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193
prākaraṇika, 'relating to the subject of the utterance': (1) same as
prastāävabhāj. (2) M 158C.
stuti, 'praise': (1) a type of tulyayogita whose purpose is praise or apprecia-
tion. (2) D 2.330 (331). (3) yamaḥ kubero varuṇaḥ sahasråkşo
bhavan api । bibhraty ananyaviṣayām lokapāla iti śrutim (D lin:
"The God of Death, the God of Wealth, the Lord Visņu, Indra
himself, and you, O King, bear the unmistakable appellation "World-
Protector"). (4) "... inquisitive with the inquisitiveness of a despot
and worried as with the responsibilities of a god" (G. K. Chesterton).
(5) Cf. nindā.
GLOSSARY
dipaka
dipaka, 'enlightener": (1) a construction wherein several parallel phrases
are each completed by a single (unrepeated) word or phrase; zeugma.
(2) NS 16.40, 53-55, B 2.25-29, D 2.97-115, V 4.3.18-19, U 1.14, R
7.64-71, M 156-57. (3) sarāmsi hamsaiḥ kusumaiś ca vṛkṣaḥ mattair
dvirephais ca saroruhāṇi । goṣṭhibhir udyānavanāni caîva tasminn
aśūnyāni sadā kriyante (Bharata: "In this city, the ponds are filled
with swans, the trees with flowers, the lotuses with drunken bees,
and the pleasure groves with elite parties"). (4) "All things uncomely
and broken, all things worn out and old, / The cry of a child by the
roadway, the creak of a lumbering cart, / The heavy steps of the
ploughman, splashing the wintry mould, / Are wronging your image
that blossoms rose in the deeps of my heart" (W. B. Yeats), (5)
Zeugma is one of the universal devices of any stylized literary mode
and is one of the four original figures of speech recognized by
Bharata. The name dipaka (from dip-, 'shine'), which has been
translated as "enlightener' or 'illuminator', is a more vivid formula-
tion of the subjective effect of this alamkāra than is the static zeugma
('yoke'), which describes only the grammatical appearance or form
of the figure. The word which ties together the various phrases by
being at once a grammatical part of them all illuminates the entire
phrase, or at least those parts of it which require that word in order
to be understood. By multiplying the phrases dependent on the
zeugma, the effect of illumination in increased. The effect may be
compared to the Latin or German sentence in which the English
speaker waits breathlessly for the verb. The figure zeugma has been
classified in two ways by the Indian theorists: as to the place of the
common word in the total construction, and by the grammatical
role which the common word plays in the construction. The two
prākaraṇika, 'relating to the subject of the utterance': (1) same as
prastāävabhāj. (2) M 158C.
stuti, 'praise': (1) a type of tulyayogita whose purpose is praise or apprecia-
tion. (2) D 2.330 (331). (3) yamaḥ kubero varuṇaḥ sahasråkşo
bhavan api । bibhraty ananyaviṣayām lokapāla iti śrutim (D lin:
"The God of Death, the God of Wealth, the Lord Visņu, Indra
himself, and you, O King, bear the unmistakable appellation "World-
Protector"). (4) "... inquisitive with the inquisitiveness of a despot
and worried as with the responsibilities of a god" (G. K. Chesterton).
(5) Cf. nindā.
GLOSSARY
dipaka
dipaka, 'enlightener": (1) a construction wherein several parallel phrases
are each completed by a single (unrepeated) word or phrase; zeugma.
(2) NS 16.40, 53-55, B 2.25-29, D 2.97-115, V 4.3.18-19, U 1.14, R
7.64-71, M 156-57. (3) sarāmsi hamsaiḥ kusumaiś ca vṛkṣaḥ mattair
dvirephais ca saroruhāṇi । goṣṭhibhir udyānavanāni caîva tasminn
aśūnyāni sadā kriyante (Bharata: "In this city, the ponds are filled
with swans, the trees with flowers, the lotuses with drunken bees,
and the pleasure groves with elite parties"). (4) "All things uncomely
and broken, all things worn out and old, / The cry of a child by the
roadway, the creak of a lumbering cart, / The heavy steps of the
ploughman, splashing the wintry mould, / Are wronging your image
that blossoms rose in the deeps of my heart" (W. B. Yeats), (5)
Zeugma is one of the universal devices of any stylized literary mode
and is one of the four original figures of speech recognized by
Bharata. The name dipaka (from dip-, 'shine'), which has been
translated as "enlightener' or 'illuminator', is a more vivid formula-
tion of the subjective effect of this alamkāra than is the static zeugma
('yoke'), which describes only the grammatical appearance or form
of the figure. The word which ties together the various phrases by
being at once a grammatical part of them all illuminates the entire
phrase, or at least those parts of it which require that word in order
to be understood. By multiplying the phrases dependent on the
zeugma, the effect of illumination in increased. The effect may be
compared to the Latin or German sentence in which the English
speaker waits breathlessly for the verb. The figure zeugma has been
classified in two ways by the Indian theorists: as to the place of the
common word in the total construction, and by the grammatical
role which the common word plays in the construction. The two