A Glossary of Indian Figures of Speech PDF

A GLOSSARY OF INDIAN
FIGURES OF SPEECH
by
EDWIN GEROW
UNIVERSITY OF WASHINGTON
1971
MOUTON
THE HAGUE' PARIS
NUMBERS AND ABBREVIATIONS USED
1. The definition of the figure.

2. References to the discussions of the figure in the various authors. The numbers
in parentheses indicate examples in the text.
3. Sanskrit example, illustrative of the figure, with expository notes and translation.
4. Example from English or American literature, illustrative of the figure.
5. Discussion of the place of the figure in the system of figures and related topics.
I, II, etc. are used to distinguish two or more figures with the same name.
AP = Agni PuriilJa (last half of the 9th century),
B Bhamaha. KiivyiUamkiira (early 8th century).
D ~ Da1;14in. Kavyiidarsa (first half of the 8th century).
M ~ Mammata. Kavyaprakasa (late 11th century).
NS = Bharata, Nit/ya Siistra (perhaps 7th century).
R ~ Rudrala. Kavytilamkara (middle of the 9th century).
U = Udbhala, Kiivyiilafflkiirasiirasafllgraha (early 9th century).
V = Vamana, Kiivydlaf(lkiiravrtti (end of the 8th century).
In the Glossary, the symbol ~ is used to indicate vowels fused through samdhi, e.g.,
upameyopama.
The translations of the Sanskrit examples are intended to bring out the figure and are
not necessarily complete.
The glossary is organized by figures (terms named as such), in Sanskrit alphabetical
order. All subfigures are treated in alphabetical order under the main figure to which
they pertain. The main figures are set off in the text by centered heading<i:.
The Sanskrit alphabd, in the order traditionally adopted for dictionaries and
glossaries, is:
aaiiufirfleoaiau
\11]1
k kh g gh fi
c ch j jh fi
I lh 4 4h 1;1
t th d dh n
p ph b bh m
y r 1 v S ~ s h
,n
atadglU}a
atadgul}a, 'not having that thing's attribute': (1) a figure iIi which two
things or states remain distinguishable in spite of the likelihood or
the appropriateness of the one's dominant quality imposing itself
upon the other. (2) M 205. (3) dhavalo'si jahavi sundara tahavi tue
majjha rafijiar[! hiaam / raahharie vi hiae suaha IJihitto IJa ratto'si
(Mammata: "Though you are pale, lover, my heart is made bright
by you; though you have entered my heart full of passion [redness],
you are not enamored [red]"). (4) "Cold-blooded, though with red
your blood be graced" (Leigh Hunt). (5) This is an expected tadguIJa
which fails to take place. It differs from nantitva atiSayokti in that
there one thing is said to be twofold, while here two things are said
to be twofold; only our expectation of unity is multiplied, not the
thing itself.
Very few figures involve in their definition an element of expecta-
tion, though most in some way exploit it.
atisaya
atisaya, 'excess': (1) one of the four general categories into which
arthtilar[!kara are grouped. (2) R 7.9, 9.1 (5) See sle~a; cf vastava,
aupamya.
atisayllkti
atisayllkti, 'expression involving an exaggeration': (1) the exaggeration
of a quality or attribute in a characteristic way, so as to suggest
pre-eminence in its subject; hyperbole. (2) B 2.81-85, D 2.214-20,
V 4.3.10, U 2.11, AP 344.26, M 153. (3) mallikamalabhariIJya1;l
sarvaiigiIJardracandana1;l / k~aumavatyo na lak~yante jyotsnayam
abhisiirikii1;l (DaT).<Jin; the whiteness of the girls' dresses is exaggerated
98 GLOSSARY GLOSSARY 99
to the point of making them invisible in the moonlight: "Wearing madrigal-to require viewing through rhyme and harmony"
garlands of white jasmine and clothes of linen, their limbs moist (Thomas Hardy). (5) Here the speaker is describing the girl as though
with sandal paste, the trysting ladies are hidden in the moonljght"). she were a lotus, and in Hardy's example, the girl is described as
(4) "Pardon, once more; if you are going to load anything more though she were a song. The point of "indistinguishability" seems
onto that statement, you want to get a couple of lighters and tow the to cross the subtle boundary of conscious rapprochement and, as
rest, hecause it's drawing all the water there is in the river already: such, intrudes upon the domain of samasakl!, an abbreviated
stick to facts ... "(Mark Twain; the "weight" of the statement is metaphor in which the subject is not mentioned. I think such cases
exaggerated to the point of threatening the seaworthiness of the must be taken as examples of Mammala's sloppy encyclopedism.
