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(C) The levels of the pun are ontologically different.
praise and blame
INTRODUCTION
a question and its answer
adjectives and complimentary nouns
pudique, risqué
vyāja (see
vyājastuti)
vakrokti (I),
type: kāku
tattva
ukti
(D) To the basic pun is added the tour de force that the second
meaning alone is referred to.
parisamkhyā
VI. GRAMMATICAL AND SYNTACTIC FIGURES: repetitions (śabdalamkara);
figures whose deviation from the norms of standard utterance consists
not in the misrepresentation of an idea or judgement, but of the grammati-
cal basis of speech itself. Grammar imposes a certain order on speech, in
that violation of its rules courts incomprehensibility, but within these
rules it permits great variation for emphasis, clarity, or style. Figures
which assume as a basis of deviation the standard grammatical (and by
that term we intend everything from phonics to the paragraph or even
beyond, provided the focus is the means of expression, not the idea
expressed: sabdalamkāra) form of the language are of course specific to a
given language, at least in the details of their functioning. The poetics of
classical India presupposes the Sanskrit language. Even though Prākrits
are often referred to, especially in exemplification, they supply no varia-
tions, because their use is based on the erroneous notion that the Prakrits
were in fact completely describable in terms of Sanskrit grammar. In
Sanskrit, as in most languages, scope for explicit violation of the rules of
grammar is extremely limited. Movements such as Dada or the San
Francisco school may from time to time experiment with these limitations,
but in general the acceptable verbal figures are of two types: those which
violate otherwise conventional, but not obligatory, patterns, that is, they
impose a pattern different from the one which, though not required, is
expected; and secondly, those which formalize what is normally a random
dimension of the grammatical material and thus create regularities where
none were expected. Examples of the former would be the English inver-
sion of subject and verb, which is allowed as "poetic", or the many
rhetorical figures which rearrange the sentence for emphasis-chiasmos,
for example.
The verbal figures described in the Indian poetic texts are, with only
rare and doubtful exceptions, of the second type: those which impose a
(C) The levels of the pun are ontologically different.
praise and blame
INTRODUCTION
a question and its answer
adjectives and complimentary nouns
pudique, risqué
vyāja (see
vyājastuti)
vakrokti (I),
type: kāku
tattva
ukti
(D) To the basic pun is added the tour de force that the second
meaning alone is referred to.
parisamkhyā
VI. GRAMMATICAL AND SYNTACTIC FIGURES: repetitions (śabdalamkara);
figures whose deviation from the norms of standard utterance consists
not in the misrepresentation of an idea or judgement, but of the grammati-
cal basis of speech itself. Grammar imposes a certain order on speech, in
that violation of its rules courts incomprehensibility, but within these
rules it permits great variation for emphasis, clarity, or style. Figures
which assume as a basis of deviation the standard grammatical (and by
that term we intend everything from phonics to the paragraph or even
beyond, provided the focus is the means of expression, not the idea
expressed: sabdalamkāra) form of the language are of course specific to a
given language, at least in the details of their functioning. The poetics of
classical India presupposes the Sanskrit language. Even though Prākrits
are often referred to, especially in exemplification, they supply no varia-
tions, because their use is based on the erroneous notion that the Prakrits
were in fact completely describable in terms of Sanskrit grammar. In
Sanskrit, as in most languages, scope for explicit violation of the rules of
grammar is extremely limited. Movements such as Dada or the San
Francisco school may from time to time experiment with these limitations,
but in general the acceptable verbal figures are of two types: those which
violate otherwise conventional, but not obligatory, patterns, that is, they
impose a pattern different from the one which, though not required, is
expected; and secondly, those which formalize what is normally a random
dimension of the grammatical material and thus create regularities where
none were expected. Examples of the former would be the English inver-
sion of subject and verb, which is allowed as "poetic", or the many
rhetorical figures which rearrange the sentence for emphasis-chiasmos,
for example.
The verbal figures described in the Indian poetic texts are, with only
rare and doubtful exceptions, of the second type: those which impose a