2023-03-29 18:10:38 by ambuda-bot
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GLOSSARY
don't yu', for God's sake!' 'Not?' 'Don't yu' touch me'. 'What'll
I do?' 'Roll away quick to your side. It don't last but a minute ....
Oh, just don't let your arm or your laig touch me if I go to jumpin'
around. I'm dreamin' of Indians when I do that. And if anything
touches me then, I'm liable to grab my knife right in my sleep""
(Owen Wister: the Virginian wishes to avoid sharing a bed with the
drummer). (5) Cf. paryāyôkta, where the hidden intention is con-
veyed by a remark with no apparent relevance. This figure, like
vyājôkti, conveys a type of irony, but does not involve speaking
the opposite of one's real intent.
bhāvika
bhāvika, 'expressive": (1) the coherence of the entire work in a clear and
realistic unity. (2) B 3.53-54, D 2.364-66, U 6.6. (3) (4) No examples
are offered by Bhāmaha or Daṇḍin. (5) This curious alamkāra,
defined as a quality [guna] of the entire work, perhaps represents the
extreme interpretation of the extent of the figure of speech. Here is
clearer than usual the etymological sense of alamkāra: a 'making
adequate' of the work of art. Bhāvika perceived in such aspects
as the relevance of the various parts of the story to one another, the
clarification of difficult contexts by an emphasis on a chain of events,
the suitability of the story to be represented in the form chosen,
clarity of language, and so on. Daṇḍin explains that this figure is a
function of the poet's intention or desire (abhipraya) and can be seen
as a competent rendering of that unity in the work. For a speculative
treatment of the figure, see the Introduction, pp. 50 ff.
bhrāntimat
bhrāntimat, 'confused': (1) a figure in which one thing, usually the object
of comparison, is mistaken for another, usually the subject of compa-
rison. (2) R 8.87 (88), M 200. (3) pālayati tvayi vasudhām vividhâdhva-
radhūmamālinīḥ kakubhaḥ । paśyanti dūyante ghanasamayâśańkayā
hamsāḥ (Rudrata: "While you, O King, protect the earth, the moun-
tain peaks are blackened by the smoke of so many sacrifices that
the geese, looking on, mistake them for the rain clouds and are sad").
(4) "... her eyes in heaven / Would through the airy region stream
so bright That birds would sing and think it were not night"
(Shakespeare). (5) No element of doubt is admitted by those defining
this term; confusion is complete to the point of mistake. In this
the figure differs from samsaya and from rūpaka. As in pratīpa and
GLOSSARY
don't yu', for God's sake!' 'Not?' 'Don't yu' touch me'. 'What'll
I do?' 'Roll away quick to your side. It don't last but a minute ....
Oh, just don't let your arm or your laig touch me if I go to jumpin'
around. I'm dreamin' of Indians when I do that. And if anything
touches me then, I'm liable to grab my knife right in my sleep""
(Owen Wister: the Virginian wishes to avoid sharing a bed with the
drummer). (5) Cf. paryāyôkta, where the hidden intention is con-
veyed by a remark with no apparent relevance. This figure, like
vyājôkti, conveys a type of irony, but does not involve speaking
the opposite of one's real intent.
bhāvika
bhāvika, 'expressive": (1) the coherence of the entire work in a clear and
realistic unity. (2) B 3.53-54, D 2.364-66, U 6.6. (3) (4) No examples
are offered by Bhāmaha or Daṇḍin. (5) This curious alamkāra,
defined as a quality [guna] of the entire work, perhaps represents the
extreme interpretation of the extent of the figure of speech. Here is
clearer than usual the etymological sense of alamkāra: a 'making
adequate' of the work of art. Bhāvika perceived in such aspects
as the relevance of the various parts of the story to one another, the
clarification of difficult contexts by an emphasis on a chain of events,
the suitability of the story to be represented in the form chosen,
clarity of language, and so on. Daṇḍin explains that this figure is a
function of the poet's intention or desire (abhipraya) and can be seen
as a competent rendering of that unity in the work. For a speculative
treatment of the figure, see the Introduction, pp. 50 ff.
bhrāntimat
bhrāntimat, 'confused': (1) a figure in which one thing, usually the object
of comparison, is mistaken for another, usually the subject of compa-
rison. (2) R 8.87 (88), M 200. (3) pālayati tvayi vasudhām vividhâdhva-
radhūmamālinīḥ kakubhaḥ । paśyanti dūyante ghanasamayâśańkayā
hamsāḥ (Rudrata: "While you, O King, protect the earth, the moun-
tain peaks are blackened by the smoke of so many sacrifices that
the geese, looking on, mistake them for the rain clouds and are sad").
(4) "... her eyes in heaven / Would through the airy region stream
so bright That birds would sing and think it were not night"
(Shakespeare). (5) No element of doubt is admitted by those defining
this term; confusion is complete to the point of mistake. In this
the figure differs from samsaya and from rūpaka. As in pratīpa and