river packet). (5) Many types of upama are based upon exaggerations ananyatva, 'identification': (1) a type of atiSayakti in which two qualities
of the common property of one sort or another; these distortions or attributes, though in fact contrary, are considered indistin-
are, however, all subservient to the end of comparison: in hyperbole guishable. (2) U 2.12. (3) sa dadarMmarrz ... tapastejabsphuritayil
there is no end other than the.,<..,magnification of the subject itself. nijalava~yasarrzpadil / krsilm apy akrsilm eva drsyamilnam asarrzsayam
Similarly, in utprek$a, an attribute is figuratively associated with a (Udbhala; though Uma is emaciated by her fasting, she appears
subject, but the distortion lies in,that unlikely association, not in full blown because of the beauty which her penance imparts: "He
the representation of the attribute~ts,eI[ In hyperbole, the attribute saw Uma ... wasted away but appearing full blown in the wealth of
in its literal form should be naturally inherent in the given subject; beauty born ofher ascetic power"). (4) "His departure gave Catherine
it is only its unworldly (lokiitikrantagocara) or preposterous exten- the first experimental conviction that a loss may sometimes be a
sion that makes it figurative. gain" (Jane Austen). (5) In these examples, two qualities are
Different writers have distingu,ished different characteristic ex- mentioned; in the Sanskrit example given under atiSayakti, two
aggerations. The most common (Bhiimaha, Dal)qin, Vamana, objects are "rendered indistinguishable". It would seem that this
Udbhaj:a) is that of two objects in the presence of one another being latter case is most typical of atiSayakti, given as it is by most of the
made indistinguishable by the property which both share (cf writers whether they allow subtypes or not (Bhamaha, Dal)qin,
adhyavasana). Dal)qin recognizes the exaggeration of size to the Vamana, Udbhala, Mammala). This figure resembles an exaggerated
point of ultimate smallness (sarrzsaya), as well as ultimate greatness simile (cf cafu upamil), but it should be noticed that the qualities
(tidhikya). Udbhala and Mammala allow the inversion of the first compared here are contraries (krsatvam-alqsatvam, "loss-gain"). The
type, where the same subject is considered multiple because of differ- aspect of similitude is an incidental consequence of a fortiori
ent qualities (cJ{manatva). In addition, three types are based upon premises. One may ask how the present examples differ from rilpaka
a figurative transference of an attribute from one subject to another (metaphor). First, there can be no metaphorical identification of
(cf sarrzbhavyamaniirtha) and are distinguishable only with great qualities; second, metaphor need not be based on the identification
subtlety from other figures variously defined. Lastly, there is ex- of items somehow contrary.
