2023-03-29 18:10:24 by ambuda-bot
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178
GLOSSARY
for the magical undertone, especially of the pictorial verses, is
apparent.
anulomaviloma, 'with the grain, ignoring the grain': (1) a type of word
play in which the syllables of a second half verse or second verse
repeat in a leapfrogging sequence those of the first (half) verse.
(2) R 5.22-23. (3) samaraṇamahitopā yâstanämâripātā sarama-
nahimatoyâpāstamānâritāpā (Rudrata: "Those who destroy the
enemies of the Gods and cause to fall the enemies of those whose
glory is decayed by having departed, the sufferings of his enemies,
being arrogance, were assuaged by applications of water borne from
snow to a lover"). (4) The form is: A Ba Ca Da Ea Fa Ga Ha Ja /
A Ca Ba Da Fa Ea Ga Ja Ha. (5) Cf. pratilomânuloma; the word
viloma also means 'against the grain', but the connotation of the
pre-verb vi- is simply 'irrespective of rather than 'contrary to as
conveyed by prati-. Loma means 'hair'; the idea conveyed is that of
stroking hair in the way it naturally lies, or the inverse.
ambuja, 'lotus': (1) same as padma. (2) AP 343.46.
***
arthacitra, 'word play of sense': (1) another term for alamkāra. (2) M 70.
(5) Mammaţa is following Anandavardhana, who thinks that figures
of speech which do not evoke any rasa are mere word play, distin-
guished from riddles and cadence (śabdacitra) only in that they involve
the meanings of the words instead of their outward form (sabda).
They lack the poetic charm which alone derives from an appropriately
evoked rasa. Mammața mistakes this rhetorical remark for a classi-
fication of citra and reproduces it in that context.
ardhabhrama, 'half-rotation': (1) a type of word play in which a verse,
each of whose four pādas is written on a separate line, can be read
either in the normal way or as a helix, from outer verticals inwards.
(2) D 3.80 (81), AP 343.39 (text reads ardhābhyām in error), R 5.3
(18). (3):
mā no bha va ta vā nī kam
no da yā ya na mā ni nī
bha yā da me yā mā mā vā
va ya me no ma ya na ta.
Dandin
("O Liebesgott, vor dem wir uns verneigen! Dein Heer, die Grollende,
trägt den Sieg davon; wir mögen ein Vergehen begangen haben oder
nicht, so empfinden wir doch aus Furcht eine unermessliche Pein"
(Böhtlingk). Or: "O God of Love! your beloved, phalanx-like, is
certainly not for our misfortune! May we not be deemed sinners!
GLOSSARY
for the magical undertone, especially of the pictorial verses, is
apparent.
anulomaviloma, 'with the grain, ignoring the grain': (1) a type of word
play in which the syllables of a second half verse or second verse
repeat in a leapfrogging sequence those of the first (half) verse.
(2) R 5.22-23. (3) samaraṇamahitopā yâstanämâripātā sarama-
nahimatoyâpāstamānâritāpā (Rudrata: "Those who destroy the
enemies of the Gods and cause to fall the enemies of those whose
glory is decayed by having departed, the sufferings of his enemies,
being arrogance, were assuaged by applications of water borne from
snow to a lover"). (4) The form is: A Ba Ca Da Ea Fa Ga Ha Ja /
A Ca Ba Da Fa Ea Ga Ja Ha. (5) Cf. pratilomânuloma; the word
viloma also means 'against the grain', but the connotation of the
pre-verb vi- is simply 'irrespective of rather than 'contrary to as
conveyed by prati-. Loma means 'hair'; the idea conveyed is that of
stroking hair in the way it naturally lies, or the inverse.
ambuja, 'lotus': (1) same as padma. (2) AP 343.46.
***
arthacitra, 'word play of sense': (1) another term for alamkāra. (2) M 70.
(5) Mammaţa is following Anandavardhana, who thinks that figures
of speech which do not evoke any rasa are mere word play, distin-
guished from riddles and cadence (śabdacitra) only in that they involve
the meanings of the words instead of their outward form (sabda).
They lack the poetic charm which alone derives from an appropriately
evoked rasa. Mammața mistakes this rhetorical remark for a classi-
fication of citra and reproduces it in that context.
ardhabhrama, 'half-rotation': (1) a type of word play in which a verse,
each of whose four pādas is written on a separate line, can be read
either in the normal way or as a helix, from outer verticals inwards.
(2) D 3.80 (81), AP 343.39 (text reads ardhābhyām in error), R 5.3
(18). (3):
mā no bha va ta vā nī kam
no da yā ya na mā ni nī
bha yā da me yā mā mā vā
va ya me no ma ya na ta.
Dandin
("O Liebesgott, vor dem wir uns verneigen! Dein Heer, die Grollende,
trägt den Sieg davon; wir mögen ein Vergehen begangen haben oder
nicht, so empfinden wir doch aus Furcht eine unermessliche Pein"
(Böhtlingk). Or: "O God of Love! your beloved, phalanx-like, is
certainly not for our misfortune! May we not be deemed sinners!