2023-03-29 18:10:34 by ambuda-bot
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GLOSSARY
higher degree (that aspect of reality which is relevant the common
property). By inverting this assumption, we obtain an effect some-
what like vyatireka. Usually, however, the temporal inversion serves
as a modality for exaggerating a quality of presumed effect (kārya-
kāraṇapaurvâparyaviparyaya atiśayôkti), or it is simply one of the
ways in which the causal process is distorted, for whatever effect
(käryânantaraja hetu and pūrva II).
pūrva (II): (1) same as kāryânantaraja hetu (2) R 9.3 (4). (5) See pūrva I.
Expressed as an inference, this figure is also noted by Rudraţa
under anumāna.
prativastupamā
prativastupamā, 'counterpart simile': (1) same as prativastu upamā.
(2) V 4.3.2, U 1.22-23, M 154. (5) Prativastūpamā involves the repeti-
tion of the common property; there need be no parallelism of terms
within the two situations. At any rate, this figure differs from
drstânta in that the emphasis is placed upon the repetition and not
on the parallelism. Cf. also ubhayanyāsa.
pratipa
pratipa, against the grain": (1) a simile in which an affected pity or blame
is directed at the subject of comparison in the presence of the object,
or vice versa. (2) R. 8.76 (77-78), M 201. (3) garvam asamvähyam
imam locanayugalena vahasi kim bhadre । santidṛśani diši diši saraḥsu
nanu nīlanalināni (Rudraţa, Mammata; interpreted differently, see
below: "How can your eyes bear such insupportable arrogance?
There are hundreds of blue lotuses in all the ponds"). (4) "Cupid
and my Campaspe played / At cards for kisses-Cupid paid: /
He stakes his quiver, bow and arrows,/ His mother's doves, and team
of sparrows; / Loses them too; then down he throws / The coral of
his lip, the rose / Growing on's cheek (but none knows how); / With
these, the crystal of his brow, / And then the dimple of his chin:/
All these did my Campaspe win. / At last he set her both his eyes, /
She won, and Cupid blind did rise. / O Love! has she done this to
thee? What shall, alas, become of me?" (John Lyly: the speaker
pities himself as he watches his rival, Cupid). (5) This figure seems
to be a minor variation on vyatireka in which the outright distinction
between the two terms compared is qualified or mediated by an
expression of affected pity or blame. In the two examples given
above, the lotuses and Cupid are depicted as exciting the envy of the
GLOSSARY
higher degree (that aspect of reality which is relevant the common
property). By inverting this assumption, we obtain an effect some-
what like vyatireka. Usually, however, the temporal inversion serves
as a modality for exaggerating a quality of presumed effect (kārya-
kāraṇapaurvâparyaviparyaya atiśayôkti), or it is simply one of the
ways in which the causal process is distorted, for whatever effect
(käryânantaraja hetu and pūrva II).
pūrva (II): (1) same as kāryânantaraja hetu (2) R 9.3 (4). (5) See pūrva I.
Expressed as an inference, this figure is also noted by Rudraţa
under anumāna.
prativastupamā
prativastupamā, 'counterpart simile': (1) same as prativastu upamā.
(2) V 4.3.2, U 1.22-23, M 154. (5) Prativastūpamā involves the repeti-
tion of the common property; there need be no parallelism of terms
within the two situations. At any rate, this figure differs from
drstânta in that the emphasis is placed upon the repetition and not
on the parallelism. Cf. also ubhayanyāsa.
pratipa
pratipa, against the grain": (1) a simile in which an affected pity or blame
is directed at the subject of comparison in the presence of the object,
or vice versa. (2) R. 8.76 (77-78), M 201. (3) garvam asamvähyam
imam locanayugalena vahasi kim bhadre । santidṛśani diši diši saraḥsu
nanu nīlanalināni (Rudraţa, Mammata; interpreted differently, see
below: "How can your eyes bear such insupportable arrogance?
There are hundreds of blue lotuses in all the ponds"). (4) "Cupid
and my Campaspe played / At cards for kisses-Cupid paid: /
He stakes his quiver, bow and arrows,/ His mother's doves, and team
of sparrows; / Loses them too; then down he throws / The coral of
his lip, the rose / Growing on's cheek (but none knows how); / With
these, the crystal of his brow, / And then the dimple of his chin:/
All these did my Campaspe win. / At last he set her both his eyes, /
She won, and Cupid blind did rise. / O Love! has she done this to
thee? What shall, alas, become of me?" (John Lyly: the speaker
pities himself as he watches his rival, Cupid). (5) This figure seems
to be a minor variation on vyatireka in which the outright distinction
between the two terms compared is qualified or mediated by an
expression of affected pity or blame. In the two examples given
above, the lotuses and Cupid are depicted as exciting the envy of the