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201
sauce / Or stand a man a cheese?" (G. K. Chesterton). (5) The
classification is refuted by Rudraţa (8.86C), who would consider
this a variation on samuccaya alamkāra. See also the remarks under
drstânta vyatireka.
sādharmya, 'similitude': (1) a type of drstânta in which the terms and
aspect of subject and examples are in balanced concord. (2) M 155.
(3) tvayi dṛşta eva tasyā nirvātt mano manobhavajvalitam । áloke hi
himâmsor vikasati kusumam kumudvatyāḥ (Mammața; the example
is the same as that offered by Rudrata for vivaksita drsțânta). (4) "So
shuts the marigold her leaves / At the departure of the sun; / So
from the honeysuckle sheaves / The bee goes when the day is done; /
So sits the turtle when she is but one / And so all woe, as I since she
is gone" (William Browne). (5) This is, of course, drșțânta itself,
to be understood as a subtype only in the sense that Mammaţa
recognizes an antithetical example, too (cf. vaidharmya).
GLOSSARY
nidarśanā
nidarśanā (I) (neuter in Dandin and Vämana), 'pointing to': (1) a figure
in which a particular situation is translated into a general truth, and
a moral is drawn which is based upon the mode of action and the
ultimate tendency of that situation. (2) B 3.32 (33), D 2.348 (349-50),
V 4.3.20, M 150. (3) ayam mandadyutir bhāsvān astam prati yiyāsati /
udayaḥ patanāyêti śrīmato bodhayan narán (Bhāmaha: "The dull
red sun nears the western term, telling the wise that greatness is
but the precedent of decline"). (4) "Poor HALL caught his death
standing under a spout, / Expecting till midnight when NAN would
come out, / But fatal his patience, as cruel the Dame, / And curst
was the Weather that quench'd the man's flame. /'Who e'er thou art,
that read'st these moral lines, / Make love at home, and go to bed
betimes" (Matthew Prior). (5) This figure differs from arthântara-
nyasa in that the general truth is here expressed as the very meaning
of the particular situation, not as another and more valid formula-
tion of it. Some writers (Dandin, Vāmana) define the figure as a
relation of two situations through a similar consequence: moral
instruction in terms of the final cause. The second situation is seen
not as extrinsic to the first, maintaining a relation of similitude to it,
but it is, as it were, a universalization of the same idea. This view-
point gives a rationale for the transition to the second type, described
first by Mammata, which, in the modern writers (Candrâloka),
supplants the other.
sauce / Or stand a man a cheese?" (G. K. Chesterton). (5) The
classification is refuted by Rudraţa (8.86C), who would consider
this a variation on samuccaya alamkāra. See also the remarks under
drstânta vyatireka.
sādharmya, 'similitude': (1) a type of drstânta in which the terms and
aspect of subject and examples are in balanced concord. (2) M 155.
(3) tvayi dṛşta eva tasyā nirvātt mano manobhavajvalitam । áloke hi
himâmsor vikasati kusumam kumudvatyāḥ (Mammața; the example
is the same as that offered by Rudrata for vivaksita drsțânta). (4) "So
shuts the marigold her leaves / At the departure of the sun; / So
from the honeysuckle sheaves / The bee goes when the day is done; /
So sits the turtle when she is but one / And so all woe, as I since she
is gone" (William Browne). (5) This is, of course, drșțânta itself,
to be understood as a subtype only in the sense that Mammaţa
recognizes an antithetical example, too (cf. vaidharmya).
GLOSSARY
nidarśanā
nidarśanā (I) (neuter in Dandin and Vämana), 'pointing to': (1) a figure
in which a particular situation is translated into a general truth, and
a moral is drawn which is based upon the mode of action and the
ultimate tendency of that situation. (2) B 3.32 (33), D 2.348 (349-50),
V 4.3.20, M 150. (3) ayam mandadyutir bhāsvān astam prati yiyāsati /
udayaḥ patanāyêti śrīmato bodhayan narán (Bhāmaha: "The dull
red sun nears the western term, telling the wise that greatness is
but the precedent of decline"). (4) "Poor HALL caught his death
standing under a spout, / Expecting till midnight when NAN would
come out, / But fatal his patience, as cruel the Dame, / And curst
was the Weather that quench'd the man's flame. /'Who e'er thou art,
that read'st these moral lines, / Make love at home, and go to bed
betimes" (Matthew Prior). (5) This figure differs from arthântara-
nyasa in that the general truth is here expressed as the very meaning
of the particular situation, not as another and more valid formula-
tion of it. Some writers (Dandin, Vāmana) define the figure as a
relation of two situations through a similar consequence: moral
instruction in terms of the final cause. The second situation is seen
not as extrinsic to the first, maintaining a relation of similitude to it,
but it is, as it were, a universalization of the same idea. This view-
point gives a rationale for the transition to the second type, described
first by Mammata, which, in the modern writers (Candrâloka),
supplants the other.