2023-03-29 18:11:04 by ambuda-bot
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296
GLOSSARY
matical or formal feature. (2) U 4.9, 10, R 10.1, M 147. (3) svayam
ca pallavâtāmrabhāsvatkaravirājinī । prabhātasamdhyêva [bhagavati]
Udbhata; the word kara is taken in two legitimate senses: 'hand'
of Parvati and 'ray' of the dawn: "She is brilliant like the dawn
onrushing, her hands [rays] red gleaming like new buds"). (4) "There
was a young lady from Wantage / Of whom the town clerk took
advantage. / Said the borough surveyor: /'Indeed you must pay 'er. /
You've totally altered her frontage"" (Anon.; "frontage" in two
senses). (5) We may distinguish three levels of double-entendre or
paronomasia: (a) in which two occurrences of the same etymon
differ as to context, as here; (b) in which two etyma have the same
phonemic shape; pun, properly speaking; and (c) in which two
words, differing as to phonemic shape, are used in such a way as to
suggest cancellation of that difference; plays on words, such as
Ogden Nash has popularized. The same distinction may be seen in
Sanskrit most clearly where type (a) is artha śleşa. It would seem
that Sanskrit, so rich in natural puns, does not feel the need to distort
words to obtain unnatural ones (type c); nevertheless, the same kind
of discrimination can be seen first, in those puns which require a
different accentuation, as muktāśṛīḥ (on the first syllable a bahuvrīki
meaning 'by whom ugliness was dispelled'; on the last, a tatpurusa
meaning 'beauty of pearls'), and secondly, in those playful puns
where the word divisions of one sense are not the same as those of
the other, as in the pun of Kālidāsa 'u mêti mātrā tapaso nişiddhā
paścăd Umākhyām sumukhī jagāma" ("from her mother's warning her
"don't, don't (do tapas)", she came to be called Umā'). These types
are generally grouped indiscriminately under śabda śleşa.
aviruddhakriya, 'unopposed verbs': (1) a type of paronomasia in which
separate verbs accompany each of the senses of the double-entendre.
(2) D 2.314 (317). (3) madhurā rāgavardhinyaḥ komalāḥ kokilagiraḥ ।
akarnyante madakalāḥ ślişyante câsitêkṣaṇaḥ (Dandin: "Lovely,
inspiring passion, soft and low from sipping drink, voices of night-
ingales are heard and dark-eyed girls are embraced"). (5) The classi-
cal form of the pun in Sanskrit is a series of adjectives or qualifica-
tions which apply equally to one or another of two given subjects.
Given this form, the present distinction should be understood as an
attempt to include the verb within the frame of reference of double-
entendre, since the two nouns may or may not be accompanied by
different verbs and, if they are, the verbs may or may not be opposed
in meaning. It should be noted that in these types, the verb is not
GLOSSARY
matical or formal feature. (2) U 4.9, 10, R 10.1, M 147. (3) svayam
ca pallavâtāmrabhāsvatkaravirājinī । prabhātasamdhyêva [bhagavati]
Udbhata; the word kara is taken in two legitimate senses: 'hand'
of Parvati and 'ray' of the dawn: "She is brilliant like the dawn
onrushing, her hands [rays] red gleaming like new buds"). (4) "There
was a young lady from Wantage / Of whom the town clerk took
advantage. / Said the borough surveyor: /'Indeed you must pay 'er. /
You've totally altered her frontage"" (Anon.; "frontage" in two
senses). (5) We may distinguish three levels of double-entendre or
paronomasia: (a) in which two occurrences of the same etymon
differ as to context, as here; (b) in which two etyma have the same
phonemic shape; pun, properly speaking; and (c) in which two
words, differing as to phonemic shape, are used in such a way as to
suggest cancellation of that difference; plays on words, such as
Ogden Nash has popularized. The same distinction may be seen in
Sanskrit most clearly where type (a) is artha śleşa. It would seem
that Sanskrit, so rich in natural puns, does not feel the need to distort
words to obtain unnatural ones (type c); nevertheless, the same kind
of discrimination can be seen first, in those puns which require a
different accentuation, as muktāśṛīḥ (on the first syllable a bahuvrīki
meaning 'by whom ugliness was dispelled'; on the last, a tatpurusa
meaning 'beauty of pearls'), and secondly, in those playful puns
where the word divisions of one sense are not the same as those of
the other, as in the pun of Kālidāsa 'u mêti mātrā tapaso nişiddhā
paścăd Umākhyām sumukhī jagāma" ("from her mother's warning her
"don't, don't (do tapas)", she came to be called Umā'). These types
are generally grouped indiscriminately under śabda śleşa.
aviruddhakriya, 'unopposed verbs': (1) a type of paronomasia in which
separate verbs accompany each of the senses of the double-entendre.
(2) D 2.314 (317). (3) madhurā rāgavardhinyaḥ komalāḥ kokilagiraḥ ।
akarnyante madakalāḥ ślişyante câsitêkṣaṇaḥ (Dandin: "Lovely,
inspiring passion, soft and low from sipping drink, voices of night-
ingales are heard and dark-eyed girls are embraced"). (5) The classi-
cal form of the pun in Sanskrit is a series of adjectives or qualifica-
tions which apply equally to one or another of two given subjects.
Given this form, the present distinction should be understood as an
attempt to include the verb within the frame of reference of double-
entendre, since the two nouns may or may not be accompanied by
different verbs and, if they are, the verbs may or may not be opposed
in meaning. It should be noted that in these types, the verb is not