2023-03-29 18:10:23 by ambuda-bot
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GLOSSARY
175
more than an effort to take account of that hypothetical objection:
he does not himself define a figure hetu and indeed says, in discussing
the figure kāraṇamālā, "pūrvôktakavyalingam eva hetuh" (the figure
hetu is indeed nothing but the previously mentioned figure kāvya-
ling Mammaţa's three examples show quite forcefully that he
intends the expression of the relation of cause and effect to be other
than descriptive-definitely conventional and presumptive; the
figure thus resembles leśa (I).
kāvyahetu
kävyahetu, 'poetic cause': (1) same as smaraṇa alamkāra. (2) U 6.7.
(5) In the text, Udbhața also calls this kávyalinga; Mammaţa uses
the name kavyalinga for another figure and calls this one smaraṇa.
Kavyahetu is a jñāpaka hetu whose purpose is comparison.
krama
krama, 'series*: (1) same as yathāsamkhya. (2) D 2.273, V 4.3.17.
gumphanā
gumphanā, 'stringing': (1) composition. (2) AP 342.31. (5) Gumphanā
is skill at managing the sequence of the narrative; it is paraphrased
by the term racanã. If the Sarasvatīkaṇthâbharaṇa (2.118) can be
allowed to have preserved the poetic tradition of the Agni Purāṇa,
the term may mean only balanced composition and be similar to the
figure yathāsamkhya.
citra
citra, 'glitter' (and duşkara, 'difficult', krīda, 'play'): (1) names used
variously by the different authors to cover four separate phenomena,
but grouped together because of their basis in pure word play. (2)
D 3.186, AP 343.22-31, R 5.1-33, M 4, 121. See also (5) and the
terms there defined. (5) After the triumph of the rasa-dhvani theory,
the term citrakavya comes to be used for the third and lowest kind of
poetry, where mere verbal virtuosity precludes the expression of any
rasa.
(a) In the most obvious sense, "word play" refers to the composi-
tion of various puzzles and games, riddles and conundrums, and
the like. None of the authors, except perhaps the Agni Purana,
goes as far as calling this sort of thing poetry, but several treat of
it because of its obvious function of entertaining the same audience
175
more than an effort to take account of that hypothetical objection:
he does not himself define a figure hetu and indeed says, in discussing
the figure kāraṇamālā, "pūrvôktakavyalingam eva hetuh" (the figure
hetu is indeed nothing but the previously mentioned figure kāvya-
ling Mammaţa's three examples show quite forcefully that he
intends the expression of the relation of cause and effect to be other
than descriptive-definitely conventional and presumptive; the
figure thus resembles leśa (I).
kāvyahetu
kävyahetu, 'poetic cause': (1) same as smaraṇa alamkāra. (2) U 6.7.
(5) In the text, Udbhața also calls this kávyalinga; Mammaţa uses
the name kavyalinga for another figure and calls this one smaraṇa.
Kavyahetu is a jñāpaka hetu whose purpose is comparison.
krama
krama, 'series*: (1) same as yathāsamkhya. (2) D 2.273, V 4.3.17.
gumphanā
gumphanā, 'stringing': (1) composition. (2) AP 342.31. (5) Gumphanā
is skill at managing the sequence of the narrative; it is paraphrased
by the term racanã. If the Sarasvatīkaṇthâbharaṇa (2.118) can be
allowed to have preserved the poetic tradition of the Agni Purāṇa,
the term may mean only balanced composition and be similar to the
figure yathāsamkhya.
citra
citra, 'glitter' (and duşkara, 'difficult', krīda, 'play'): (1) names used
variously by the different authors to cover four separate phenomena,
but grouped together because of their basis in pure word play. (2)
D 3.186, AP 343.22-31, R 5.1-33, M 4, 121. See also (5) and the
terms there defined. (5) After the triumph of the rasa-dhvani theory,
the term citrakavya comes to be used for the third and lowest kind of
poetry, where mere verbal virtuosity precludes the expression of any
rasa.
(a) In the most obvious sense, "word play" refers to the composi-
tion of various puzzles and games, riddles and conundrums, and
the like. None of the authors, except perhaps the Agni Purana,
goes as far as calling this sort of thing poetry, but several treat of
it because of its obvious function of entertaining the same audience