aggeration of a quality by attributing to it the nature of a cause in iidhikya, 'superabundance': (1) a type of atiSay6kti in which a quality or
respect of its own cause (karyakara~apaurviiparyaviparyaya). attribute is quantitatively exaggerated out of all proportion. (2)
adhyavasana, 'determination': (1) a type of atiSayakti in which one thing D 2.219. (3) aho viSMarrz bhilpMa bhuvanatritayiidaram / mati milium
is characterized as another so as to exaggerate a quality which they asakyo'pi yasorilSir yad atra te (Dal)qin: "The extent of your fame,
in some degree share. (2) M 153. (3) kamalam anambhasi kamale ca itself measureless, comprehends, 0 King, the prosperity of the three
kuvalaye tani kanakalatikayam / sa ca sukumiirasubhagety utpatapa- worlds"). (4) "I will not deceive you; he told me such a monstrous
rampara keyam (Mammala: "A lotus grows where no water is; lie once that it swelled my left ear up, and spread it so that I was
on this lotus are two buds; and the lotus with its buds grows on a actually not able to see around it; it remained so for months, and
golden vine: Who can she be, this concatenation of wonders? Call people came miles to see me fan myself with it" (Mark Twain).
her fortunate and lovely"). (4) "She seemed to belong rightly to a (5) Cf sa,!lsaya, where the attribute is minimized out of all propor-
jS
tion. This figure is not named by Dal).qin, but by the commentator; end in, / Whether in female or in male, / A Pin dropped in, and
however, it evidently pairs with salflsaya and is encompassed by the turned the Scale" (Anon.). (5) The name is taken from the com-
"tidi" ('etc.') in 2.216. mentary; see tidhikya.
kiiryakiiral}apaurvaparyaviparyaya, 'inversion of the sequential relation- saqtsaya, 'doubt': (1) a type of atisayokti in which a quality or attribute
ship of cause and effect': (1) a type of atiSayokti in which the exag- is minimized to the point where doubt can be entertained as to its
geration of a quality or attribute is accomplished by expressing it as existence or nature. (2) D 2.216 (217). (3) stanayor jaghanasydpi
the cause of that which in the order of nature is its cause. (2) madhye madhyalfl priye tava / asti nfistiti sandeho na me'dyfipi
U 2.13, M 153. (3) manye ca nipatanty asyii/:! katdk$ii dik$u pmhata/:!/ nivartate (Dal,l\Hn: "The narrow waist that intervenes between your
priiyeIJdgre tu gacchanti smarabiiIJaparamparii/:! (Udbhala; usually breasts and buttocks, 0 lovely, is it there or is it not? My mind
the girl's love-10m glances are the cause of Cupid's shooting the cannot decide this doubt"). (4) "They have yarns ... of the runt so
bow; here Cupid beats Uma to the punch-thus expressing, accord- teeny-weeny it takes two men and a boy to see him" (Carl Sandburg).
ing to the commentary, how"quickly Siva took the tumble: "I (5) Thisin theinverse ofexaggeration properlyspeaking, but as it repre-
think that first the arrows of the Love-God were shot, next her sentsjustas great a deviation from the norma~ Dal).<;lin systematically
sidelong glances were scattered in.the four directions"). (4) "Was includes it here. Cf tidhikya. The point of the example is the small-
it for this that I might Myra see / Wii~1'tillg the water with her beauties ness of the waist, not the doubt, which is only a psychologically ap-
white?" (Fulke Greville). (5) Pilrva aialflkiii'a differs from the present propriate adjunct; hence, this figure differs from salflsaya alalflkiira.
case in two respects: There the inversion of the sequential relation- saqtbhavasa'!1bhava, 'possible, impossible': (1) two types of hyperbole.
ship is not subordinated to any other consideration, such as the (2) AP 344.26. (3) (4) No examples. (5) Another one of the mysteries
exaggeration of a quality, and telIJporal inversion is expressed of the Agni PurtiIJa.
