2023-03-29 18:10:09 by ambuda-bot
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134
GLOSSARY
from the navel of the deer"). (4) "Desolate and lone / All night long
on the lake / Where fog trails and mist creeps, / The whistle of a
boat / Calls and cries unendingly, / Like some lost child / In tears
and trouble / Hunting the harbor's breast / And the harbor's eyes"
(Carl Sandburg; here all the parts are made explicit to facilitate
comprehension: the first utprekṣā [the whistle cries] is followed by
the object on which it is based [the child], by which is constituted
the immediate simile; but that simile is extended: first subject [whistle]
to another [harbor] and first object [child] to another [breast], which
further simile [here in the form of a rūpaka] justifies the first). (5)
The point here does not concern the utprekṣä itself, but only the
mode of interpreting the ascription which constitutes the utpreksā;
that is, relating that ascription to the simile or similes which it
assumes. In this case, the immediate simile so understood is, in a
way, not adequate unto itself (compare the next type) because it
represents a subordinate and limited aspect of a more universal
simile, which situation is suggested by mention of any of its aspects.
The form is exactly parallel to the rūpaka called samastavastuvişaya,
*referring to the whole thing (as well as its parts)', and illustrates
the generality of the formal framework proposed by the Indian
aestheticians.
utprekşā (III): (1) the ascription of a characteristic or mode of behavior
to a subject, not through direct comparison with an implicit object,
as in simile, but via a conventional attribute of that object to which
the subject bears a certain relation. (2) R 8.36 (37). (3) atighana-
kunkumarāgā puraḥ patākêva dṛśyate samdhya । udayatațântaritasya
prathayaty asannatām bhānoḥ (Rudrata; the dawn does not herald the
approach of the sun merely in virtue of its natural relation of
precedence to the sun, but, according to the Indian mythology,
because the sun's chariot carries a banner the color of the dawn:
"The dawn is seen like a flag of deep saffron, heralding the approach
of the morning sun hidden behind the eastern hills"). (4) "The
Baronet stroked his brow, as if he already felt Bully Bottom's
garland" (George Meredith; the Baronet is being compared to
Bully Bottom, not directly, in virtue of his "being distinguished by
woman", but through the garland which Titania has, in signification,
placed upon Bully's brow). (5) The irregularity which this variety of
utprekşā accounts for is that of the apparent irrelevance of the terms
to one another. In a standard simile, the subject is related to the
object through a property which, with some plausibility, can be
GLOSSARY
from the navel of the deer"). (4) "Desolate and lone / All night long
on the lake / Where fog trails and mist creeps, / The whistle of a
boat / Calls and cries unendingly, / Like some lost child / In tears
and trouble / Hunting the harbor's breast / And the harbor's eyes"
(Carl Sandburg; here all the parts are made explicit to facilitate
comprehension: the first utprekṣā [the whistle cries] is followed by
the object on which it is based [the child], by which is constituted
the immediate simile; but that simile is extended: first subject [whistle]
to another [harbor] and first object [child] to another [breast], which
further simile [here in the form of a rūpaka] justifies the first). (5)
The point here does not concern the utprekṣä itself, but only the
mode of interpreting the ascription which constitutes the utpreksā;
that is, relating that ascription to the simile or similes which it
assumes. In this case, the immediate simile so understood is, in a
way, not adequate unto itself (compare the next type) because it
represents a subordinate and limited aspect of a more universal
simile, which situation is suggested by mention of any of its aspects.
The form is exactly parallel to the rūpaka called samastavastuvişaya,
*referring to the whole thing (as well as its parts)', and illustrates
the generality of the formal framework proposed by the Indian
aestheticians.
utprekşā (III): (1) the ascription of a characteristic or mode of behavior
to a subject, not through direct comparison with an implicit object,
as in simile, but via a conventional attribute of that object to which
the subject bears a certain relation. (2) R 8.36 (37). (3) atighana-
kunkumarāgā puraḥ patākêva dṛśyate samdhya । udayatațântaritasya
prathayaty asannatām bhānoḥ (Rudrata; the dawn does not herald the
approach of the sun merely in virtue of its natural relation of
precedence to the sun, but, according to the Indian mythology,
because the sun's chariot carries a banner the color of the dawn:
"The dawn is seen like a flag of deep saffron, heralding the approach
of the morning sun hidden behind the eastern hills"). (4) "The
Baronet stroked his brow, as if he already felt Bully Bottom's
garland" (George Meredith; the Baronet is being compared to
Bully Bottom, not directly, in virtue of his "being distinguished by
woman", but through the garland which Titania has, in signification,
placed upon Bully's brow). (5) The irregularity which this variety of
utprekşā accounts for is that of the apparent irrelevance of the terms
to one another. In a standard simile, the subject is related to the
object through a property which, with some plausibility, can be