2023-03-29 18:09:44 by ambuda-bot
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INTRODUCTION
cast in terms of a universal expectation and its disappointment-the
strange and marvelous instead of the usual and mundane. The largest
number of causal figures involves the efficient cause (A), to the operation
of which can always be analogized the material cause (thus satisfying
both nyāya and sāṁkhya): as, for example, smoke is always a sign of
fire, cloth a sign of threads. A small number of figures, however, involve
an appeal to a final cause (B), either as a moral or a justification. Finally
(C), some figures are based on entirely conventional concomitances;¹
the expectation has the form of suggestion: the simple apprehension
of the other term in the concomitance, but lacking a specific element of
disappointment or distortion.
(A) figures of the efficient cause (kāraka);
cause leads to effect; poetic cause
hetu
The figure as described by Dandin includes many of the following types:
poetic cause
kävyalinga
(Hetu is often considered too literal or conventional,¹45 and this figure,
with the "poetic" specified, is substituted.)
enchainment of causes
cause-effect, incongruous
cause, effect with incongruous attributes
cause-effect, inverted (in time)
cause-effect, reciprocal
one cause, several effects
one cause, effects contrary to each other
one cause, effect contrary to that intended
one cause, obstructed, carries through to its
effect in a modified form
one cause, effect at a distance, or at an
interval, or in improper substratum
effect realized by a coincident cause
effect realized without its cause
kāraṇamālā¹46
vişama (II)
vişama (IV)
pūrva
See above, p. 44.
148 Also typable as a variety of malā, below VI (D).
anyonya
viseșa (III)
adhika (I)
vişama (III)
vyāghāta
asamgati
samadhi
vibhāvanā
(B) Figures of the final cause (jñāpaka)
benediction
āśiş
motive represented in an inappropriate subject utprekṣā (VI)
Operating, that is, through a lakṣaṇa: a sign indicating that another sense is to
be construed.
INTRODUCTION
cast in terms of a universal expectation and its disappointment-the
strange and marvelous instead of the usual and mundane. The largest
number of causal figures involves the efficient cause (A), to the operation
of which can always be analogized the material cause (thus satisfying
both nyāya and sāṁkhya): as, for example, smoke is always a sign of
fire, cloth a sign of threads. A small number of figures, however, involve
an appeal to a final cause (B), either as a moral or a justification. Finally
(C), some figures are based on entirely conventional concomitances;¹
the expectation has the form of suggestion: the simple apprehension
of the other term in the concomitance, but lacking a specific element of
disappointment or distortion.
(A) figures of the efficient cause (kāraka);
cause leads to effect; poetic cause
hetu
The figure as described by Dandin includes many of the following types:
poetic cause
kävyalinga
(Hetu is often considered too literal or conventional,¹45 and this figure,
with the "poetic" specified, is substituted.)
enchainment of causes
cause-effect, incongruous
cause, effect with incongruous attributes
cause-effect, inverted (in time)
cause-effect, reciprocal
one cause, several effects
one cause, effects contrary to each other
one cause, effect contrary to that intended
one cause, obstructed, carries through to its
effect in a modified form
one cause, effect at a distance, or at an
interval, or in improper substratum
effect realized by a coincident cause
effect realized without its cause
kāraṇamālā¹46
vişama (II)
vişama (IV)
pūrva
See above, p. 44.
148 Also typable as a variety of malā, below VI (D).
anyonya
viseșa (III)
adhika (I)
vişama (III)
vyāghāta
asamgati
samadhi
vibhāvanā
(B) Figures of the final cause (jñāpaka)
benediction
āśiş
motive represented in an inappropriate subject utprekṣā (VI)
Operating, that is, through a lakṣaṇa: a sign indicating that another sense is to
be construed.