2023-03-29 18:11:11 by ambuda-bot
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320
GLOSSARY
her arms as closely as she could, for she felt, oh, so sleepy! ... But no
peace here, either! Here, too, a hand pounded against a wall. Were
they tearing down the house?" (O. E. Rolvaag; the parents' chests
are represented as a wall). (5) Though the element of confusion is
present objectively, the figure differs from bhräntimat in that the
confusion is subjectively willed, or is at least not the concomitant
of error. The identification of the two things here differs from
rūpaka, since the mode of the identification is volitional, not conven-
tional; a stratum of explicit consciousness is overlaid on the identifi-
cation.
samāhita (II): (1) same as samādhi. (2) B 3.10, D 2.298 (299).
samuccaya
samuccaya, 'accumulation': (1) a figure consisting of the multiplication
of descriptive adjuncts to a thing or mood. (2) R 7.19 (20-26),
7.27 (28-29), 8.103 (104), M 178-79. (3) sukham idam etāvad iha
sphārasphuradindumaṇḍalā rajanī । saudhatalam kāvyakathā suhṛdaḥ
snigdhā vidagdhäś ca (Rudrața: "It is so pleasant here! The night is
brilliant with a glimmering moon; here on the palace roof poetry is
read; friends are kind and clever"). (4) "As [the Public] sat, listening
to his speeches, in which considerations of stolid plainness succeeded
one another with complete flatness, they felt, involved and supported
by the colossal tedium, that their confidence was finally assured"
(Lytton Strachey; Lord Hartington is quite a bore). (5) Rudraţa
gives many examples showing not different kinds of accumulation,
but differences in the kinds of things accumulated. In general, his
distinctions follow the canonical fourfold pattern of jāti, kriyā,
guna, and dravya. The accumulation of states, events, or adjuncts is,
of course, designed to re-enforce the tone of a description, as in
parikara alamkāra, where the qualifications or epithets alone of a
thing are multiplied. Formally, samuccaya is the same as dipaka
alamkāra, but in fact the motives underlying their use are diametrically
opposed: here the emphasis is on the quantity of adjuncts; in dipaka,
it is on the single word which bears the syntactical force of the
whole sentence.
sahőkti
sahôkti 'speech containing the word "with": (1) a figure in which two
separate things or ideas are represented as conjoined or occurring
at once. (2) B 3.38 (39), 3.17, D 2.351 (352-56), V 4.3.28,U 5.15,
GLOSSARY
her arms as closely as she could, for she felt, oh, so sleepy! ... But no
peace here, either! Here, too, a hand pounded against a wall. Were
they tearing down the house?" (O. E. Rolvaag; the parents' chests
are represented as a wall). (5) Though the element of confusion is
present objectively, the figure differs from bhräntimat in that the
confusion is subjectively willed, or is at least not the concomitant
of error. The identification of the two things here differs from
rūpaka, since the mode of the identification is volitional, not conven-
tional; a stratum of explicit consciousness is overlaid on the identifi-
cation.
samāhita (II): (1) same as samādhi. (2) B 3.10, D 2.298 (299).
samuccaya
samuccaya, 'accumulation': (1) a figure consisting of the multiplication
of descriptive adjuncts to a thing or mood. (2) R 7.19 (20-26),
7.27 (28-29), 8.103 (104), M 178-79. (3) sukham idam etāvad iha
sphārasphuradindumaṇḍalā rajanī । saudhatalam kāvyakathā suhṛdaḥ
snigdhā vidagdhäś ca (Rudrața: "It is so pleasant here! The night is
brilliant with a glimmering moon; here on the palace roof poetry is
read; friends are kind and clever"). (4) "As [the Public] sat, listening
to his speeches, in which considerations of stolid plainness succeeded
one another with complete flatness, they felt, involved and supported
by the colossal tedium, that their confidence was finally assured"
(Lytton Strachey; Lord Hartington is quite a bore). (5) Rudraţa
gives many examples showing not different kinds of accumulation,
but differences in the kinds of things accumulated. In general, his
distinctions follow the canonical fourfold pattern of jāti, kriyā,
guna, and dravya. The accumulation of states, events, or adjuncts is,
of course, designed to re-enforce the tone of a description, as in
parikara alamkāra, where the qualifications or epithets alone of a
thing are multiplied. Formally, samuccaya is the same as dipaka
alamkāra, but in fact the motives underlying their use are diametrically
opposed: here the emphasis is on the quantity of adjuncts; in dipaka,
it is on the single word which bears the syntactical force of the
whole sentence.
sahőkti
sahôkti 'speech containing the word "with": (1) a figure in which two
separate things or ideas are represented as conjoined or occurring
at once. (2) B 3.38 (39), 3.17, D 2.351 (352-56), V 4.3.28,U 5.15,