2023-03-29 18:10:49 by ambuda-bot
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GLOSSARY
251
kāra of Vāmana, which is defined as a rūpaka (metaphor) founded
upon an upamā (simile). The examples, however, are the same:
Vāmana probably takes "rajanipuramdhrirodhratilakaḥ śaśī "('the
moon is the beauty mark of the night-woman') to mean: 'of the
night, which resembles a woman'. It is upon this idea of similitude
(though expressed as a metaphor) that the identification of moon and
beauty mark is predicated. An alternative explanation would be:
"the night with the moon is like a woman with her beauty mark",
though one fails to see in this case just how this figure differs from
simple metaphor (which is also founded upon a similitude). Vāmana
is eager to reduce all figures to a basic simile, so perhaps his contor-
tions have no other rationale.
This integration of metaphor into metaphor should be distin-
guished from rūpaka rūpaka, which only a triple metaphor
(identification of three terms).
bhedabhāj, "distinct': (1) another name for ašlişța rūpaka.
mālā, 'garland': (1) a type of non-complex metaphor in which the same
subject is successively identified with a number of objects, each
suggesting a different property or aspect. (2) U 1.13, R 8.46 (49),
M 144. (3) kusumayudhaparamâstram lavaṇyamahôdadhir gunani-
dhānam । ānandamandiram aho hṛdi dayitā skhalati me šalyam
(Rudrața: "Alas, that lady has shot an arrow into my heart! She
is the ultimate weapon of the God of Love, an ocean of beauty, a
treasure-trove of qualities, a palace of pleasure!"). (4) "This royal
throne of kings, this scepter'd isle, / This earth of majesty, this seat
of Mars, / This other Eden, demi-paradise, / This fortress built by
Nature for herself / Against infection and the hand of war, / This
happy breed of men, this little world, / This precious stone set in
the silver sea, / This blessed plot, this earth, this realm, this
England, This nurse, this teeming womb of royal kings
(Shakespeare). (5) Cf. niravayava; most of the common figures
(upamā, vyatireka) are capable of this extension, since they are all
analyzable into the same elements: thing compared, object of
comparison, common property, etc. Mammața also gives an example
for a garland of paramparita metaphors. No new principle is
involved.
"
---
yukta, 'related': (1) a type of complex rūpaka in which the objects of
the subsidiary metaphors go together, that is, are mutually related
in terms of some well-known cliché or image. (2) D 2.77. (3)
smitapuspôjjvalam lolanetrabhṛñgam idam mukham (Dandin; bees
251
kāra of Vāmana, which is defined as a rūpaka (metaphor) founded
upon an upamā (simile). The examples, however, are the same:
Vāmana probably takes "rajanipuramdhrirodhratilakaḥ śaśī "('the
moon is the beauty mark of the night-woman') to mean: 'of the
night, which resembles a woman'. It is upon this idea of similitude
(though expressed as a metaphor) that the identification of moon and
beauty mark is predicated. An alternative explanation would be:
"the night with the moon is like a woman with her beauty mark",
though one fails to see in this case just how this figure differs from
simple metaphor (which is also founded upon a similitude). Vāmana
is eager to reduce all figures to a basic simile, so perhaps his contor-
tions have no other rationale.
This integration of metaphor into metaphor should be distin-
guished from rūpaka rūpaka, which only a triple metaphor
(identification of three terms).
bhedabhāj, "distinct': (1) another name for ašlişța rūpaka.
mālā, 'garland': (1) a type of non-complex metaphor in which the same
subject is successively identified with a number of objects, each
suggesting a different property or aspect. (2) U 1.13, R 8.46 (49),
M 144. (3) kusumayudhaparamâstram lavaṇyamahôdadhir gunani-
dhānam । ānandamandiram aho hṛdi dayitā skhalati me šalyam
(Rudrața: "Alas, that lady has shot an arrow into my heart! She
is the ultimate weapon of the God of Love, an ocean of beauty, a
treasure-trove of qualities, a palace of pleasure!"). (4) "This royal
throne of kings, this scepter'd isle, / This earth of majesty, this seat
of Mars, / This other Eden, demi-paradise, / This fortress built by
Nature for herself / Against infection and the hand of war, / This
happy breed of men, this little world, / This precious stone set in
the silver sea, / This blessed plot, this earth, this realm, this
England, This nurse, this teeming womb of royal kings
(Shakespeare). (5) Cf. niravayava; most of the common figures
(upamā, vyatireka) are capable of this extension, since they are all
analyzable into the same elements: thing compared, object of
comparison, common property, etc. Mammața also gives an example
for a garland of paramparita metaphors. No new principle is
involved.
"
---
yukta, 'related': (1) a type of complex rūpaka in which the objects of
the subsidiary metaphors go together, that is, are mutually related
in terms of some well-known cliché or image. (2) D 2.77. (3)
smitapuspôjjvalam lolanetrabhṛñgam idam mukham (Dandin; bees