince! why
aren't you with your friends?' Thus does the parrot, who has been
freed by passersby from its cage in your enemy's palace, carry on
as he wanders about the empty halls looking at the portraits").
(4) "Help me to seek! for I lost it there; / And if that ye have found it,
ye that be here, / And seek to convey it secretly, / Handle it soft, and
treat it tenderly, /... It was mine heart! I pray you heartily / Help
me to seek" (Sir Thomas Wyatt; the poet is in love, which has
resulted in the loss of his heart). (5) Cf. kārya.
visesa, 'speciality': (1) a type of aprastutaprašamas in which the real
subject is particular and is intimated through mention of an ap-
GLOSSARY
describes the cause of his early return from a journey: "Those who
have gone to another country, why should they not return? Beloved,
you must grieve for me no longer; you have grown so thin! Even
while I speak to you in tears, you look at me with eyes downcast
with shame and full of pale tears, while your hysterical laughter
surely portends approaching death!"). (4) "With how sad steps,
O Moon! thou climb'st the skies! / How silently, and with how wan
a face! / What! may it be, that even in heavenly place / That busy
archer his sharp arrows tries?" (Sir Philip Sydney; the effect of
being in love is described through its causc). (5) Cf. nimitta.
tulya, 'equal': (1) a type of aprastutapraśamsă in which the relation be-
tween the implicit and explicit subjects is one of similitude, real or
apparent. (2) M 152. (5) If the similitude is real, we have sädṛśya-
matra; if only punned, samāsókti; if the implicit subject itself is
punned, sleșa. See these terms for examples.
For the earlier writers, intimation seems only to have been used
where a relation of similitude could be seen; it is often described in
the same terms as upamā ('simile"), the implicit term being the subject
of comparison (upameya). But Mammața broadens the figure to
include other relations: that of cause-effect, and general-specific.
See aprastutapraśamsā.
nimitta, 'cause': (1) a type of aprastutapraśamsā in which the real subject
is a cause and is intimated through a description of its effect. (2)
M 152. (3) rājan rājasutā na pāṭhayati mām devyo'pi tūṣṇīm sthitaḥ /
kubje bhojaya mām kumāra sacivair nâdyâpi kim bhujyate /ittham nātha
śukas tavāribhavane mukto'dhvagaiḥ pañjarāt । citrasthān avalokya
šūnyavalabhāv ekaîkam ābhāṣate (Mammaţa; describing the fright
caused by the news that the king has set out against his enemies:
""O King, the princesses do not address me! Even the Queens
remain silent! Hey, humpback! come play with me! Prince! why
aren't you with your friends?' Thus does the parrot, who has been
freed by passersby from its cage in your enemy's palace, carry on
as he wanders about the empty halls looking at the portraits").
(4) "Help me to seek! for I lost it there; / And if that ye have found it,
ye that be here, / And seek to convey it secretly, / Handle it soft, and
treat it tenderly, /... It was mine heart! I pray you heartily / Help
me to seek" (Sir Thomas Wyatt; the poet is in love, which has
resulted in the loss of his heart). (5) Cf. kārya.
visesa, 'speciality': (1) a type of aprastutaprašamas in which the real
subject is particular and is intimated through mention of an ap-
GLOSSARY