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șțhira are enemies in the Rāmāyaṇa and the Mahābhārata: "Your
arm is left, although it is right [clever], Pralamba [pendant] although
Balabhadra [strong], although Duryodhana [difficult to fight], it is
Yudhisthira [firm in battle]"). (4) "Until yesterday I had no idea that
there were any families or persons whose origin was a Terminus"
(Oscar Wilde; Lady Bracknall refers to Jack's having been abandoned,
as an infant, in the cloak-room of Victoria Station). (5) This figure
differs from virodha III only in that the apparent paradox is borne
by the meanings of the words, rather than by a formal (positive-
negative) contrast. Both are appearances of paradox, and both are
resolved in the same way.
GLOSSARY
visesa
višeşa (I), 'difference": (1) a figure in which a quality or thing is represented
without, or in separation from its natural substratum or basis.
(2) R 9.5 (6), M 203. (3) divam apy upayātānām ākalpam analpagu-
ṇagaṇā yeşām । ramayanti jaganti giraḥ katham iha kavayo na te
vandyāḥ (Rudrata; the poet's voice is represented here in separation
from his body: "Why are the poets now gone beyond to heaven not
honored here-poets whose voices will delight the worlds and mani-
fest numberless qualities till the end of time?"). (4) "... when the
door opened, and a somewhat forbidding countenance peeped into
the room. The eyes in the forbidding countenance looked very
earnestly at Mr. Pickwick, for several seconds, and were to all
appearance satisfied with their investigation; for the body to which
the forbidding countenance belonged, slowly brought itself into the
apartment, and presented the form of an elderly individual in top-
boots-not to keep the reader any longer in suspense, in short, the
eyes were the wandering eyes of Mr. Grummer, and the body was
the body of the same gentleman" (Charles Dickens). (5) Cf. adhika
II, where the substratum is exceeded or surpassed by the condition
which it limits. In the following example from Shelley, the sub-
stratum is actually left behind: "My heart, for my weak feet were
weary soon, / Did companion thee".
višeşa (II): (1) a figure in which a single quality or thing is represented
as inhering in, or being in conjunction with, several natural substrata
or bases. (2) R 9.7 (8), M 203. (3) sā vasai tujjha hiae să cciacchisu
sāa vaaṇesu । ahmārisāṇa sundara oāso kattha pāvāṇam (Mammaţa;
spoken by a jealous wife about her rival: "She resides in your heart,
in your eyes and voice; where is there place for sinners like us?").
șțhira are enemies in the Rāmāyaṇa and the Mahābhārata: "Your
arm is left, although it is right [clever], Pralamba [pendant] although
Balabhadra [strong], although Duryodhana [difficult to fight], it is
Yudhisthira [firm in battle]"). (4) "Until yesterday I had no idea that
there were any families or persons whose origin was a Terminus"
(Oscar Wilde; Lady Bracknall refers to Jack's having been abandoned,
as an infant, in the cloak-room of Victoria Station). (5) This figure
differs from virodha III only in that the apparent paradox is borne
by the meanings of the words, rather than by a formal (positive-
negative) contrast. Both are appearances of paradox, and both are
resolved in the same way.
GLOSSARY
visesa
višeşa (I), 'difference": (1) a figure in which a quality or thing is represented
without, or in separation from its natural substratum or basis.
(2) R 9.5 (6), M 203. (3) divam apy upayātānām ākalpam analpagu-
ṇagaṇā yeşām । ramayanti jaganti giraḥ katham iha kavayo na te
vandyāḥ (Rudrata; the poet's voice is represented here in separation
from his body: "Why are the poets now gone beyond to heaven not
honored here-poets whose voices will delight the worlds and mani-
fest numberless qualities till the end of time?"). (4) "... when the
door opened, and a somewhat forbidding countenance peeped into
the room. The eyes in the forbidding countenance looked very
earnestly at Mr. Pickwick, for several seconds, and were to all
appearance satisfied with their investigation; for the body to which
the forbidding countenance belonged, slowly brought itself into the
apartment, and presented the form of an elderly individual in top-
boots-not to keep the reader any longer in suspense, in short, the
eyes were the wandering eyes of Mr. Grummer, and the body was
the body of the same gentleman" (Charles Dickens). (5) Cf. adhika
II, where the substratum is exceeded or surpassed by the condition
which it limits. In the following example from Shelley, the sub-
stratum is actually left behind: "My heart, for my weak feet were
weary soon, / Did companion thee".
višeşa (II): (1) a figure in which a single quality or thing is represented
as inhering in, or being in conjunction with, several natural substrata
or bases. (2) R 9.7 (8), M 203. (3) sā vasai tujjha hiae să cciacchisu
sāa vaaṇesu । ahmārisāṇa sundara oāso kattha pāvāṇam (Mammaţa;
spoken by a jealous wife about her rival: "She resides in your heart,
in your eyes and voice; where is there place for sinners like us?").