2023-03-29 18:10:34 by ambuda-bot
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206
GLOSSARY
at the Eagle?" (Joyce Cary; neither speaker has any money).
(5) The figure might be called "pretext" (both examples illustrate this
kind of oblique reference), but the term would be too limited for
the Sanskrit cases, some of which would make good illustrations for
Anandavardhana's dhvani. The specific alleging of a pretext is the
figure leśa. Bhāmaha's example from the Ratnáharaṇa shows a
periphrasis without the alleging of a pretext: "grheśv adhvasu vā
nânnam bhunjmahe yad adhitinaḥ / na bhunjate dvijās..." (We do not
eat food, either at home or while travelling, which learned Brahmins
have not tasted"). This is uttered by Kṛṣṇa in order to avoid being
given poisoned food. Similarly, the example from Dandin is spoken
by a go-between who has arranged the rendez-vous and now takes
her leave. All these cases share the common trait of making an
oblique reference without that reference being based in any way
upon simile or its elements. The figure samasôkti also involves
oblique reference, but to an object which is understood as the subject
of a comparison and by means of a recitation of properties presum-
ably common to both the implicit and explicit subject. Aprastuta-
prašamsă reposes on other kinds of relation (such as cause-effect),
but that relation is commonly evident in the examples. Paryāyôkta,
however, depends upon nothing but context and connotation for its
comprehension, and it need not serve even a descriptive (let alone
comparative) end. It would seem that all cases of suggestion not
otherwise classifiable should be referred to this head. Mammaţa
gives paryāyôkta as well as paryaya II, establishing the two as differ-
ent figures.
pihita
pihita, 'hidden': (1) a figure in which a quality or attribute is pictured as
withstanding, and predominant over another quality which in the
normal state of affairs would be the stronger. (2) R 9.50 (51). (3)
priyatamaviyogajanitā kṛśatā katham iva tavêyam añgeṣu । lasadin-
dukalākomalakāntikalāpeṣu lakṣyeta (Rudrața; the thinness of her
aspect is obscured by her moon-like glamour: "The thinness which
you suffer in separation from your lover is not easily perceived,
for your limbs are effulgent with beauty gentle as the glimmer of
the waning moon"). (4) "He that looks still on your eyes, / Though
the winter have begun / To benumb our arteries, / Shall not want
the summer sun" (William Browne). (5) Cf. tadguņa. Unlike
sambhāvyamānârtha, there is no transference of quality here, only
GLOSSARY
at the Eagle?" (Joyce Cary; neither speaker has any money).
(5) The figure might be called "pretext" (both examples illustrate this
kind of oblique reference), but the term would be too limited for
the Sanskrit cases, some of which would make good illustrations for
Anandavardhana's dhvani. The specific alleging of a pretext is the
figure leśa. Bhāmaha's example from the Ratnáharaṇa shows a
periphrasis without the alleging of a pretext: "grheśv adhvasu vā
nânnam bhunjmahe yad adhitinaḥ / na bhunjate dvijās..." (We do not
eat food, either at home or while travelling, which learned Brahmins
have not tasted"). This is uttered by Kṛṣṇa in order to avoid being
given poisoned food. Similarly, the example from Dandin is spoken
by a go-between who has arranged the rendez-vous and now takes
her leave. All these cases share the common trait of making an
oblique reference without that reference being based in any way
upon simile or its elements. The figure samasôkti also involves
oblique reference, but to an object which is understood as the subject
of a comparison and by means of a recitation of properties presum-
ably common to both the implicit and explicit subject. Aprastuta-
prašamsă reposes on other kinds of relation (such as cause-effect),
but that relation is commonly evident in the examples. Paryāyôkta,
however, depends upon nothing but context and connotation for its
comprehension, and it need not serve even a descriptive (let alone
comparative) end. It would seem that all cases of suggestion not
otherwise classifiable should be referred to this head. Mammaţa
gives paryāyôkta as well as paryaya II, establishing the two as differ-
ent figures.
pihita
pihita, 'hidden': (1) a figure in which a quality or attribute is pictured as
withstanding, and predominant over another quality which in the
normal state of affairs would be the stronger. (2) R 9.50 (51). (3)
priyatamaviyogajanitā kṛśatā katham iva tavêyam añgeṣu । lasadin-
dukalākomalakāntikalāpeṣu lakṣyeta (Rudrața; the thinness of her
aspect is obscured by her moon-like glamour: "The thinness which
you suffer in separation from your lover is not easily perceived,
for your limbs are effulgent with beauty gentle as the glimmer of
the waning moon"). (4) "He that looks still on your eyes, / Though
the winter have begun / To benumb our arteries, / Shall not want
the summer sun" (William Browne). (5) Cf. tadguņa. Unlike
sambhāvyamānârtha, there is no transference of quality here, only