2023-03-29 18:11:09 by ambuda-bot
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310
GLOSSARY
commentator interprets as an añgåñgi samsṛṣți; that is, a simple
relation of implication exists between the two figures, not physical
coalescence. Rudrața's definitions of this dichotomy (vyaktâm-
śāvyaktâmśa) are only analogical (see samsṛșți), and much leeway
must be allowed in their interpretation.
ekaśabdábhidhāna, 'naming by the same words': (1) a type of complex
alamkāra (samkara) where the two constituent figures overlap as
to the words which express them. (2) U 5.12. (3) mâivam evâstha
sacchāyavarṇikācārukarnikā । ambhojiniva citrasthā dṛṣṭimătrasu-
khapradā (Udbhata; Gauri is here compared to a lotus as delighting
the eyes only (upamā); another common property is offered which is,
in fact, a pun referring to the golden earrings of Gauri and to the seed
pods within the lotus (ślesa); the two figures share the word ambho-
jini ("lotus"): "Don't remain so, dazzling and giving pleasure only
to the eyes, like a lotus, earrings [seed pods] of beautifully shaded
gold"). (4) "But the man who fell in love with Rozzie was the poor
little Peter Pan who wanted to creep back into his mother's womb
and be safe and warm and comfortable for the rest of his life. Isola-
tionist, with navel defence" (Joyce Cary; same analysis except that
the figures are rüpaka and śleşa). (5) This type is recognized as
such only by Udbhata, who distinguishes it from samdeha samkara:
here the two figures are partially different and wholly identifiable;
in samdeha, they are expressed in wholly the same words and are
not identifiable. To the naive observer, this type would appear
to be more akin to samsṛṣți than to samkara, but the fact that there
is partial coalescence is sufficient to make the two figures constitutive
and "interdependent".
vyaktâmsa, 'whose parts are evident': (1) a type of complex alamkāra
(samkara) in which the component figures are separable as to the
words which express them. (2) R 10.25. (3) abhiyujya lolanayanā
sādhvasajanitöruvepathusvedä । abalêva vairisenā nṛpa janye bhajyate
bhavatā (Rudraţa; an upamā in the last half, a pun in the first: "When
attached, its leaders unsteady [eyes rolling], sweat and great trembling
[trembling at the thighs] produced suddenly, the enemy army, like a
young girl, O King, is enjoyed by you"). (4) "As lightning, or a
taper's light, Thine eyes, and not thy noise, waked me" (John
Donne; upamă in the first line, vyatireka in the second). (5) The
example here is identical to that offered by Udbhata to illustrate the
exact inverse (see ekaśabdábhidhäna). But Rudrața takes the
śleșa as confined to the word which is actually punned, while
GLOSSARY
commentator interprets as an añgåñgi samsṛṣți; that is, a simple
relation of implication exists between the two figures, not physical
coalescence. Rudrața's definitions of this dichotomy (vyaktâm-
śāvyaktâmśa) are only analogical (see samsṛșți), and much leeway
must be allowed in their interpretation.
ekaśabdábhidhāna, 'naming by the same words': (1) a type of complex
alamkāra (samkara) where the two constituent figures overlap as
to the words which express them. (2) U 5.12. (3) mâivam evâstha
sacchāyavarṇikācārukarnikā । ambhojiniva citrasthā dṛṣṭimătrasu-
khapradā (Udbhata; Gauri is here compared to a lotus as delighting
the eyes only (upamā); another common property is offered which is,
in fact, a pun referring to the golden earrings of Gauri and to the seed
pods within the lotus (ślesa); the two figures share the word ambho-
jini ("lotus"): "Don't remain so, dazzling and giving pleasure only
to the eyes, like a lotus, earrings [seed pods] of beautifully shaded
gold"). (4) "But the man who fell in love with Rozzie was the poor
little Peter Pan who wanted to creep back into his mother's womb
and be safe and warm and comfortable for the rest of his life. Isola-
tionist, with navel defence" (Joyce Cary; same analysis except that
the figures are rüpaka and śleşa). (5) This type is recognized as
such only by Udbhata, who distinguishes it from samdeha samkara:
here the two figures are partially different and wholly identifiable;
in samdeha, they are expressed in wholly the same words and are
not identifiable. To the naive observer, this type would appear
to be more akin to samsṛṣți than to samkara, but the fact that there
is partial coalescence is sufficient to make the two figures constitutive
and "interdependent".
vyaktâmsa, 'whose parts are evident': (1) a type of complex alamkāra
(samkara) in which the component figures are separable as to the
words which express them. (2) R 10.25. (3) abhiyujya lolanayanā
sādhvasajanitöruvepathusvedä । abalêva vairisenā nṛpa janye bhajyate
bhavatā (Rudraţa; an upamā in the last half, a pun in the first: "When
attached, its leaders unsteady [eyes rolling], sweat and great trembling
[trembling at the thighs] produced suddenly, the enemy army, like a
young girl, O King, is enjoyed by you"). (4) "As lightning, or a
taper's light, Thine eyes, and not thy noise, waked me" (John
Donne; upamă in the first line, vyatireka in the second). (5) The
example here is identical to that offered by Udbhata to illustrate the
exact inverse (see ekaśabdábhidhäna). But Rudrața takes the
śleșa as confined to the word which is actually punned, while