2023-03-29 18:10:40 by ambuda-bot
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Rudrata's only in detail and in the fact that he proposes little special
terminology to cover the multitude of types. Rudrața gives a technical
name for each variety, only a very few of which seem to have been
traditional (see samudga yamaka). Both writers distinguish yamakas
whose scope is the entire pāda (quarter verse) from those whose
scope is only a fraction of a pâda (samastapādaja, pādaikadeśaja).
In the former category are included half śloka and whole śloka
yamakas (samudgaka, mahāyamaka). (See also mukha, samdamša,
ävṛti, garbha, samdaştaka, puccha, pañkti, parivṛtti, and yugmaka
yamakas). The latter variety is, of course, infinite, and both writers
classify as to where and how much of the pāda is involved (ādimad-
hyânta yamakas, etc.) and also as to how many pādas exhibit yama-
kas, and how many times the yamaka itself is repeated. Many of
these varieties have no name. Rudrața, the supreme technician,
divides "partial" yamaka into those whose scope is the half pāda
and those whose scope is a quarter or a third of a pāda (see antâdika,
vaktra, adimadhya, etc.). All writers profess to be incapable of
dealing with yamaka in its entirety.
After the triumph of the dhvani theory, yamaka comes to be con-
sidered the type par excellence of citrakāvya, the lowest of the three
varieties of poetry, which embodies nothing of poetic value and
displays mere verbal virtuosity. (See citra.) Yamaka and citra are,
however, distinguished from one another very sharply by the
tradition. Cf. the consistent yamakas of Raghuvarsa 9th canto.
akşara, 'syllable': (1) a type of yamaka in which the repeated elements
are syllables which occur either once, at the beginning of each pāda,
or in such a way that the entire pada or verse is composed of doubles.
(2) V 4.1.2. (3) nānākāreņa kāntābhrür ärādhitamanobhuvā । viviktena
vilāsena tatakşa hṛdayam nṛṇām (Vāmana: "The eyebrows of a
lovely girl strike into the heart of a man with varied coquetry,
each of their shapes delightful to the Love God"), vividhadhavavanā
nagagargharghanānāvivitatagagnānāmamajjajjanānā (Vāmana; un-
clear in meaning). (5) Most yamakas are repetitions defined in pādas
or parts of pādas, rather than in single syllables, but compare pădâdi
yamaka, where only the location of the repetition is specified.
anta, "end': (1) see pădânta.
GLOSSARY
antâdika, 'final-initial': (1) a type of yamaka in which the repeated elements
are the last half of the first pāda and the first half of the second. (2)
R 3.23 (24). (3) nārīņām alasam nâbhi lasannābhi kadambakam ।
paramastram anañgasya kasya no ramayen manaḥ (Rudrata: "Whose
Rudrata's only in detail and in the fact that he proposes little special
terminology to cover the multitude of types. Rudrața gives a technical
name for each variety, only a very few of which seem to have been
traditional (see samudga yamaka). Both writers distinguish yamakas
whose scope is the entire pāda (quarter verse) from those whose
scope is only a fraction of a pâda (samastapādaja, pādaikadeśaja).
In the former category are included half śloka and whole śloka
yamakas (samudgaka, mahāyamaka). (See also mukha, samdamša,
ävṛti, garbha, samdaştaka, puccha, pañkti, parivṛtti, and yugmaka
yamakas). The latter variety is, of course, infinite, and both writers
classify as to where and how much of the pāda is involved (ādimad-
hyânta yamakas, etc.) and also as to how many pādas exhibit yama-
kas, and how many times the yamaka itself is repeated. Many of
these varieties have no name. Rudrața, the supreme technician,
divides "partial" yamaka into those whose scope is the half pāda
and those whose scope is a quarter or a third of a pāda (see antâdika,
vaktra, adimadhya, etc.). All writers profess to be incapable of
dealing with yamaka in its entirety.
After the triumph of the dhvani theory, yamaka comes to be con-
sidered the type par excellence of citrakāvya, the lowest of the three
varieties of poetry, which embodies nothing of poetic value and
displays mere verbal virtuosity. (See citra.) Yamaka and citra are,
however, distinguished from one another very sharply by the
tradition. Cf. the consistent yamakas of Raghuvarsa 9th canto.
akşara, 'syllable': (1) a type of yamaka in which the repeated elements
are syllables which occur either once, at the beginning of each pāda,
or in such a way that the entire pada or verse is composed of doubles.
(2) V 4.1.2. (3) nānākāreņa kāntābhrür ärādhitamanobhuvā । viviktena
vilāsena tatakşa hṛdayam nṛṇām (Vāmana: "The eyebrows of a
lovely girl strike into the heart of a man with varied coquetry,
each of their shapes delightful to the Love God"), vividhadhavavanā
nagagargharghanānāvivitatagagnānāmamajjajjanānā (Vāmana; un-
clear in meaning). (5) Most yamakas are repetitions defined in pādas
or parts of pādas, rather than in single syllables, but compare pădâdi
yamaka, where only the location of the repetition is specified.
anta, "end': (1) see pădânta.
GLOSSARY
antâdika, 'final-initial': (1) a type of yamaka in which the repeated elements
are the last half of the first pāda and the first half of the second. (2)
R 3.23 (24). (3) nārīņām alasam nâbhi lasannābhi kadambakam ।
paramastram anañgasya kasya no ramayen manaḥ (Rudrata: "Whose