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56
(ii) an essential element is repeated.
viz. the upameya
viz. the simile, but
inverted
viz, the upamāna
similes themselves
combine to suggest
a larger simile
INTRODUCTION
ananvaya
upameyopamā
the mode is comparison
recollection
inversion
mālā
upamārupaka
This last type is a very special case of what is usually treated as a sub-
variety of rūpaka: the repeated metaphorical identifications are all aspects
of a larger picture (see samastarūpaka and discussion).
A is like A
A is like B; B like A
(B) Figures which are modes of conceiving the common property.
The samanadharmata of the simile is its functional sine qua non. Although
the property (or mode of behavior) is 'common' and must be so in order
for the simile to operate, an element of distinctiveness is nevertheless
implied, and it is just as important for, without it, no emphatic transfer
would accrue to the upameya; the simile would not be poetic, but realistic.
This implicit relative distinctiveness may be conceived according to
several principles of relation:
(i) the differentiability of the common property as a conceptual mode
relating the two things compared.
(a) emphasis neither on the difference nor on the similarity:
upamā
smarana
pūrva
A is like B, C, D, etc.
the AB of the CD (see
example in Glossary)
samdeha
representation¹3⁹ samāhita
substitution
sāmya
A is like B
B is reminiscent of A
B is more important than A
(b) emphasis on the similarity (lack of difference):
the mode is identification rūpaka
A is B
A? B
illustration
drstänta
negative illustra- nidarśana
not A? not B
tion
(II)
denial
apahnuti not B; A!
bhrantimat B is taken for A
confusion
doubt
A or B?
B! (addressing A)
A for B
¹** Repeated, it appears to be the late figure ullekha, defined in Ruyyaka, p. 58.
(ii) an essential element is repeated.
viz. the upameya
viz. the simile, but
inverted
viz, the upamāna
similes themselves
combine to suggest
a larger simile
INTRODUCTION
ananvaya
upameyopamā
the mode is comparison
recollection
inversion
mālā
upamārupaka
This last type is a very special case of what is usually treated as a sub-
variety of rūpaka: the repeated metaphorical identifications are all aspects
of a larger picture (see samastarūpaka and discussion).
A is like A
A is like B; B like A
(B) Figures which are modes of conceiving the common property.
The samanadharmata of the simile is its functional sine qua non. Although
the property (or mode of behavior) is 'common' and must be so in order
for the simile to operate, an element of distinctiveness is nevertheless
implied, and it is just as important for, without it, no emphatic transfer
would accrue to the upameya; the simile would not be poetic, but realistic.
This implicit relative distinctiveness may be conceived according to
several principles of relation:
(i) the differentiability of the common property as a conceptual mode
relating the two things compared.
(a) emphasis neither on the difference nor on the similarity:
upamā
smarana
pūrva
A is like B, C, D, etc.
the AB of the CD (see
example in Glossary)
samdeha
representation¹3⁹ samāhita
substitution
sāmya
A is like B
B is reminiscent of A
B is more important than A
(b) emphasis on the similarity (lack of difference):
the mode is identification rūpaka
A is B
A? B
illustration
drstänta
negative illustra- nidarśana
not A? not B
tion
(II)
denial
apahnuti not B; A!
bhrantimat B is taken for A
confusion
doubt
A or B?
B! (addressing A)
A for B
¹** Repeated, it appears to be the late figure ullekha, defined in Ruyyaka, p. 58.