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adjectival compound, thus distinguishing the compound which forms
a simile from that which forms a rūpaka and which is a karmadharaya
type of tatpuruşa. The terms of that compound, as we remark else-
where, are inverted. From the simile "moon-face(d)", we get the
metaphor "face-moon", but this inversion is just a transparent way
of illustrating the contrast in compound type.
As vākyopamā, that is, similes expressed through free (not bound)
nouns and adverbs, Rudraţa admits six types, all of which are
known from other authors but whose selection here again typifies the
author's preoccupation with system. The first type (unnamed) is a
canonical purna upamā with all four elements explicit; the second
shows ellipsis of the common property (sämänyâbhāva—the same
as Dandin's vastu upamā). This pair illustrates the standard simile
in which the only variable element is the tertium. Next come two
similes which may be called reciprocal or reflexive, in which the
subject is in effect compared to itself: this may be done either by
not mentioning an object at all (ananvaya: "her face is like her face"),
or, when an object is given, by immediately proposing that object
as subject (ubhaya: "the moon is like her face"). This is Daņdin's
upameyopamā. Lastly, we may have similes in which either the prop-
erty (tertium) or the object are assumed to be hypothetical for the
purposes of the poet (kalpita and utpadya, or abhūta).
Rudrața also mentions a simile which is evidently patterned on
the standard treatment of rūpaka and which shows very well the
influence of the structural approach to the definition of these figures:
he distinguishes samastaviśaya from ekadeśin, assuming the standard
metaphorical whole (cf. rūpaka).
atiśaya, 'pre-eminence': (1) an upama in which the similitude is expressed
by minimizing the difference between the things compared to the
point where they appear as bare facts without qualitative differ-
entiation. (2) D 2.22. (3) tvayy eva tvanmukham drstam dṛśyate divi
candramāḥ / iyaty eva bhidā nânya (Daṇḍin: "Your face is seen on
you, the moon is seen in the sky; so much are they different and
no more"). (4) "For the time being he had lost the primitive faculty
that instinctively classifies the various sensory impressions according
to their relative values. One afternoon he saw a transport truck run
into an automobile. But this bloody accident impressed him no
more vividly than the sight, a few minutes later, of a scrap of news-
paper fluttering in the wind" (Carson McCullers). (5) For variations
on the theme of minimizing the difference, see caļu, tattvåkhyāna.
GLOSSARY
adjectival compound, thus distinguishing the compound which forms
a simile from that which forms a rūpaka and which is a karmadharaya
type of tatpuruşa. The terms of that compound, as we remark else-
where, are inverted. From the simile "moon-face(d)", we get the
metaphor "face-moon", but this inversion is just a transparent way
of illustrating the contrast in compound type.
As vākyopamā, that is, similes expressed through free (not bound)
nouns and adverbs, Rudraţa admits six types, all of which are
known from other authors but whose selection here again typifies the
author's preoccupation with system. The first type (unnamed) is a
canonical purna upamā with all four elements explicit; the second
shows ellipsis of the common property (sämänyâbhāva—the same
as Dandin's vastu upamā). This pair illustrates the standard simile
in which the only variable element is the tertium. Next come two
similes which may be called reciprocal or reflexive, in which the
subject is in effect compared to itself: this may be done either by
not mentioning an object at all (ananvaya: "her face is like her face"),
or, when an object is given, by immediately proposing that object
as subject (ubhaya: "the moon is like her face"). This is Daņdin's
upameyopamā. Lastly, we may have similes in which either the prop-
erty (tertium) or the object are assumed to be hypothetical for the
purposes of the poet (kalpita and utpadya, or abhūta).
Rudrața also mentions a simile which is evidently patterned on
the standard treatment of rūpaka and which shows very well the
influence of the structural approach to the definition of these figures:
he distinguishes samastaviśaya from ekadeśin, assuming the standard
metaphorical whole (cf. rūpaka).
atiśaya, 'pre-eminence': (1) an upama in which the similitude is expressed
by minimizing the difference between the things compared to the
point where they appear as bare facts without qualitative differ-
entiation. (2) D 2.22. (3) tvayy eva tvanmukham drstam dṛśyate divi
candramāḥ / iyaty eva bhidā nânya (Daṇḍin: "Your face is seen on
you, the moon is seen in the sky; so much are they different and
no more"). (4) "For the time being he had lost the primitive faculty
that instinctively classifies the various sensory impressions according
to their relative values. One afternoon he saw a transport truck run
into an automobile. But this bloody accident impressed him no
more vividly than the sight, a few minutes later, of a scrap of news-
paper fluttering in the wind" (Carson McCullers). (5) For variations
on the theme of minimizing the difference, see caļu, tattvåkhyāna.
GLOSSARY