2023-03-29 18:11:12 by ambuda-bot
This page has not been fully proofread.
GLOSSARY
321
AP 344.23, R 7.13-18, 8.99 (102), M 170. (3) bhavadaparādhaiḥ
särdham samtāpo vardhatetarām tasyāḥ । kṣayam eti sā varākī
snehena samam tvadīyena (Rudrața: "Together with your unfaith-
fulness, her suffering grows and grows; the unfortunate girl is ruined
along with your love for her"). (4) "Hark, hark! the lark at heaven's
gate sings, / And Phoebus gins arise, / His steeds to water at those
springs / On chaliced flowers that lies; / And winking Mary-buds
begin / To ope their golden eyes: / With everything that pretty is, /
My lady sweet, arise; / Arise, arise!" (Shakespeare). (5) Accom-
paniment is, of course, one type of association, and this latter notion
can always suggest a comparison (as in the second example). Some
writers, notably Vāmana and the Agni Purāṇa, have emphasized the
comparative aspect of sahôkti; others have preferred to leave its
definition purely formal (as in the first example). Rudrața allows
both. The many definitions and examples which Rudrata gives are
not distinguished by any special terminology, and in fact the
discriminations are quite extrinsic and depend on the actual relation-
ship of the things said to be accompanying one another. One example
refers to two things which, in fact, do physically accompany one
another (breasts and attractiveness), another to two things which are
always complimentary (man's unfaithfulness and woman's sorrow),
the third to two things which are merely contemporary, never con-
tigent. Dandin's three examples show contemporaneous association,
either through qualities (as: "saha dīrghā mama śvāsair imāḥ sam-
prati rätrayaḥ", 'the nights are long, and my sighs"), or through
actions (as: "yānti sārdham janânandair vṛddhim surabhivāsarāḥ",
'the spring days are fulfilled, along with the peoples' joys'). Mam-
mata has taken the obvious step of inventing a figure vinôkti ('exclu-
sion').
sādṛśya
sādṛśya, "similitude': (1) a generic term for simile (upamā) and those
figures based upon it. (2) AP 344.5 (6-24). (5) See aupamya, a term
used by Rudrața with the same intent. The term here refers to
upamā, rūpaka, sahôkti, and arthântaranyasa.
sāmānya
sāmānya, 'identity': (1) same as ananyatva atiśayôkti. (2) M 202.
321
AP 344.23, R 7.13-18, 8.99 (102), M 170. (3) bhavadaparādhaiḥ
särdham samtāpo vardhatetarām tasyāḥ । kṣayam eti sā varākī
snehena samam tvadīyena (Rudrața: "Together with your unfaith-
fulness, her suffering grows and grows; the unfortunate girl is ruined
along with your love for her"). (4) "Hark, hark! the lark at heaven's
gate sings, / And Phoebus gins arise, / His steeds to water at those
springs / On chaliced flowers that lies; / And winking Mary-buds
begin / To ope their golden eyes: / With everything that pretty is, /
My lady sweet, arise; / Arise, arise!" (Shakespeare). (5) Accom-
paniment is, of course, one type of association, and this latter notion
can always suggest a comparison (as in the second example). Some
writers, notably Vāmana and the Agni Purāṇa, have emphasized the
comparative aspect of sahôkti; others have preferred to leave its
definition purely formal (as in the first example). Rudrața allows
both. The many definitions and examples which Rudrata gives are
not distinguished by any special terminology, and in fact the
discriminations are quite extrinsic and depend on the actual relation-
ship of the things said to be accompanying one another. One example
refers to two things which, in fact, do physically accompany one
another (breasts and attractiveness), another to two things which are
always complimentary (man's unfaithfulness and woman's sorrow),
the third to two things which are merely contemporary, never con-
tigent. Dandin's three examples show contemporaneous association,
either through qualities (as: "saha dīrghā mama śvāsair imāḥ sam-
prati rätrayaḥ", 'the nights are long, and my sighs"), or through
actions (as: "yānti sārdham janânandair vṛddhim surabhivāsarāḥ",
'the spring days are fulfilled, along with the peoples' joys'). Mam-
mata has taken the obvious step of inventing a figure vinôkti ('exclu-
sion').
sādṛśya
sādṛśya, "similitude': (1) a generic term for simile (upamā) and those
figures based upon it. (2) AP 344.5 (6-24). (5) See aupamya, a term
used by Rudrața with the same intent. The term here refers to
upamā, rūpaka, sahôkti, and arthântaranyasa.
sāmānya
sāmānya, 'identity': (1) same as ananyatva atiśayôkti. (2) M 202.