2023-02-15 09:58:52 by ambuda-bot
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Introduction
onya, uttara, dīpaka, parikara, parivṛtti, parisamkhyā, hetu,
kāraṇamālā, vyatireka, sāra, sūkṣma, leśa, avasara, milita,
and ekāvali),
XV
2. figures based on similitude (upamā, utprekṣā, rūpaka,
apahnuti, samsaya, samasokti, mata, uttara, anyokti,
pratipa, arthantaranyāsa, ubhayanyāsa, brāntimān, ākṣepa,
pratyanika, dṛṣṭānta, pūrva, sahokti, samuccaya, sāmya,
and smarana),
3. figures based on hyperbolic statement (pūrva, višeșa,
utprekṣā, vibhāvanā, tadguṇa, adhika, virodha, visama,
asangati, pihita, vyāghāta, ahetu),
4. figures based on paronomasia (ordinary ślesa, ślesa
based on contradiction, śleșa with peculiar meaning,
śleșa in conversation, hidden śleșa, partial śleșa, śleșa
based on apparent contradiction).
Vidyānātha, in his Pratapa-rudra-yasobhūṣaṇa, cate-
gorises the figures of sense into 4 broad classes accord-
ing to their basic characteristics :
a) figures giving complete suggested sense (such as
samāsokti, paryayokti, ākṣepa, vyājastuti, upameyopamā,
ananvaya, atiśayokti, parikara, aprastuta-prasamsā,
and višeşokti),
b) figures based on suggestive similitude (such as
sandeha, bhräntiman, ullekha, apahnava, utprekṣā,
smaraṇa, tulyayogitā, dīpaka, prativastūpamā, dṛṣṭānta,
sahokti, vyatirek and nidarśanā),
c) figures suggesting some sort of sentiment or feeling
aroused through psychological conditions (such as
rasaval, preyas etc),
Digitized by
d) figures with implicit suggestive sense (such as
upamā, vinokti, arthāntara-nyāsa, virodha, vibhāvanā,
višeșokt, sama, viṣama, adhika, citra, anyonya, kāraṇa-
mālā, ekāvalī, vyāghāta, mālā-dīpaka, kāvyalinga,
anumāna, sāra, yathāsamkhya, arthāpatti, paryāya,
pariurtti, parisamkhyā, vikalpa, samuccaya, samādhi,
pratyanika, pratipa, višeșa, mīlita, sāmānya, asangati,
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Original from
UNIVERSITY OF MICHIGAN
onya, uttara, dīpaka, parikara, parivṛtti, parisamkhyā, hetu,
kāraṇamālā, vyatireka, sāra, sūkṣma, leśa, avasara, milita,
and ekāvali),
XV
2. figures based on similitude (upamā, utprekṣā, rūpaka,
apahnuti, samsaya, samasokti, mata, uttara, anyokti,
pratipa, arthantaranyāsa, ubhayanyāsa, brāntimān, ākṣepa,
pratyanika, dṛṣṭānta, pūrva, sahokti, samuccaya, sāmya,
and smarana),
3. figures based on hyperbolic statement (pūrva, višeșa,
utprekṣā, vibhāvanā, tadguṇa, adhika, virodha, visama,
asangati, pihita, vyāghāta, ahetu),
4. figures based on paronomasia (ordinary ślesa, ślesa
based on contradiction, śleșa with peculiar meaning,
śleșa in conversation, hidden śleșa, partial śleșa, śleșa
based on apparent contradiction).
Vidyānātha, in his Pratapa-rudra-yasobhūṣaṇa, cate-
gorises the figures of sense into 4 broad classes accord-
ing to their basic characteristics :
a) figures giving complete suggested sense (such as
samāsokti, paryayokti, ākṣepa, vyājastuti, upameyopamā,
ananvaya, atiśayokti, parikara, aprastuta-prasamsā,
and višeşokti),
b) figures based on suggestive similitude (such as
sandeha, bhräntiman, ullekha, apahnava, utprekṣā,
smaraṇa, tulyayogitā, dīpaka, prativastūpamā, dṛṣṭānta,
sahokti, vyatirek and nidarśanā),
c) figures suggesting some sort of sentiment or feeling
aroused through psychological conditions (such as
rasaval, preyas etc),
Digitized by
d) figures with implicit suggestive sense (such as
upamā, vinokti, arthāntara-nyāsa, virodha, vibhāvanā,
višeșokt, sama, viṣama, adhika, citra, anyonya, kāraṇa-
mālā, ekāvalī, vyāghāta, mālā-dīpaka, kāvyalinga,
anumāna, sāra, yathāsamkhya, arthāpatti, paryāya,
pariurtti, parisamkhyā, vikalpa, samuccaya, samādhi,
pratyanika, pratipa, višeșa, mīlita, sāmānya, asangati,
Original from
UNIVERSITY OF MICHIGAN