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Glossary of Indian Figures of Speech / 196 Image 196 of 348 (Page 196)

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194

GLOSSARY

modes are not exclusive, and several authors employ both. First
of all, the shared word may occur at the beginning (ādi), in the middle
(madhya), or at the end (anta) of the total construction. These words
are usually interpreted to mean first, interior, or fourth quarters of
the verse and not absolute first or last position in the verse (see,
madhya dipaka). It is interesting in this connection to compare the
renaissance classification of zeugma into prozeugma, mesozeugma,
and hypozeugma (Taylor, p. 132-33). All the writers except Bharata
and Mammața reproduce this extrinsic triad, and it may represent
the oldest view on the figure. Daṇḍin, however, proposes a fourfold
division by part of speech, in line with his several other uses of the
same discrimination (cf. svabhāvôkti, vyatireka, višeşôkti): the word
shared by the several phrases may be either an adjective (guna), a
verb (kriyā), a generic noun (jāti), or an proper name (dravya).
Dandin does not abandon the threefold division, so his treatment
may be said to produce a twelvefold zeugma. This classification by
grammatical role is unknown only in the two earliest writers, Bharata
and Bhamaha. Since the encyclopaedist Mammața uses it ex-
clusively, we may presume that the older threefold division was
no longer felt to be adequately diagnostic. However, the later
writers simplify Dandin's four grammatical parts of speech into
two-kriya, 'verb' and käraka or kartr, 'noun' (see kriyā dīpaka)-and
Vāmana accepts only kriyā as legitimate.

It should be remarked that the word "zeugma" is more commonly
applied in English rhetoric to a defect of construction whereby a
single word is related to two (or more) in such a way that the
construction is not the same for the two (for example: "She came in
a flood of tears and a bath chair", where "in" is used both modally
and locatively). This is a special case of the more general figure,
but in usage the two must not be confounded, as no defect is intended
in our use of zeugma.

Oddly enough, the Agni Purāṇa, which represents an independent
samkhya-oriented poetic tradition, ignores the figure dipaka. This is
doubly curious, as that text in no way minimizes verbal figures—as
opposed to figures founded on meaning (tropes)—and in view of
the fact that dipaka is one of the four figures known to Bharata
(with upamā, rūpaka, and yamaka).

anta, 'final': (1) a type of zeugma in which the grammatical element
shared by the several phrases occurs at the end of the entire construc-
tion. (2) B 2.25 (29), D 2.102 (104-105), V 4.3.19, U 1.14, R 7.65

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