2023-03-29 18:10:20 by ambuda-bot
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GLOSSARY
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165
to the verb is thus coextensive with the phrase and is sometimes
thought of as a simile of action or mode of behavior. A good test for
discriminating such a phrasal simile is this: the same verb is either
repeated, as: "The daylight struck down with a pallid glare upon the
tatters of soot draping the flue as sea-weed drapes a cky fissure"
(Thomas Hardy), or must be supplied in the other of the two phrases
(as in the example from Eliot) to make sense. "My Luve's like a red,
red rose" (Robert Burns) requires no such suppletion.
vândilopa, "ellipsis of vā, etc.": (1) same as dyotakalupta. (2) M 130. (5) vā
is a term standing here for the ensemble of comparative particles.
Though its usual meaning is 'or', it can be taken in the sense of iva
according to Böhtlingk and Roth.
vikriyā, 'transformation³: (1) an upamā in which the subject of comparison
is expressed as a transformation or modification of the object. (2)
D 2.41, AP 344.15. (3) candrabimbād ivôtkīrṇam padmagarbhād
ivôddhṛtam । tava tanvañgi vadanam (Dandin: "O slender-limbed,
your face seems carved from the moon's circle or raised from the
lotus' bud"). (4) "Lowood shook loose its tresses; it became all
green and it made a strange ground-sunshine out of the wealth
of its wild primrose plants" (Charlotte Bronte; here the object is
expressed as a transformation of the subject). (5) In the post-dhvani
or encyclopaedic writers on figuration, this variety of simile is raised
to the status of a separate figure, called pariņāma (transformation).
Cf. Ruyyaka, Alamkārasarvasva (KM edition, p. 51).
viparīta, 'reversed': (1) probably the same as viparyāsa. (2) AP 344.11-12.
viparyāsa, 'transposition': (1) an upamā in which that term which in the
order of nature is the subject of comparison is cast in the form of
the object, and, similarly, the object term is cast as the subject.
(2) D 2.17. (3) tvadānanam ivônnidram aravindam abhūt (Dandin:
"The full-blown lotus was like your sleepless face"). (4) "The flowers
did smile, like those upon her face" (William Drummond). (5) By
"order of nature", we refer to the definitions of the subject and
object as those terms in which the common property resides to a
lesser and to a greater degree, respectively. In this type of simile,
each of the two terms is expressed in the formal position naturally
appropriate to the other, thus exaggerating the prominence of the
in fact inferior subject. In cațu, there is merely a cancellation of this
difference, not an inversion.
virodha, 'opposition": (1) an upama in which the similitude is so expressed
as to imply rivalry on the part of the things compared. (2) D 2.33.
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165
to the verb is thus coextensive with the phrase and is sometimes
thought of as a simile of action or mode of behavior. A good test for
discriminating such a phrasal simile is this: the same verb is either
repeated, as: "The daylight struck down with a pallid glare upon the
tatters of soot draping the flue as sea-weed drapes a cky fissure"
(Thomas Hardy), or must be supplied in the other of the two phrases
(as in the example from Eliot) to make sense. "My Luve's like a red,
red rose" (Robert Burns) requires no such suppletion.
vândilopa, "ellipsis of vā, etc.": (1) same as dyotakalupta. (2) M 130. (5) vā
is a term standing here for the ensemble of comparative particles.
Though its usual meaning is 'or', it can be taken in the sense of iva
according to Böhtlingk and Roth.
vikriyā, 'transformation³: (1) an upamā in which the subject of comparison
is expressed as a transformation or modification of the object. (2)
D 2.41, AP 344.15. (3) candrabimbād ivôtkīrṇam padmagarbhād
ivôddhṛtam । tava tanvañgi vadanam (Dandin: "O slender-limbed,
your face seems carved from the moon's circle or raised from the
lotus' bud"). (4) "Lowood shook loose its tresses; it became all
green and it made a strange ground-sunshine out of the wealth
of its wild primrose plants" (Charlotte Bronte; here the object is
expressed as a transformation of the subject). (5) In the post-dhvani
or encyclopaedic writers on figuration, this variety of simile is raised
to the status of a separate figure, called pariņāma (transformation).
Cf. Ruyyaka, Alamkārasarvasva (KM edition, p. 51).
viparīta, 'reversed': (1) probably the same as viparyāsa. (2) AP 344.11-12.
viparyāsa, 'transposition': (1) an upamā in which that term which in the
order of nature is the subject of comparison is cast in the form of
the object, and, similarly, the object term is cast as the subject.
(2) D 2.17. (3) tvadānanam ivônnidram aravindam abhūt (Dandin:
"The full-blown lotus was like your sleepless face"). (4) "The flowers
did smile, like those upon her face" (William Drummond). (5) By
"order of nature", we refer to the definitions of the subject and
object as those terms in which the common property resides to a
lesser and to a greater degree, respectively. In this type of simile,
each of the two terms is expressed in the formal position naturally
appropriate to the other, thus exaggerating the prominence of the
in fact inferior subject. In cațu, there is merely a cancellation of this
difference, not an inversion.
virodha, 'opposition": (1) an upama in which the similitude is so expressed
as to imply rivalry on the part of the things compared. (2) D 2.33.