2023-03-29 18:10:37 by ambuda-bot
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GLOSSARY
your coming today, Govinda, will return only when you come again!").
(4) "Dear Mrs. A., / Hooray, hooray, / At last you are deflowered. /
On this as every other day / I love you. -Noel Coward" (quoted by
Wolcott Gibbs; telegram sent to Gertrude Lawrence on the occasion
of her marriage). (5) See rasavat, úrjasvi.
preyas (II): (1) that quality of a work of art by which descriptive situations
elicit and sustain in every way appropriately the basic mood (rasa)
of the work. (2) U 4.2. (3) iyam ca sutavāllabhyān nirviśeṣā spṛhāvatī/
ullāpayitum ārabdhā kṛtvēmam kroḍa atmanaḥ (Udbhaţa; Pārvatī
is fondling a young fawn: "Paying no heed to the difference and made
loving through tenderness for all offspring, she began to hum and
took it to her breast"). (4) "There will be a rusty gun on the wall,
sweetheart, / The rifle grooves curling with flakes of rust. / A spider
will make a silver string next in the darkest, warmest corner of it. /
The trigger and the range-finder, they too will be rusty. / And
no hands will polish the gun, and it will hang on the wall. / Fore-
finger and thumbs will point absently and casually toward it. / It
will be spoken among half-forgotten, wished-to-be-forgotten things. /
They will tell the spider: Go on, you're doing good work" (Carl
Sandburg; the title of this poem is "A. E. F." and its mood is śānta).
(5) Udbhata incorporates several elements of the rasa theory into
the traditional corpus of alamkāra. His pretext is the figure rasavat,
which from the time of Bhamaha could be determined in any
passage in which a rasa was evident or pre-eminent. The two figures
closely allied to rasavat, namely ürjasvi and preyas, which originally
meant only 'arrogance' and 'compliance' and so contrasted with
rasavat (as reposing upon the ego and not upon bhāvas common to
all and especially the audience), are reinterpreted as special cases of
rasavat: excessive demonstration of any rasa, and the present adapta-
tion of situation and mood. We need not go into the precise and
sometimes subtle analysis of situation (vibhāva, anubhāva, etc.);
suffice it to say that the present figure can be explained (and is by
later writers) as a composition whose situational elements are consist-
ent and evocative of the proper final mood.
bhāva
bhāva (I), 'emotion': (1) a figure wherein the visible effect of an emotional
state, together with its apparently unrelated cause, suggests the nature
of that emotional state, which, in turn, explains the relevance of the
cause. (2) R 7.38 (39). (3) grāmataruṇam taruṇyā navavañjulama-
GLOSSARY
your coming today, Govinda, will return only when you come again!").
(4) "Dear Mrs. A., / Hooray, hooray, / At last you are deflowered. /
On this as every other day / I love you. -Noel Coward" (quoted by
Wolcott Gibbs; telegram sent to Gertrude Lawrence on the occasion
of her marriage). (5) See rasavat, úrjasvi.
preyas (II): (1) that quality of a work of art by which descriptive situations
elicit and sustain in every way appropriately the basic mood (rasa)
of the work. (2) U 4.2. (3) iyam ca sutavāllabhyān nirviśeṣā spṛhāvatī/
ullāpayitum ārabdhā kṛtvēmam kroḍa atmanaḥ (Udbhaţa; Pārvatī
is fondling a young fawn: "Paying no heed to the difference and made
loving through tenderness for all offspring, she began to hum and
took it to her breast"). (4) "There will be a rusty gun on the wall,
sweetheart, / The rifle grooves curling with flakes of rust. / A spider
will make a silver string next in the darkest, warmest corner of it. /
The trigger and the range-finder, they too will be rusty. / And
no hands will polish the gun, and it will hang on the wall. / Fore-
finger and thumbs will point absently and casually toward it. / It
will be spoken among half-forgotten, wished-to-be-forgotten things. /
They will tell the spider: Go on, you're doing good work" (Carl
Sandburg; the title of this poem is "A. E. F." and its mood is śānta).
(5) Udbhata incorporates several elements of the rasa theory into
the traditional corpus of alamkāra. His pretext is the figure rasavat,
which from the time of Bhamaha could be determined in any
passage in which a rasa was evident or pre-eminent. The two figures
closely allied to rasavat, namely ürjasvi and preyas, which originally
meant only 'arrogance' and 'compliance' and so contrasted with
rasavat (as reposing upon the ego and not upon bhāvas common to
all and especially the audience), are reinterpreted as special cases of
rasavat: excessive demonstration of any rasa, and the present adapta-
tion of situation and mood. We need not go into the precise and
sometimes subtle analysis of situation (vibhāva, anubhāva, etc.);
suffice it to say that the present figure can be explained (and is by
later writers) as a composition whose situational elements are consist-
ent and evocative of the proper final mood.
bhāva
bhāva (I), 'emotion': (1) a figure wherein the visible effect of an emotional
state, together with its apparently unrelated cause, suggests the nature
of that emotional state, which, in turn, explains the relevance of the
cause. (2) R 7.38 (39). (3) grāmataruṇam taruṇyā navavañjulama-