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116
GLOSSARY
door once and turn once only / We think of the key, each in his
prison / Thinking of the key, each confirms a prison" (T. S. Eliot;
the explanation is given by Eliot himself in his notes, quoting
F. H. Bradley: "My external sensations are no less private to myself
than are my thoughts or my feelings. In either case my experience
falls within my own circle, a circle closed on the outside ...").
(5) Cf. višeşa.
aprastutapraśamsā (II): (1) an elliptical simile in which the subject of
comparison is referred to by a sign or token, usually a double-
entendre based on comparable qualities common to the two things.
(2) V 4.3.4. (3) lāvaṇyasindhur aparaiva hi kêyam atra yatrôtpalāni
śasina saha samplavante unmajjati dviradakumbhatați ca yatra
yatrapare kadalikāṇḍamṛṇāladaṇḍāḥ (Vāmana; the other river is, of
course, a young lady in the river. The lotuses refer to her eyes, the
lobes to her breasts, etc. "Who can that second River of Beauty be-
where the lotuses are playing with the moon and the submerged
elephant shows his great frontal lobes, and where [are seen] other
soft stalks like the trunks of banana trees?"). (4) "Lemon tree very
pretty, and the lemon flow'r is sweet; but the fruit of the poor lemon
is impossible to eat" (traditional folksong; the poet refers to his
disappointed love). (5) This figure resembles the usual samäsökti
inasmuch as the emphasis is placed on recognition of the implicit
subject through qualifications which can apply to both subject and
object. Vāmana is concerned only with those aspects of the several
figures which display features of the simile; he departs from tradition
in many such cases. His figure samāsôkti is defined as total ellipsis
of the subject, by which is probably meant reference through
similitude only, not (as here) through punned qualifications. Vāmana
would have conformed more closely to tradition by reversing the
names of the two figures. Cf. adhyavasāna atiśayôkti, where the
point is the confusion of two things.
aprastutaprašamsā (III): (1) a figure in which blame of an implicit subject
is to be understood through praise of an explicit object. (2) D 2.340
(341-42). (3) sukham jivanti harina vaneşv aparasevinah । anyair
ayatnasulabhais tṛṇadarbhâñkurâdibhiḥ (Dandin; this is to be under-
stood as a complaint addressed to an illiberal benefactor: "The gentle
deer in the forest think only of serving others and live without
hardship on easily obtainable grasses, darbha shoots, and the like").
(4) "... the Dean expatiated upon what is perhaps the most mysterious
characteristic of genius, its tendency to appear among members of
GLOSSARY
door once and turn once only / We think of the key, each in his
prison / Thinking of the key, each confirms a prison" (T. S. Eliot;
the explanation is given by Eliot himself in his notes, quoting
F. H. Bradley: "My external sensations are no less private to myself
than are my thoughts or my feelings. In either case my experience
falls within my own circle, a circle closed on the outside ...").
(5) Cf. višeşa.
aprastutapraśamsā (II): (1) an elliptical simile in which the subject of
comparison is referred to by a sign or token, usually a double-
entendre based on comparable qualities common to the two things.
(2) V 4.3.4. (3) lāvaṇyasindhur aparaiva hi kêyam atra yatrôtpalāni
śasina saha samplavante unmajjati dviradakumbhatați ca yatra
yatrapare kadalikāṇḍamṛṇāladaṇḍāḥ (Vāmana; the other river is, of
course, a young lady in the river. The lotuses refer to her eyes, the
lobes to her breasts, etc. "Who can that second River of Beauty be-
where the lotuses are playing with the moon and the submerged
elephant shows his great frontal lobes, and where [are seen] other
soft stalks like the trunks of banana trees?"). (4) "Lemon tree very
pretty, and the lemon flow'r is sweet; but the fruit of the poor lemon
is impossible to eat" (traditional folksong; the poet refers to his
disappointed love). (5) This figure resembles the usual samäsökti
inasmuch as the emphasis is placed on recognition of the implicit
subject through qualifications which can apply to both subject and
object. Vāmana is concerned only with those aspects of the several
figures which display features of the simile; he departs from tradition
in many such cases. His figure samāsôkti is defined as total ellipsis
of the subject, by which is probably meant reference through
similitude only, not (as here) through punned qualifications. Vāmana
would have conformed more closely to tradition by reversing the
names of the two figures. Cf. adhyavasāna atiśayôkti, where the
point is the confusion of two things.
aprastutaprašamsā (III): (1) a figure in which blame of an implicit subject
is to be understood through praise of an explicit object. (2) D 2.340
(341-42). (3) sukham jivanti harina vaneşv aparasevinah । anyair
ayatnasulabhais tṛṇadarbhâñkurâdibhiḥ (Dandin; this is to be under-
stood as a complaint addressed to an illiberal benefactor: "The gentle
deer in the forest think only of serving others and live without
hardship on easily obtainable grasses, darbha shoots, and the like").
(4) "... the Dean expatiated upon what is perhaps the most mysterious
characteristic of genius, its tendency to appear among members of