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63
most easily with other figures.148 Many double entendres have been
illustrated s.v., upamā, rūpaka, samäsokti, etc., where the pun formally
occupies the place of the tertium.149 Puns, which Rudraţa considers
major figures, can be said to have the double-entendre as their principal
orce, though they also all retain an aspect of simile. Here, unavoidably,
an appeal must be made to the intention of the poet and to the notion of a
universe of ideas from which he selects for emphasis, but which never-
theless imply an order insofar as his utterances are intelligible. In fine,
it should be noted that as a sabdaśleșa,¹5⁰ pun has been minutely distin-
guished as to the precise grammatical or syntactical element that carries
the double meaning. Our point of view, however, in keeping with the
character of the pun as primarily conveying an assertion, is that of the
referential or ontological character of the meanings played upon." 151
THE SYSTEM OF FIGURES
(A) The two levels of punned meaning are ontologically the same:
both qualifications (of the subject)
avayava (see
samāsokti)
both nouns (subjects)
both moods (terms suggestive of moods)
aviseşa
vakra
(B) The two levels are the same, but the meanings are opposed.
the literal interpretation carries an
incompatibility which is resolved by the second virodhābhāsā
carries an outright contradiction
virodha (III)
151
148 "Śleşaḥ sarvāsu puşṇāti prāyo vakroktişu śriyam", Kāvyādarśa, 2.363. Empson's
recent discussion of ambiguity (esp. chaps. 3,4 and 6) brings Dandin's remark up to
date. Moreover, his distinctions recall those of the alamkarikas.
149 Ibid., 2.28, 87, 161, etc.
1.50 See below VI (F).
A number of English words have been used to translate the Sanskrit śleşa; none,
however, conveys the intended significance of that word and all have connotations
which are unfortunate. Pun", which covers much of the concept, is also used, and
perhaps primarily understood as word play of the type that Ogden Nash has made
famous. But Nash's punning, like Joyce's, is echo and not literal; the words are often
malformed to suggest the second sense. In many cases, especially in Nash, there is
no second sense, simply malformation for purposes of rhyme or rhythm. Word play
in this sense would probably fall under the Indian category prahelika ('conundrum")
or śleșa vakrokti (qq. vv.). Similarly "double-entendre', often preferable to pun, errs
in the other extreme, including a number of figures which involve two meanings, but
have no explicit grammatical basis of expression, such as irony. In these cases, the
content alone permits the decipherment of the double-entendre; the fleșa must have
grammatical reference. Lastly the learned 'paronomasia' includes cases which are not
puns, but only adjunctions of words similar in form but different in meaning: "But
from her grave in Mary-bone, / They've come and boned your Mary" (Thomas Hood).
most easily with other figures.148 Many double entendres have been
illustrated s.v., upamā, rūpaka, samäsokti, etc., where the pun formally
occupies the place of the tertium.149 Puns, which Rudraţa considers
major figures, can be said to have the double-entendre as their principal
orce, though they also all retain an aspect of simile. Here, unavoidably,
an appeal must be made to the intention of the poet and to the notion of a
universe of ideas from which he selects for emphasis, but which never-
theless imply an order insofar as his utterances are intelligible. In fine,
it should be noted that as a sabdaśleșa,¹5⁰ pun has been minutely distin-
guished as to the precise grammatical or syntactical element that carries
the double meaning. Our point of view, however, in keeping with the
character of the pun as primarily conveying an assertion, is that of the
referential or ontological character of the meanings played upon." 151
THE SYSTEM OF FIGURES
(A) The two levels of punned meaning are ontologically the same:
both qualifications (of the subject)
avayava (see
samāsokti)
both nouns (subjects)
both moods (terms suggestive of moods)
aviseşa
vakra
(B) The two levels are the same, but the meanings are opposed.
the literal interpretation carries an
incompatibility which is resolved by the second virodhābhāsā
carries an outright contradiction
virodha (III)
151
148 "Śleşaḥ sarvāsu puşṇāti prāyo vakroktişu śriyam", Kāvyādarśa, 2.363. Empson's
recent discussion of ambiguity (esp. chaps. 3,4 and 6) brings Dandin's remark up to
date. Moreover, his distinctions recall those of the alamkarikas.
149 Ibid., 2.28, 87, 161, etc.
1.50 See below VI (F).
A number of English words have been used to translate the Sanskrit śleşa; none,
however, conveys the intended significance of that word and all have connotations
which are unfortunate. Pun", which covers much of the concept, is also used, and
perhaps primarily understood as word play of the type that Ogden Nash has made
famous. But Nash's punning, like Joyce's, is echo and not literal; the words are often
malformed to suggest the second sense. In many cases, especially in Nash, there is
no second sense, simply malformation for purposes of rhyme or rhythm. Word play
in this sense would probably fall under the Indian category prahelika ('conundrum")
or śleșa vakrokti (qq. vv.). Similarly "double-entendre', often preferable to pun, errs
in the other extreme, including a number of figures which involve two meanings, but
have no explicit grammatical basis of expression, such as irony. In these cases, the
content alone permits the decipherment of the double-entendre; the fleșa must have
grammatical reference. Lastly the learned 'paronomasia' includes cases which are not
puns, but only adjunctions of words similar in form but different in meaning: "But
from her grave in Mary-bone, / They've come and boned your Mary" (Thomas Hood).