2023-03-29 18:10:11 by ambuda-bot
This page has not been fully proofread.
138
GLOSSARY
to classify exhaustively and rationally the appearances of poetic
inspiration.
One other problem is discussed by Dandin and repeated by some
commentators: the use of the comparative particle (iva) in some
utprekṣās has led some thinkers to identify utprekşā and upamā.
The example discussed by Dandin is limpativa tamaḥ ('the darkness,
as it were, anoints'). Now, the English seems to distinguish the
two usages where the Sanskrit does not: we use "as it were", "as if",
or "as though" for utprekṣā, and "like" or "as" for simile. Dandin
likewise insists upon the substance of the difference, even though
the word may be the same (2.227-34). A simile relates two similars
in terms of a shared quality: the iva attaches to the object of com-
parison. In the utprekşā, the iva attaches to the verb, which cannot
be considered an object of comparison since it possesses no property.
utprekşâvayava
utprekşâvayava, 'component parts of the ascription': (1) a type of meta-
phorical ascription (utpreksā) in which further subordinate metaphors
explicate and expand the principal ascription. (2) B 3.46 (47),
V 4.3.31, 33. (3) añgulībhir iva keśasamcayam samnigṛhya timiram
maricibhiḥ । kuḍmalikṛtasarojalocanam cumbativa rajanimukham śaśī
(Vāmana; the principal ascription is: "the moon, as it were, kisses
the face of the night"; this is extended by drawing a parallel between
fingers playing with a maiden's tresses and the rays of the moon
glancing through the darkness (as through tree branches, etc.):
"Grasping the darkness with its rays as though it were hair and they
were fingers, the moon kisses the face of the night, her eyes demurely
closed-lotuses on the lake unbloomed!"). (4) "The Moon, like a
flower, / In heaven's high bower, / With silent delight / Sits and smiles
on the night" (William Blake; almost identical to Vamana's example,
except that the subordinate parallel is between the moon itself and a
flower). (5) Utprekşâvayava is an independent figure in Bhamaha,
and one of the two compound figures (samsrșți) allowed by Vamana
(see upamārupaka); it may be considered in the same context as
utpreksā. It differs from simple utprekṣā only in being associated
with other and subordinate figures in a "mixed" metaphor. Both the
English and Sanskrit examples show an upamā and a rūpaka in
conjunction with the principal utprekṣā. Later writers consider this
figure nothing but one of the many kinds of multiple alamkāra
(samsrsti), and its early enumeration as a separate figure probably
GLOSSARY
to classify exhaustively and rationally the appearances of poetic
inspiration.
One other problem is discussed by Dandin and repeated by some
commentators: the use of the comparative particle (iva) in some
utprekṣās has led some thinkers to identify utprekşā and upamā.
The example discussed by Dandin is limpativa tamaḥ ('the darkness,
as it were, anoints'). Now, the English seems to distinguish the
two usages where the Sanskrit does not: we use "as it were", "as if",
or "as though" for utprekṣā, and "like" or "as" for simile. Dandin
likewise insists upon the substance of the difference, even though
the word may be the same (2.227-34). A simile relates two similars
in terms of a shared quality: the iva attaches to the object of com-
parison. In the utprekşā, the iva attaches to the verb, which cannot
be considered an object of comparison since it possesses no property.
utprekşâvayava
utprekşâvayava, 'component parts of the ascription': (1) a type of meta-
phorical ascription (utpreksā) in which further subordinate metaphors
explicate and expand the principal ascription. (2) B 3.46 (47),
V 4.3.31, 33. (3) añgulībhir iva keśasamcayam samnigṛhya timiram
maricibhiḥ । kuḍmalikṛtasarojalocanam cumbativa rajanimukham śaśī
(Vāmana; the principal ascription is: "the moon, as it were, kisses
the face of the night"; this is extended by drawing a parallel between
fingers playing with a maiden's tresses and the rays of the moon
glancing through the darkness (as through tree branches, etc.):
"Grasping the darkness with its rays as though it were hair and they
were fingers, the moon kisses the face of the night, her eyes demurely
closed-lotuses on the lake unbloomed!"). (4) "The Moon, like a
flower, / In heaven's high bower, / With silent delight / Sits and smiles
on the night" (William Blake; almost identical to Vamana's example,
except that the subordinate parallel is between the moon itself and a
flower). (5) Utprekşâvayava is an independent figure in Bhamaha,
and one of the two compound figures (samsrșți) allowed by Vamana
(see upamārupaka); it may be considered in the same context as
utpreksā. It differs from simple utprekṣā only in being associated
with other and subordinate figures in a "mixed" metaphor. Both the
English and Sanskrit examples show an upamā and a rūpaka in
conjunction with the principal utprekṣā. Later writers consider this
figure nothing but one of the many kinds of multiple alamkāra
(samsrsti), and its early enumeration as a separate figure probably