2023-03-29 18:10:49 by ambuda-bot
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GLOSSARY
and flowers, with which the eyes and the smile are identified, are
thus mutually related: "This face is radiant with its smile-flower
and the bees which are her roaming eyes"). (4) "Saratoga perhaps
deserves our greater homage, as being characteristically democratic
and American ... Let us, then, make Saratoga the heaven of our
aspiration, but let us yet a while content ourselves with Newport as
the lowly earth of our residence" (Henry James). (5) Cf. ayukta
rūpaka. In Dandin's classification, this term is to be taken as a
subtype of dvyañga (or tryañga) rūpaka, which is itself an extension
of ekânga, q.v. That is to say, when more than one sub-aspect of an
image is made the subject of a metaphorical identification, these
identifications may be classified as to their mutual compatibility.
We may not apply this classification to those metaphors in which the
principal identification is explicit, since presumably in that case
all the subsidiary objects will be aspects of the principal, and thus
a fortiori go together.
rašanā, "rope¹: (1) a series of rūpaka in which the object of identification
of the preceding metaphor becomes the subject of the following,
and so on. (2) R 8.46 (50), M 145C. (3) kisalayakarair latānām
karakamalaih kāminām jagaj jayati । nalinīnām kamalamukhair
mukhêndubhir yoşitäṇ madanaḥ (Rudrața; the bud-hands of the
creepers, then the hand-lotuses of the girls: "The Love God conquers
the entire world with weapons which are the bud-hands of creepers,
with the hand-lotuses of lovers, with the lotus-faces of the blue lotus
plant, with the face-moons of maidens"). (4) "Nor doth this wood
lack worlds of company, / For you, in my respect, are all the world"
(Shakespeare). (5) This figure is the inverse of rašanā upamā.
rūpaka, 'metaphor': (1) a rūpaka in which the object of a simple meta-
phorical identification is itself taken as the subject of a further meta-
phor; a triple metaphor. (2) D 2.93. (3) mukhapañkajarañgeʼsmin
bhrūlatānartaki tava । lilānṛtyam karoti (Dandin; on the stage which
is a lotus which is her face: on the face-lotus-stage: "On the stage
of your face-lotus, the player of your brow-creeper acts out a
divertissement"). (4) "In those mirrors, the minds of men, in those
pools of uneasy water, in which clouds forever turn and shadows
form" (Virginia Woolf; in those mind-mirror-pools). (5) If the two
identifications are independently taken, a mālārūpaka is formed.
I think, however, that in Virginia Woolf's example, the "pools"
should be taken with the "mirrors" rather than with "minds",
since it is their reflecting surface which is to be emphasized by the
GLOSSARY
and flowers, with which the eyes and the smile are identified, are
thus mutually related: "This face is radiant with its smile-flower
and the bees which are her roaming eyes"). (4) "Saratoga perhaps
deserves our greater homage, as being characteristically democratic
and American ... Let us, then, make Saratoga the heaven of our
aspiration, but let us yet a while content ourselves with Newport as
the lowly earth of our residence" (Henry James). (5) Cf. ayukta
rūpaka. In Dandin's classification, this term is to be taken as a
subtype of dvyañga (or tryañga) rūpaka, which is itself an extension
of ekânga, q.v. That is to say, when more than one sub-aspect of an
image is made the subject of a metaphorical identification, these
identifications may be classified as to their mutual compatibility.
We may not apply this classification to those metaphors in which the
principal identification is explicit, since presumably in that case
all the subsidiary objects will be aspects of the principal, and thus
a fortiori go together.
rašanā, "rope¹: (1) a series of rūpaka in which the object of identification
of the preceding metaphor becomes the subject of the following,
and so on. (2) R 8.46 (50), M 145C. (3) kisalayakarair latānām
karakamalaih kāminām jagaj jayati । nalinīnām kamalamukhair
mukhêndubhir yoşitäṇ madanaḥ (Rudrața; the bud-hands of the
creepers, then the hand-lotuses of the girls: "The Love God conquers
the entire world with weapons which are the bud-hands of creepers,
with the hand-lotuses of lovers, with the lotus-faces of the blue lotus
plant, with the face-moons of maidens"). (4) "Nor doth this wood
lack worlds of company, / For you, in my respect, are all the world"
(Shakespeare). (5) This figure is the inverse of rašanā upamā.
rūpaka, 'metaphor': (1) a rūpaka in which the object of a simple meta-
phorical identification is itself taken as the subject of a further meta-
phor; a triple metaphor. (2) D 2.93. (3) mukhapañkajarañgeʼsmin
bhrūlatānartaki tava । lilānṛtyam karoti (Dandin; on the stage which
is a lotus which is her face: on the face-lotus-stage: "On the stage
of your face-lotus, the player of your brow-creeper acts out a
divertissement"). (4) "In those mirrors, the minds of men, in those
pools of uneasy water, in which clouds forever turn and shadows
form" (Virginia Woolf; in those mind-mirror-pools). (5) If the two
identifications are independently taken, a mālārūpaka is formed.
I think, however, that in Virginia Woolf's example, the "pools"
should be taken with the "mirrors" rather than with "minds",
since it is their reflecting surface which is to be emphasized by the