2023-03-29 18:10:28 by ambuda-bot
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GLOSSARY
chāyā
chāyā, 'shadow': (1) clever imitation of other styles or dialects. (2)
AP 342.21-25. (5) This is the first śabdâlamkāra of the Agni Purāṇa;
four styles are enumerated: the vernacular (lokôkti), scholarly jargon
(chekôkti), children's speech (arbhakôkti), and the talk of drunks
(mattôkti).
chekânuprāsa
chekânuprāsa, "clever alliteration': (1) same as cheka, a type of anuprāsa.
(2) U 1.3 (5). (5) Chekânuprāsa is considered by Udbhata to be an
alamkāra separate from anuprāsa strictly speaking.
jāti
jāti, 'genus': (1) same as svabhāvokti. (2) R 7.30 (31-33).
tattva
tattva, 'reality': (1) an arthaśleșa in which puns, in appearance descriptive
adjectival qualifications of the subject, involve a second meaning as
predicate nouns which metaphorize the subject. (2) R 10.20 (21).
(3) nayane hi taralatāra sutanu kapolau ca candrakantau te / adharo'pi
padmarāgas tribhuvanaratnam tato vadanam (Rudrața; the parts of
the girl's face are described by adjectives which are also names of
jewels which compliment that particular feature: "For her eyes are
glancing [two pearls of great price], her cheeks are beautiful as the
moon [moonstones], her lower lip has the color of the lotus [is a
ruby], and thus her face is the jewel of the three worlds"). (4)
""Before you had those timber toes, / Your love I did allow, / But
then, you know, you stand upon / Another footing now!"" (Thomas
Hood; spoken by a lady whose soldier-lover has returned from the
wars minus both his legs: the pun on "footing" suggests that the lady
would prefer a lover with a complete set of limbs. He "stands on
another footing" in the direct sense because conditions have changed,
but that "other footing" refers also to his wooden legs and heightens
the force of the description). (5) The second meaning of this pun
transforms a simple description into the figure rūpaka. The figure
differs from avayava śleșa in that the pun is not merely on the
qualification, but also on the status of the qualification as a gram-
matical adjective. The implicit rüpaka of this type of śleșa, moreover,
distinguishes it from avayava, where the pun suggests at most a
flattering comparison.
GLOSSARY
chāyā
chāyā, 'shadow': (1) clever imitation of other styles or dialects. (2)
AP 342.21-25. (5) This is the first śabdâlamkāra of the Agni Purāṇa;
four styles are enumerated: the vernacular (lokôkti), scholarly jargon
(chekôkti), children's speech (arbhakôkti), and the talk of drunks
(mattôkti).
chekânuprāsa
chekânuprāsa, "clever alliteration': (1) same as cheka, a type of anuprāsa.
(2) U 1.3 (5). (5) Chekânuprāsa is considered by Udbhata to be an
alamkāra separate from anuprāsa strictly speaking.
jāti
jāti, 'genus': (1) same as svabhāvokti. (2) R 7.30 (31-33).
tattva
tattva, 'reality': (1) an arthaśleșa in which puns, in appearance descriptive
adjectival qualifications of the subject, involve a second meaning as
predicate nouns which metaphorize the subject. (2) R 10.20 (21).
(3) nayane hi taralatāra sutanu kapolau ca candrakantau te / adharo'pi
padmarāgas tribhuvanaratnam tato vadanam (Rudrața; the parts of
the girl's face are described by adjectives which are also names of
jewels which compliment that particular feature: "For her eyes are
glancing [two pearls of great price], her cheeks are beautiful as the
moon [moonstones], her lower lip has the color of the lotus [is a
ruby], and thus her face is the jewel of the three worlds"). (4)
""Before you had those timber toes, / Your love I did allow, / But
then, you know, you stand upon / Another footing now!"" (Thomas
Hood; spoken by a lady whose soldier-lover has returned from the
wars minus both his legs: the pun on "footing" suggests that the lady
would prefer a lover with a complete set of limbs. He "stands on
another footing" in the direct sense because conditions have changed,
but that "other footing" refers also to his wooden legs and heightens
the force of the description). (5) The second meaning of this pun
transforms a simple description into the figure rūpaka. The figure
differs from avayava śleșa in that the pun is not merely on the
qualification, but also on the status of the qualification as a gram-
matical adjective. The implicit rüpaka of this type of śleșa, moreover,
distinguishes it from avayava, where the pun suggests at most a
flattering comparison.