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Glossary of Indian Figures of Speech / 142 Image 142 of 348 (Page 142)

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140

GLOSSARY

to the words of his teacher, abandoned his prosperous and devoted
kingdom and entered the forest'). Compare: "Till at length / Your
ignorance • / ... deliver you as most / Abated captives to some
nation / That won you without blows! Despising, / For you, the
city, thus I turn my back: There is a world elsewhere" (Shakespeare;
Coriolanus speaks).

The element of exaggeration is not necessarily present, but of
course this amounts to a kind of hyperbole (see atiśayôkti). Udbhata
is careful to distinguish this figure from rasavad alamkāra, for here
the evocation of the rasa (for example, vīra rasa in the two quota-
tions given above) is subordinated to other considerations: a descrip-
tion of the forest, or the obloquy heaped upon Coriolanus' enemies.
The example from Bhāmaha does not support the distinction very
well; Udbhata's example is a description of the wealth of the Himâ-
laya as a background for Pärvati's birth.

The present figure is one of the group of figures which seem to
depend more on their subject matter than on form. Compare rasavad,
ūrjasvi, preyas. Except for Mammața, these figures are restricted
to the earlier writers. Anandavardhana devotes much significant
argument to these figures (especially rasavat) in discussing the
relation between rasa and alamkāra; they do show that in the earlier
literature the tendency was to include the notion of "mood" within
that of "figure", and not the reverse, as happened later.

upamā

upamā, *comparison*: (1) the comparison of one thing with a substantially
different thing in terms of a property, quality, or mode of behavior
which they share; simile. (2) NS 16.40-52, B 2.30-33, D 2.14-65
(51-56) (discuss upamādosa), V 4.2.1-21, U 1.15-21, AP 344.6-21,
R 8.4-31, M 125-34. (3) ambhoruham ivâtâmram mugdhe karatalam
tava (Dandin: "Like a pale pink lotus, my sweet! your hand ...").
(4) "My Luve's like a red, red rose" (Robert Burns). (5) Upamä, one
of the four original alamkāras, is in all the rhetorics the most im-
portant figure. This is due in part to the universality of the simile
in works of art, but another and more cogent reason no doubt
concerns the place of simile in the system of the alamkāras. Of the
approximately one hundred figures enumerated, perhaps fifty are
reducible to a basic simile or are describable in terms appropriate to
the simile. One of the authors, Vāmana, even attempts to state all of
the figures involving meaning (arthâlamkāra) as similes, but his

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