2023-03-29 18:10:40 by ambuda-bot
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224
GLOSSARY
latter, abhinnapada (different or identical words). The term "parono-
masia" can be used loosely either of word play or of punning (double-
entendre); when the two meanings of an identical sequence of words
are obtained simultaneously, we have śleșa or pun; when they are
obtained sequentially, we have yamaka or 'cadence'.
In English poetry, the figure yamaka is generally restricted to
light verse and doggerel: "But from her grave in Mary-bone / They've
come and boned your Mary" (Thomas Hood; referring to body-
snatchers; a parivrtti yamaka). Occasionally, it serves a satirical
purpose, as in Joyce Cary's watercolour slaughtercolour
...
66
99
"
mortarcolour scortacolour tortacolour thoughtacolour …..
a samastapāda yamaka based on the movie industry's overuse of the
suffix "-color" ("technicolor, vistacolor", etc.). Nowadays, in
America at any rate, yamakas are found most frequently in advertis-
ing jargon, where it is apparently believed that they awaken curiosity:
"For news you can depend on, depend on the Chicago Daily News".
This is also a parivṛtti yamaka.
The figure yamaka is closely related to, and probably the progenitor
of, several other figures, notably lāțânuprāsa and the various kinds
of citra. The former involves repetition of contiguous words (like
Bharata's yamakas), and the latter depend on principles of repetition
other than the obvious linear one (such as zig-zag, palindrome,
hop-scotch, etc.). The figure has been minutely subdivided, especially
by Bharata, Dandin, and Rudrata, but all the distinctions relate
only to the scope and place of the repetition in the verse (first pāda,
beginning of first pāda, first half of first pāda, etc.). For this reason,
I have not attempted to give an English example for each variety.
English verses employ yamakas in no such consistent fashion (all
would be classified as samuccaya yamakas by the precious), and
most of the English yamakas are not found in verse, anyhow. All
the infinite varieties reduce to the same uniform notion: repetition
of word spans with different meanings.
Udbhata alone of the early writers does not mention yamaka,
though he devotes much thought to an elaborate classification of
lāțânuprāsa. The other writers differ largely as to the degree to
which the analysis is carried. Bhamaha proposes only five types,
Vāmana a half-dozen, and Mammața, though admitting the infinity
of possible types, illustrates only five. Bharata, however, describes
ten varieties, which is rather surprising considering that he finds only
four types of upamā. Dandin's elaborate classification differs from
...
GLOSSARY
latter, abhinnapada (different or identical words). The term "parono-
masia" can be used loosely either of word play or of punning (double-
entendre); when the two meanings of an identical sequence of words
are obtained simultaneously, we have śleșa or pun; when they are
obtained sequentially, we have yamaka or 'cadence'.
In English poetry, the figure yamaka is generally restricted to
light verse and doggerel: "But from her grave in Mary-bone / They've
come and boned your Mary" (Thomas Hood; referring to body-
snatchers; a parivrtti yamaka). Occasionally, it serves a satirical
purpose, as in Joyce Cary's watercolour slaughtercolour
...
66
99
"
mortarcolour scortacolour tortacolour thoughtacolour …..
a samastapāda yamaka based on the movie industry's overuse of the
suffix "-color" ("technicolor, vistacolor", etc.). Nowadays, in
America at any rate, yamakas are found most frequently in advertis-
ing jargon, where it is apparently believed that they awaken curiosity:
"For news you can depend on, depend on the Chicago Daily News".
This is also a parivṛtti yamaka.
The figure yamaka is closely related to, and probably the progenitor
of, several other figures, notably lāțânuprāsa and the various kinds
of citra. The former involves repetition of contiguous words (like
Bharata's yamakas), and the latter depend on principles of repetition
other than the obvious linear one (such as zig-zag, palindrome,
hop-scotch, etc.). The figure has been minutely subdivided, especially
by Bharata, Dandin, and Rudrata, but all the distinctions relate
only to the scope and place of the repetition in the verse (first pāda,
beginning of first pāda, first half of first pāda, etc.). For this reason,
I have not attempted to give an English example for each variety.
English verses employ yamakas in no such consistent fashion (all
would be classified as samuccaya yamakas by the precious), and
most of the English yamakas are not found in verse, anyhow. All
the infinite varieties reduce to the same uniform notion: repetition
of word spans with different meanings.
Udbhata alone of the early writers does not mention yamaka,
though he devotes much thought to an elaborate classification of
lāțânuprāsa. The other writers differ largely as to the degree to
which the analysis is carried. Bhamaha proposes only five types,
Vāmana a half-dozen, and Mammața, though admitting the infinity
of possible types, illustrates only five. Bharata, however, describes
ten varieties, which is rather surprising considering that he finds only
four types of upamā. Dandin's elaborate classification differs from
...