2023-03-29 18:09:44 by ambuda-bot
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58
Since (A) and (B) are distinguished by criteria which are not alternatives
vis-à-vis each other, all of the types listed under (A) may be expanded by
the entire array of types under (B), just as is the simplest upamā. In the
Glossary we have often taken advantage of this indeterminacy in our
En examples. The more complex varieties given under (B), for
example pratyanika, could rarely illustrate type (A)'s upamā, much more
often a prativastūpamā or an ubhayanyasa. Likewise utprekṣā, suggesting
identification rather than stating it, can illustrate several varieties of
rūpaka (where the form is not in question).
II. HYPERBOLE. The reference is not to two things and a common
property but to one thing and its property, or its several properties.
In other words, hyperbole is a family of figures founded on the notion
of predication. Inevitably, as the reference is to more than one property,
there will also be, implicitly or otherwise, reference to a second subject
(mīlita, tadguṇa). To distinguish these cases from the foregoing, we
must appeal to the notion of pradhanatva: we must decide where the
main intent of the speaker lies in the comparison or in the relation of
properties.
There are three major varieties of hyperbole:
(A) Simple exaggeration (we include minimization as a special case).
The property or an analogous aspect of the subject is portrayed out of all
perspective, thus distinguishing the subject in its very being.
exaggeration of a property
an action
an effect
wealth or
nobility
INTRODUCTION
ego
affection
Fasa
sense of a
question
atiśayokti (in the narrow sense)
utprekṣā (IV)
utprekşă (V)142
udatta
ūrjasvi
preyas
rasavat
uttara (II) (probably to be considered a type
of conundrum)
thing to its property is metaphysically
(B) The relationship of the
distorted.
the property is larger than its substratum
without a proper substratum
adhika (II)
viseşa (I)
14* These aberrant utpreksā (see above B iii) seem not to be considered separate figures,
but varieties of atiśayokti, in accordance with the familiar classificatory tetrad: järi,
guna, kriyā, dravya.
Since (A) and (B) are distinguished by criteria which are not alternatives
vis-à-vis each other, all of the types listed under (A) may be expanded by
the entire array of types under (B), just as is the simplest upamā. In the
Glossary we have often taken advantage of this indeterminacy in our
En examples. The more complex varieties given under (B), for
example pratyanika, could rarely illustrate type (A)'s upamā, much more
often a prativastūpamā or an ubhayanyasa. Likewise utprekṣā, suggesting
identification rather than stating it, can illustrate several varieties of
rūpaka (where the form is not in question).
II. HYPERBOLE. The reference is not to two things and a common
property but to one thing and its property, or its several properties.
In other words, hyperbole is a family of figures founded on the notion
of predication. Inevitably, as the reference is to more than one property,
there will also be, implicitly or otherwise, reference to a second subject
(mīlita, tadguṇa). To distinguish these cases from the foregoing, we
must appeal to the notion of pradhanatva: we must decide where the
main intent of the speaker lies in the comparison or in the relation of
properties.
There are three major varieties of hyperbole:
(A) Simple exaggeration (we include minimization as a special case).
The property or an analogous aspect of the subject is portrayed out of all
perspective, thus distinguishing the subject in its very being.
exaggeration of a property
an action
an effect
wealth or
nobility
INTRODUCTION
ego
affection
Fasa
sense of a
question
atiśayokti (in the narrow sense)
utprekṣā (IV)
utprekşă (V)142
udatta
ūrjasvi
preyas
rasavat
uttara (II) (probably to be considered a type
of conundrum)
thing to its property is metaphysically
(B) The relationship of the
distorted.
the property is larger than its substratum
without a proper substratum
adhika (II)
viseşa (I)
14* These aberrant utpreksā (see above B iii) seem not to be considered separate figures,
but varieties of atiśayokti, in accordance with the familiar classificatory tetrad: järi,
guna, kriyā, dravya.