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soul of fury because of my unfaithfulness; her leaving did not
make me suffer too much"). (4) The form, for this example only,
is: xxA AXB BxC Cxx. (5) The scope of the repetition is unspecified;
otherwise, this yamaka resembles vamśa yamaka.
samdaşṭaka, 'pincers': (1) same as vikrānta yamaka. (2) R 3.7 (9). (5)
The earlier version of Bharata allows a certain amount of word repeti-
tion; Rudrata, of course, proscribes it. Mammața offers an example
(118, 364) which the commentator calls a samdaṣṭaka yamaka, but
it shows repetition only of the last half of the second and fourth
pādas (xx xA xx xA). The figure is mentioned in B 2.10, but is not
illustrated.
GLOSSARY
samasta, 'entire': (1) a yamaka in which the first half of the second and
fourth pādas repeat the last half of the first and third, respectively.
(2) R 3.23 (26). (3) pusyan vilāsam nārīṇām sannârīṇām kulakṣayam]
ā kalpam vasudhāsāra sudhāsāra jagaj jaya (Rudrața: "O essence of
the earth! O shower of nectar! May you rule the earth till the end
of the age, encouraging the coquetry of women and promoting
the familial ruin of your crushed enemies!"). (4) The form is: XA
Ax xB Bx. (5) In effect, this is a combination of antâdika and vyasta
yamakas.
samastapāda (I), 'all pādas': (1) same as pādânta I. (2) B 2.9 (15).
samastapāda (II): (1) a type of yamaka in which the same repetition
occurs at the end of each päda. (2) V 4.1.2. (3) natônnatabhrūgati-
baddhalāsyām vilokya tanvīm śaśipeśalâsyām । manaḥ kim uttāmyasi
cañcalâsyām kṛtī smarājñā yadi puṣkalā syām (Vāmana; first two
pādas in third person, third in second, and fourth in first: "Looking
at this slender girl whose face is gentle as the moon, where the dance
is formed by the rising and the falling of her brow, why do you lose
heart? The fickle authority of Love should be recognized in her,
if I am any judge"). (4) The form, for this example only, is: xxxA
XXXÁ XXXÁ XXXA. (5) This differs from samastapāda I only in not
referring to words. It differs from pädânta (of Vamana) in that there
a different yamaka occurs at the end of each päda (not the same
word in all pādas).
samastapādaja, 'referring to whole pādas*: (1) a generic category for
those yamakas whose scope is not less than an entire päda. (2)
R 3.2 (4-19). (5) Samastapādaja is opposed to pādaikadeśaja yamaka;
for illustrations, see mukha, pańkti, samudgaka, mahāyamaka, etc.
It is the same as pādâbhyāsa yamaka.
samuccaya, 'collection': (1) a yamaka which is composed of several
soul of fury because of my unfaithfulness; her leaving did not
make me suffer too much"). (4) The form, for this example only,
is: xxA AXB BxC Cxx. (5) The scope of the repetition is unspecified;
otherwise, this yamaka resembles vamśa yamaka.
samdaşṭaka, 'pincers': (1) same as vikrānta yamaka. (2) R 3.7 (9). (5)
The earlier version of Bharata allows a certain amount of word repeti-
tion; Rudrata, of course, proscribes it. Mammața offers an example
(118, 364) which the commentator calls a samdaṣṭaka yamaka, but
it shows repetition only of the last half of the second and fourth
pādas (xx xA xx xA). The figure is mentioned in B 2.10, but is not
illustrated.
GLOSSARY
samasta, 'entire': (1) a yamaka in which the first half of the second and
fourth pādas repeat the last half of the first and third, respectively.
(2) R 3.23 (26). (3) pusyan vilāsam nārīṇām sannârīṇām kulakṣayam]
ā kalpam vasudhāsāra sudhāsāra jagaj jaya (Rudrața: "O essence of
the earth! O shower of nectar! May you rule the earth till the end
of the age, encouraging the coquetry of women and promoting
the familial ruin of your crushed enemies!"). (4) The form is: XA
Ax xB Bx. (5) In effect, this is a combination of antâdika and vyasta
yamakas.
samastapāda (I), 'all pādas': (1) same as pādânta I. (2) B 2.9 (15).
samastapāda (II): (1) a type of yamaka in which the same repetition
occurs at the end of each päda. (2) V 4.1.2. (3) natônnatabhrūgati-
baddhalāsyām vilokya tanvīm śaśipeśalâsyām । manaḥ kim uttāmyasi
cañcalâsyām kṛtī smarājñā yadi puṣkalā syām (Vāmana; first two
pādas in third person, third in second, and fourth in first: "Looking
at this slender girl whose face is gentle as the moon, where the dance
is formed by the rising and the falling of her brow, why do you lose
heart? The fickle authority of Love should be recognized in her,
if I am any judge"). (4) The form, for this example only, is: xxxA
XXXÁ XXXÁ XXXA. (5) This differs from samastapāda I only in not
referring to words. It differs from pädânta (of Vamana) in that there
a different yamaka occurs at the end of each päda (not the same
word in all pādas).
samastapādaja, 'referring to whole pādas*: (1) a generic category for
those yamakas whose scope is not less than an entire päda. (2)
R 3.2 (4-19). (5) Samastapādaja is opposed to pādaikadeśaja yamaka;
for illustrations, see mukha, pańkti, samudgaka, mahāyamaka, etc.
It is the same as pādâbhyāsa yamaka.
samuccaya, 'collection': (1) a yamaka which is composed of several