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GLOSSARY
this figure is that one of the relations upon which recollection can
be based is similitude (the others are contiguity, contemporaneity,
etc.), and such recollection constitutes an implicit simile. Another
name for this figure is kävyahetu.
svabhāvokti
svabhāvokti, 'telling the nature (of a thing)': (1) a figure in which a natural
or typical individual is characterized. (2) B 1.30, 2.93, D 2.8 (9-13),
U 3.5, R 7.30 (31-33: jāti), M 168. (3) dhūlīdhūsaratanavo rājyasthi-
tiracanakalpitâikanṛpāḥ । krtamukhavādyavikārāḥ krīḍanti suni-
rbharam dimbhāḥ (Rudrata: "The children are intent at their play,
bodies gray with dust, one among them chosen to occupy the station
of a king, assuming grave miens and voices"). (4) "On the day
when I first learned of my father's journey, I had come back with
two companions from a satisfactory afternoon in the weeds near
Kay's Bell Foundry, shooting a slingshot at the new bells, which
were lying out in the yard and strung up on rafters. Struck with
rocks, they made a beautiful sound, although it seemed to upset
Mr. William Kay, the proprietor. His sign, "Maker of Church,
Steamboat, Tavern and Other Bells", hung over the doorway of his
barnlike shop and had a row of little brass bells swinging beneath,
squat and burnished, but these were hard to hit, and if you missed
them, you were apt to hit one of the men working inside, and this
was what seemed to upset Mr. William Kay most of all. So toward
the end of the afternoon he pranced out with a double barreled
shotgun loaded with pepper and blistered Herbert Swann's seat as
he zigzagged to safety through the high grass" (Robert Lewis Taylor).
(5) Both examples describe children at play. The poetic nature of
this figure constitutes one of the longest standing disputes of the
alamkāraśāstra. In fact, the oldest writer, Bhāmaha, specifically
objects to this figure on the ground that it does not involve vakrôkti
or the figurative turn of phrase essential in any poetry. This point
of view is taken up in more detail much later by Kuntaka (Vakró-
ktijivita 1.11). Dandin, however, followed by most of the other
alamkāra writers, has included svabhävôkti, although in a much
discussed verse (2.363), he seems to distinguish that figure from the
rest of the alamkāras. The poetic basis of the figure is probably
to be sought in the genre called jäti: short verses, extremely condensed
yet full of minute detail, each one attempting to seize the instantane-
ous totality of a certain event, or an individual as wholly characteristic
GLOSSARY
this figure is that one of the relations upon which recollection can
be based is similitude (the others are contiguity, contemporaneity,
etc.), and such recollection constitutes an implicit simile. Another
name for this figure is kävyahetu.
svabhāvokti
svabhāvokti, 'telling the nature (of a thing)': (1) a figure in which a natural
or typical individual is characterized. (2) B 1.30, 2.93, D 2.8 (9-13),
U 3.5, R 7.30 (31-33: jāti), M 168. (3) dhūlīdhūsaratanavo rājyasthi-
tiracanakalpitâikanṛpāḥ । krtamukhavādyavikārāḥ krīḍanti suni-
rbharam dimbhāḥ (Rudrata: "The children are intent at their play,
bodies gray with dust, one among them chosen to occupy the station
of a king, assuming grave miens and voices"). (4) "On the day
when I first learned of my father's journey, I had come back with
two companions from a satisfactory afternoon in the weeds near
Kay's Bell Foundry, shooting a slingshot at the new bells, which
were lying out in the yard and strung up on rafters. Struck with
rocks, they made a beautiful sound, although it seemed to upset
Mr. William Kay, the proprietor. His sign, "Maker of Church,
Steamboat, Tavern and Other Bells", hung over the doorway of his
barnlike shop and had a row of little brass bells swinging beneath,
squat and burnished, but these were hard to hit, and if you missed
them, you were apt to hit one of the men working inside, and this
was what seemed to upset Mr. William Kay most of all. So toward
the end of the afternoon he pranced out with a double barreled
shotgun loaded with pepper and blistered Herbert Swann's seat as
he zigzagged to safety through the high grass" (Robert Lewis Taylor).
(5) Both examples describe children at play. The poetic nature of
this figure constitutes one of the longest standing disputes of the
alamkāraśāstra. In fact, the oldest writer, Bhāmaha, specifically
objects to this figure on the ground that it does not involve vakrôkti
or the figurative turn of phrase essential in any poetry. This point
of view is taken up in more detail much later by Kuntaka (Vakró-
ktijivita 1.11). Dandin, however, followed by most of the other
alamkāra writers, has included svabhävôkti, although in a much
discussed verse (2.363), he seems to distinguish that figure from the
rest of the alamkāras. The poetic basis of the figure is probably
to be sought in the genre called jäti: short verses, extremely condensed
yet full of minute detail, each one attempting to seize the instantane-
ous totality of a certain event, or an individual as wholly characteristic