2023-03-29 18:10:51 by ambuda-bot
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GLOSSARY
dadhati candramudrākapāle nyastam siddhanjanaparimalam lancha-
nasya cchalena (Mammața; the principal subject "night" is identified
with the principal object "beggar woman"; their respective parts
are the subjects of various subordinate identifications: "moonlight-
ash smeared body", "stars-beads", "moon-bowl", etc.: "The
woman of the night, white with the smeared ash of moonbeams,
who wears a necklace of stars and shows great interest in hidden
things, wanders from island to island gathering in the begging bowl
of the moon fragrances and magic ointments, dark appearing").
(4) "We see bursting upon us the domes and steeples of Saint Paul,
giant young chief of the North ... carving his beneficent way with
the tomahawk of commercial enterprise, sounding the war whoop of
Christian Culture, tearing off the reeking scalp of sloth and supersti-
tion" (Mark Twain). (5) In distinguishing this metaphor from eka-
deśavivarti, the important thing is that none of the aspects of the
subject be descriptively treated (not identified metaphorically).
Samastavastuvişaya is the type of complex rūpaka whose many
variations herein described are simply the non-identification of
one or another characteristic part: avayava (the principal subject-
object), avayavi (the subordinates), ekâñga (the principal and some
subordinates), and vișama (some subordinates). All these terms are
types of ekadeśavivarti, but only Dandin goes beyond the basic
distinction to elaborate types of partiality. The relation of the sub-
metaphors to the main metaphor is that of a part or aspect to the
whole. For a discussion of other kinds of subordination, see
paramparita and višeşana rūpaka.
gar
samastavyasta, *'compounded and separate': (1) two rūpakas in the same
expression, one of which is in the form of a compound word, the
other not. (2) D 2.68. (3) smitam mukhêndor jyotsnā (Daṇḍin: "The
smile is the beam of her face-moon"). (4) "Walled in by towering
stone-/ Peaked margin of antiquity's delay" (Allen Tate). (5) This
is paramparita rūpaka defined in a purely formal fashion, without
reference to the kind of relation existing between two metaphors.
samādhāna, 'justification': (1) a rūpaka in which a justification is offered
for a previously expressed inconsistency in the metaphor. (2) D 2.92.
(3) mukhêndur api te caṇḍi mām nirdahati nirdayam । bhāgyadoṣān
mamaiva (Daṇḍin: "Even the moon of your face, O cruel girl,
consumes me fierily! Such is the defect of my fate!"). (4) "LION: ...
For all the rest, / Let Lion, Moonshine, Wall, and lovers twain /
At large discourse while here they do remain. THESEUS: I wonder
GLOSSARY
dadhati candramudrākapāle nyastam siddhanjanaparimalam lancha-
nasya cchalena (Mammața; the principal subject "night" is identified
with the principal object "beggar woman"; their respective parts
are the subjects of various subordinate identifications: "moonlight-
ash smeared body", "stars-beads", "moon-bowl", etc.: "The
woman of the night, white with the smeared ash of moonbeams,
who wears a necklace of stars and shows great interest in hidden
things, wanders from island to island gathering in the begging bowl
of the moon fragrances and magic ointments, dark appearing").
(4) "We see bursting upon us the domes and steeples of Saint Paul,
giant young chief of the North ... carving his beneficent way with
the tomahawk of commercial enterprise, sounding the war whoop of
Christian Culture, tearing off the reeking scalp of sloth and supersti-
tion" (Mark Twain). (5) In distinguishing this metaphor from eka-
deśavivarti, the important thing is that none of the aspects of the
subject be descriptively treated (not identified metaphorically).
Samastavastuvişaya is the type of complex rūpaka whose many
variations herein described are simply the non-identification of
one or another characteristic part: avayava (the principal subject-
object), avayavi (the subordinates), ekâñga (the principal and some
subordinates), and vișama (some subordinates). All these terms are
types of ekadeśavivarti, but only Dandin goes beyond the basic
distinction to elaborate types of partiality. The relation of the sub-
metaphors to the main metaphor is that of a part or aspect to the
whole. For a discussion of other kinds of subordination, see
paramparita and višeşana rūpaka.
gar
samastavyasta, *'compounded and separate': (1) two rūpakas in the same
expression, one of which is in the form of a compound word, the
other not. (2) D 2.68. (3) smitam mukhêndor jyotsnā (Daṇḍin: "The
smile is the beam of her face-moon"). (4) "Walled in by towering
stone-/ Peaked margin of antiquity's delay" (Allen Tate). (5) This
is paramparita rūpaka defined in a purely formal fashion, without
reference to the kind of relation existing between two metaphors.
samādhāna, 'justification': (1) a rūpaka in which a justification is offered
for a previously expressed inconsistency in the metaphor. (2) D 2.92.
(3) mukhêndur api te caṇḍi mām nirdahati nirdayam । bhāgyadoṣān
mamaiva (Daṇḍin: "Even the moon of your face, O cruel girl,
consumes me fierily! Such is the defect of my fate!"). (4) "LION: ...
For all the rest, / Let Lion, Moonshine, Wall, and lovers twain /
At large discourse while here they do remain. THESEUS: I wonder