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219
ħjarisanāthakaram paśyantyā bhavati muhur nitarām malinā
mukhacchāyā (Rudraţa; the girl's troubled look [visible effect],
with its cause [the flower in the youth's hand], suggest her emotion
[despair], since the cause is seen to be a secret signal that the rendez-
vous must be postponed: "The girl's face is troubled as she looks
upon the village youth with a new garland of hibiscus in his hand").
(4) ".
we had a small game, / And Ah Sin took a hand: / It was
Euchre. The same / He did not understand; / But he smiled as he
sat by the table, / With a smile that was child-like and bland. / ... /
But the hands that were played / By that heathen Chinee, / And the
points that he made, / Were quite frightful to see,-/ Till at last he
put down a right bower, / Which the same Nye had dealt unto me.
/ Then I looked up at Nye, / And he gazed upon me; / And he rose
with a sign, / And said, 'Can this be? / We are ruined by Chinese
cheap labour', / And he went for that heathen Chinee" (Bret Harte:
Nye's sigh [visible effect], with its cause [right bower in wrong hand],
suggest his emotion [thirst for revenge], since the cause is seen to
be an indication of dishonest play). (5) This figure is testimony
to the efforts of the stricter poeticians to include suggestion [dhvani]
within the realm of figure as traditionally conceived. Bhāva is
more limited in scope than rasavat alamkāra, aiming only at suggest-
ing a specific, temporally limited emotion, rather than a mood
[rasa] which would be a general characteristic of the work itself.
It is a kind of periphrasis of the soul; but since we know from the
Dhvanyaloka that the soul can only be obliquely referred to, bhāva
is hard to differentiate from the notion of suggestion itself. The
figure differs from aprastutaprašamsā both in that the intimated
subject is there capable of representation, and in that the means of
suggestion are similitudes of subject and explicit object. See
paryāyôkta.
GLOSSARY
bhāva (II): (1) a figure in which a literal truth is expressed for the purpose
of conveying a hidden intention. (2) R 7.40 (41). (3) ekākini yad
abalā taruṇī tathäham asmin grhe grhapatiś ca gato videśam । kim
yācase tad iha väsam iyam varākī śvaśrür mamândhabadhira nanu
mūḍha pāntha (Rudrata; the girl is inviting the wayfarer to bed:
"I am alone and weak and innocent, and my husband has left this
house for a far country; why do you ask refuge here? Don't you
realize that my mother-in-law is about, deaf and blind? Stupid
traveller!"). (4) "Good night. If I get to talkin' and tossin', or
what not, you'll understand you're to 'Yes, I'll wake you'. 'No
ħjarisanāthakaram paśyantyā bhavati muhur nitarām malinā
mukhacchāyā (Rudraţa; the girl's troubled look [visible effect],
with its cause [the flower in the youth's hand], suggest her emotion
[despair], since the cause is seen to be a secret signal that the rendez-
vous must be postponed: "The girl's face is troubled as she looks
upon the village youth with a new garland of hibiscus in his hand").
(4) ".
we had a small game, / And Ah Sin took a hand: / It was
Euchre. The same / He did not understand; / But he smiled as he
sat by the table, / With a smile that was child-like and bland. / ... /
But the hands that were played / By that heathen Chinee, / And the
points that he made, / Were quite frightful to see,-/ Till at last he
put down a right bower, / Which the same Nye had dealt unto me.
/ Then I looked up at Nye, / And he gazed upon me; / And he rose
with a sign, / And said, 'Can this be? / We are ruined by Chinese
cheap labour', / And he went for that heathen Chinee" (Bret Harte:
Nye's sigh [visible effect], with its cause [right bower in wrong hand],
suggest his emotion [thirst for revenge], since the cause is seen to
be an indication of dishonest play). (5) This figure is testimony
to the efforts of the stricter poeticians to include suggestion [dhvani]
within the realm of figure as traditionally conceived. Bhāva is
more limited in scope than rasavat alamkāra, aiming only at suggest-
ing a specific, temporally limited emotion, rather than a mood
[rasa] which would be a general characteristic of the work itself.
It is a kind of periphrasis of the soul; but since we know from the
Dhvanyaloka that the soul can only be obliquely referred to, bhāva
is hard to differentiate from the notion of suggestion itself. The
figure differs from aprastutaprašamsā both in that the intimated
subject is there capable of representation, and in that the means of
suggestion are similitudes of subject and explicit object. See
paryāyôkta.
GLOSSARY
bhāva (II): (1) a figure in which a literal truth is expressed for the purpose
of conveying a hidden intention. (2) R 7.40 (41). (3) ekākini yad
abalā taruṇī tathäham asmin grhe grhapatiś ca gato videśam । kim
yācase tad iha väsam iyam varākī śvaśrür mamândhabadhira nanu
mūḍha pāntha (Rudrata; the girl is inviting the wayfarer to bed:
"I am alone and weak and innocent, and my husband has left this
house for a far country; why do you ask refuge here? Don't you
realize that my mother-in-law is about, deaf and blind? Stupid
traveller!"). (4) "Good night. If I get to talkin' and tossin', or
what not, you'll understand you're to 'Yes, I'll wake you'. 'No