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mere fact of your shining in the sky, you are a veritable treasure of
coolness [of stupidity]"). (4) "Beneath in the Dust, the mouldy old
Crust of Moll Batchelor lately was shoven, / Who was skill'd in
the Arts of Pyes, Custards and Tarts, / And every Device of the
Oven. When she'd liv'd long enough, she made her last Puff, /
A Puff by her Husband much prais'd; / And here she doth lie, and
makes a Dirt Pye, / In Hopes that her Crust may be rais'd" (Anon.;
an epitaph. The real subject of Moll's death and resurrection is
suggested by puns on her culinary abilities). (5) In śleșa, the real
subject itself is effected through a pun on the explicit subject, not
entirely on its qualifications. Cf. also sādṛśyamnātra.
sādṛśyamātra, 'mere similitude': (1) a type of tulya aprastutaprašamsā
in which the real subject is intimated through the force alone of its
similitude with the explicit subject. (2) M 152C. (3) ādāya vāri
paritaḥ saritām mukhebhyaḥ kin tävad arjitam anena durarnavena /
kṣārīkṛtam ca vaḍavādahane hutam ca pātālakukṣikuhare vinivesitam
ca (Mammața; the picture is that of a wealthy man wasting his
resources: "Taking all the water from the mouths of rivers hereabouts,
making it salty and throwing it on the submarine fires and losing it
into the secret maws of hell: what indeed has this ocean profited?").
(4) "It's but little good you'll do a-watering the last year's crop"
(George Eliot). (5) By mere similitude is meant that no puns or
double meanings operate to suggest the implicit subject. See śleşa
and samāsôkti. The relation is also between particulars, much as
if it were a drstânta with the subject implicit. Cf. višeșa and sāmānya.
sāmānya, 'generality': (1) a type of aprastutaprašamsă in which the real
subject is universal and is intimated through description of an
appropriate particular. (2) M 152. (3) etat tasya mukhät kiyat
kamalinīpatre kaṇam vāriņo yan muktāmaṇir ity amaņsta sa jaḍaḥ
śṛṇv anyad asmād api । añgulyagralaghukriyāpravilayiny ādīyamāne
śanaiḥ kutrôddiya gato mamêty anudinam nidrāti nântaḥ śucā (Bhallata,
quoted by Mammața; the universal here is said to be that the
property sentiment of fools is apt to be overextended. Punctuation
would help in this example: a comma after kiyat, a period after
jaḍaḥ, a comma after śanaiḥ: "How few words [of sense] come from
his mouth; he thinks a drop of dew fallen on a lotus petal to be a
pearl of high price! And listen to this: slowly lifting the dewdrop
until it melts between the tender movements of his fingers, he cries,
'Where has my pearl flown to?' and he cannot sleep for the pain in
his soul!"). (4) DA / Dayadhvam: I have heard the key / Turn in the
GLOSSARY
mere fact of your shining in the sky, you are a veritable treasure of
coolness [of stupidity]"). (4) "Beneath in the Dust, the mouldy old
Crust of Moll Batchelor lately was shoven, / Who was skill'd in
the Arts of Pyes, Custards and Tarts, / And every Device of the
Oven. When she'd liv'd long enough, she made her last Puff, /
A Puff by her Husband much prais'd; / And here she doth lie, and
makes a Dirt Pye, / In Hopes that her Crust may be rais'd" (Anon.;
an epitaph. The real subject of Moll's death and resurrection is
suggested by puns on her culinary abilities). (5) In śleșa, the real
subject itself is effected through a pun on the explicit subject, not
entirely on its qualifications. Cf. also sādṛśyamnātra.
sādṛśyamātra, 'mere similitude': (1) a type of tulya aprastutaprašamsā
in which the real subject is intimated through the force alone of its
similitude with the explicit subject. (2) M 152C. (3) ādāya vāri
paritaḥ saritām mukhebhyaḥ kin tävad arjitam anena durarnavena /
kṣārīkṛtam ca vaḍavādahane hutam ca pātālakukṣikuhare vinivesitam
ca (Mammața; the picture is that of a wealthy man wasting his
resources: "Taking all the water from the mouths of rivers hereabouts,
making it salty and throwing it on the submarine fires and losing it
into the secret maws of hell: what indeed has this ocean profited?").
(4) "It's but little good you'll do a-watering the last year's crop"
(George Eliot). (5) By mere similitude is meant that no puns or
double meanings operate to suggest the implicit subject. See śleşa
and samāsôkti. The relation is also between particulars, much as
if it were a drstânta with the subject implicit. Cf. višeșa and sāmānya.
sāmānya, 'generality': (1) a type of aprastutaprašamsă in which the real
subject is universal and is intimated through description of an
appropriate particular. (2) M 152. (3) etat tasya mukhät kiyat
kamalinīpatre kaṇam vāriņo yan muktāmaṇir ity amaņsta sa jaḍaḥ
śṛṇv anyad asmād api । añgulyagralaghukriyāpravilayiny ādīyamāne
śanaiḥ kutrôddiya gato mamêty anudinam nidrāti nântaḥ śucā (Bhallata,
quoted by Mammața; the universal here is said to be that the
property sentiment of fools is apt to be overextended. Punctuation
would help in this example: a comma after kiyat, a period after
jaḍaḥ, a comma after śanaiḥ: "How few words [of sense] come from
his mouth; he thinks a drop of dew fallen on a lotus petal to be a
pearl of high price! And listen to this: slowly lifting the dewdrop
until it melts between the tender movements of his fingers, he cries,
'Where has my pearl flown to?' and he cannot sleep for the pain in
his soul!"). (4) DA / Dayadhvam: I have heard the key / Turn in the
GLOSSARY