2023-03-29 18:10:45 by ambuda-bot
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to words, meanings, sentences, intentions, contexts, and entire
compositions.
GLOSSARY
rasavat
rasavat, 'expressing a mood': (1) a figure in which is clearly expressed a
mood or rasa-usually śrīgāra, the amorous. (2) B 3.6, D 2.275
(280-92), U 4.3-4, M 66 (123C.). (3) mṛtêti pretya samgantum yayā
me maraṇam matam । sâişâvantī mayā labdhā katham atráiva janmani
(Dandin; śrīgāra rasa: "She whom I thought had gone beyond to
death, who made me want to follow her, did it happen that I won her
to me in this present life, my Väsavadattā?"). (4) "Everywhere
the vastness and terror of the immense night which is roused and
stirred for a brief while by the day, but which returns, and will
remain at last eternal, holding everything in its silence and its living
gloom" (D. H. Lawrence; perhaps śānta rasa). (5) This figure be-
comes crucial for the tenants of the dhvani theory, who want to es-
tablish the autonomous expression of rasa vis-à-vis the figures of
speech. Should there be a figure which itself is the expression of a
rasa, the contrary would a fortiori be proven, and the rasa would be
subordinated to the general notion of the figure. The outcome of
the argument allows rasavat as the general term for those figures
which contain a touch of rasa, but where the rasa is not the major
end of the poet employing that figure. Rasa as the proper end is
pure dhvani and not related to any figure (Dhvanyāloka 2.5).
rupaka
rūpaka, 'having the form of: (1) metaphorical identification. A figure
in which the subject of comparison is identified with its object by a
specific process of grammatical subordination. (2) NŚ 16.56-58,
B 2.21-24, D 2.66-96, V 4.3.6, U 1.11-13, AP 344.22-23 (the definitions
of both Bhamaha and Dandin are repeated), R 8.38-56, M 139-45.
(3) taḍidvalayakakşyāṇām balākāmālabhāriņām / payomucām dhvanir
dhīro dunoti mama tāṇ priyām (Bhāmaha; the lightning is charac-
terized as a bracelet, the cranes as a garland: "The roaring of the
great clouds, wearing a bracelet of lightning and a garland of cranes,
frightens my love"). (4) "The flute of morning stilled in noon- 1
noon the implacable bassoon- / now twilight seeks the thrill of
moon, / washed with a wild and thin / despair of violin" (e. e.
cummings). (5) Rūpaka, one of the four original alamkāras, is
considered by all writers to be a development of upamā and is, in
to words, meanings, sentences, intentions, contexts, and entire
compositions.
GLOSSARY
rasavat
rasavat, 'expressing a mood': (1) a figure in which is clearly expressed a
mood or rasa-usually śrīgāra, the amorous. (2) B 3.6, D 2.275
(280-92), U 4.3-4, M 66 (123C.). (3) mṛtêti pretya samgantum yayā
me maraṇam matam । sâişâvantī mayā labdhā katham atráiva janmani
(Dandin; śrīgāra rasa: "She whom I thought had gone beyond to
death, who made me want to follow her, did it happen that I won her
to me in this present life, my Väsavadattā?"). (4) "Everywhere
the vastness and terror of the immense night which is roused and
stirred for a brief while by the day, but which returns, and will
remain at last eternal, holding everything in its silence and its living
gloom" (D. H. Lawrence; perhaps śānta rasa). (5) This figure be-
comes crucial for the tenants of the dhvani theory, who want to es-
tablish the autonomous expression of rasa vis-à-vis the figures of
speech. Should there be a figure which itself is the expression of a
rasa, the contrary would a fortiori be proven, and the rasa would be
subordinated to the general notion of the figure. The outcome of
the argument allows rasavat as the general term for those figures
which contain a touch of rasa, but where the rasa is not the major
end of the poet employing that figure. Rasa as the proper end is
pure dhvani and not related to any figure (Dhvanyāloka 2.5).
rupaka
rūpaka, 'having the form of: (1) metaphorical identification. A figure
in which the subject of comparison is identified with its object by a
specific process of grammatical subordination. (2) NŚ 16.56-58,
B 2.21-24, D 2.66-96, V 4.3.6, U 1.11-13, AP 344.22-23 (the definitions
of both Bhamaha and Dandin are repeated), R 8.38-56, M 139-45.
(3) taḍidvalayakakşyāṇām balākāmālabhāriņām / payomucām dhvanir
dhīro dunoti mama tāṇ priyām (Bhāmaha; the lightning is charac-
terized as a bracelet, the cranes as a garland: "The roaring of the
great clouds, wearing a bracelet of lightning and a garland of cranes,
frightens my love"). (4) "The flute of morning stilled in noon- 1
noon the implacable bassoon- / now twilight seeks the thrill of
moon, / washed with a wild and thin / despair of violin" (e. e.
cummings). (5) Rūpaka, one of the four original alamkāras, is
considered by all writers to be a development of upamā and is, in