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256
GLOSSARY
croaking for its mate which is the specter of Hell" (Joyce Cary;
the principal, mankind, has its parts, one man, two men, three men,
etc., severally identified with uninterrelated objects). (5) In popular
usage, a "mixed metaphor" has a much wider application. The
majority of current les would probably fall into other cate-
gories than rūpaka; for example: "The crowned heads of Europe
were quaking in their boots", where "heads" is an example of
vakrôkti II (lakṣaṇā) and "quaking ..." an example of utpreksā.
But the essential point-a lack of parallelism in multiple figurative
predication is well illustrated by the present case. The clearest
instance is rūpaka, for all the terms-subject, object, and aspects-are
there necessarily explicit; in utprekşā and vakrôkti II (lakṣaṇā),
the subject is implied by a sort of shorthand. Some mixed metaphors
may not be vicious, as the examples show. Cary's mixture serves a
specific poetic purpose in that it increases the emphasis of the se-
quence itself. In ayukta rūpaka, a more explicit opposition in the
objects of identification is required, making the metaphor more
mixed than this.
samasta, 'compounded': (1) a rūpaka in which the subject and object of
identification are compounded into a single grammatical word,
the subject preceding. (2) D 2.68 (66). (3) bāhulatā pāṇipadmam
caraṇapallavaḥ (Dandin; three separate examples: "Arm-vines, hand-
lotuses, foot-buds"). (4) "The weeds wear moon mist mourning
veils" arl Sandburg). (5) English is sufficiently like Sanskrit to
permit a valid illustration of this grammatical point. A rūpaka is
the identification of a subject (literal) with an object (figurative).
This identification may be accomplished by the simple assertion of
an identity (see asamasta), but it may also repose upon an implica-
tion grounded upon a grammatical feature of the language, namely,
that the last member of a compound alone has a direct relation to
the rest of the sentence (it carries the case termination, plural
termination, etc.). The first member has syntactical reality only
through the second and therefore is subordinated to and is taken
when possible as an equivalent of the second. Through grammatical
identification, concrete identification is implied. Now, into this
syntactic framework the poet inserts words freely and particularly
seeks those expressions whose intuitive or logical structure differs
from that, implied and ready made, of the grammar. Such is "moon
mist mourning veils", where the literal and primary fact, "mist",
is grammatically subordinated, in the manner described above, to
GLOSSARY
croaking for its mate which is the specter of Hell" (Joyce Cary;
the principal, mankind, has its parts, one man, two men, three men,
etc., severally identified with uninterrelated objects). (5) In popular
usage, a "mixed metaphor" has a much wider application. The
majority of current les would probably fall into other cate-
gories than rūpaka; for example: "The crowned heads of Europe
were quaking in their boots", where "heads" is an example of
vakrôkti II (lakṣaṇā) and "quaking ..." an example of utpreksā.
But the essential point-a lack of parallelism in multiple figurative
predication is well illustrated by the present case. The clearest
instance is rūpaka, for all the terms-subject, object, and aspects-are
there necessarily explicit; in utprekşā and vakrôkti II (lakṣaṇā),
the subject is implied by a sort of shorthand. Some mixed metaphors
may not be vicious, as the examples show. Cary's mixture serves a
specific poetic purpose in that it increases the emphasis of the se-
quence itself. In ayukta rūpaka, a more explicit opposition in the
objects of identification is required, making the metaphor more
mixed than this.
samasta, 'compounded': (1) a rūpaka in which the subject and object of
identification are compounded into a single grammatical word,
the subject preceding. (2) D 2.68 (66). (3) bāhulatā pāṇipadmam
caraṇapallavaḥ (Dandin; three separate examples: "Arm-vines, hand-
lotuses, foot-buds"). (4) "The weeds wear moon mist mourning
veils" arl Sandburg). (5) English is sufficiently like Sanskrit to
permit a valid illustration of this grammatical point. A rūpaka is
the identification of a subject (literal) with an object (figurative).
This identification may be accomplished by the simple assertion of
an identity (see asamasta), but it may also repose upon an implica-
tion grounded upon a grammatical feature of the language, namely,
that the last member of a compound alone has a direct relation to
the rest of the sentence (it carries the case termination, plural
termination, etc.). The first member has syntactical reality only
through the second and therefore is subordinated to and is taken
when possible as an equivalent of the second. Through grammatical
identification, concrete identification is implied. Now, into this
syntactic framework the poet inserts words freely and particularly
seeks those expressions whose intuitive or logical structure differs
from that, implied and ready made, of the grammar. Such is "moon
mist mourning veils", where the literal and primary fact, "mist",
is grammatically subordinated, in the manner described above, to