generally, not limited to the one case of cause-effect (not everything saqtbhiivyamiinartha,'whose meaning is imagined': (1) same as utptidya
which precedes is a cause). upamii. (2) B 2.81 (83), V 4.3.10, U 2.12, M 153. (5) This figure is
niiniitva, 'variety': (1) a type of atiSayokti in which a quality or attribute also called kalpana by Mammata. Vamana and Bhamaha give it no
is exaggerated by considering it multiple, though it is in fact one. name, but their two examples fit clearly into this category and
(2) U 2.12, M 153. (3) acintayac ca bhagaviin aho nu ramQIJiyatii / adhyavasiina. The figure is recognized by six writers: The present
tapasfisyii/:! krtfinyatvalfl kaumiirtid yena lak$yate (Udbhata: "The four consider it a kind of hyperbole, but Dal,lqin aud Rudrala
Lord thought: 'Ay, such loveliness comes from her penance, yet how discuss it under simile. Inasmuch as we have supposition of the
different is the beauty from that of her youth!"'). (4) "Any customer transferability of a quality from one subject to another, there is a cer-
can have a car painted any color that he wants so long as it is black" tain exaggeration attendant upon such an irregularly proposed quality.
(Henry Ford; a many-sided blackness). (5) The present instance However, the end in all cases cited is comparison, and hyperbole
differs from vyatireka alalflkiira in two respects: The differentiation is only a means to that end. Though classifications are by no means
attaches to a single quality of a single subject, not to a common systematic, the end does generally serve as the genus. An example
quality of two subjects; hence, the element of comparisou is lacking. of a transfer of property which does not serve the end of comparison
Compare adhyavastina, or ananyatva, where two qualities are con- would be: "To us the hills shall lend / Their firmness and their
sidered uniform. calm" (Henry Timrod). Bliamaha's example comes closest, but it
nirl}aya, 'conclusion': (1) a type of salflsaya atiSayokti in which the affected still seems to be a simile: "aptilfl yadi tvak chithllti cyutti sytitphmJintim
doubt is resolved. (2) D 2.218. (3) nirlJetulfl sakyam astlti madhyalfl iva / tadii suklalflsuktini syur aiige$v ambhasi yo$ittim" (2.83; the "skin"
tava nitambini/ anyathfinupapattyaiva payodharabharasthite/:! (Dal,lqin: [i.e., foam] shed by the waters is transferred to the Women as clothes:
"One can decide that your waist indeed is there, 0 lovely, for not 'If the loose skin of the waters should fall away, like the skin of
otherwise could the weight of your breasts be supported"). (4) "As snakes, then it would serve as white cloth for coveriug the bodies of
Nature H-y's Clay was blending, / Uncertain what her work should the WOmen in the river').
adbika repeated, and not verses or verse parts. As stated sub voce, the
adhika (1), 'superabundant': (1) a figure wherein two contraries are said critical case is that of lata anuprasa. While the concept anuprasa
to proceed from the same cause. (2) R 9.26 (27). (3) muficati viM itself is subject to little dispute, various writers distiuguish different
payodo jvalantam analal]'l ca yat tad iiScaryam / udapadyata nzranidher kiuds which are obviously designed to produce different effects on
vi~am amrtarrz ceti tac citram (Rudrata; a reference to the creation the ear: one melodious, one effeminate, one vigorous, and so on.
myth wherein the primeval ocean gave forth both deadly poison For this reason, the subject of alliteration is closely tied to the dis-
and the Gods' sustinence: "It is amazing that the clouds release both cussiou of the different styles (rlli, gUQa), and various writers
blazing fire and water; that both poison and nectar emerge from (DaJ;lqin, Rudrala) attempt to specify the stylistic limits of the
the watery sea"). (4) "The long, winding intricate sentences, with different alliterations. Mammata attempts to equate style and
their vast burden of subtle and complicated qualifications, befogged alliteration (see vrtti). Anandavardhana, of course, wants to view
the mind like clouds, and like clouds, too, dropped thunderbolts" the questions of style and alliteration as attempts, however partial,
(Lytton Strachey). by earlier writers to come to grips with the problem of mood (rasa)
adhika (II): (1) a figure wherein a thing is said to exceed or surpass in and the subordination of all discrete elements in the composition to
size or grandeur its own basis or c9ntainer. (2) R 9.28 (29), M 195. it. Despite these extrinsic differences of opinion, the importance of
(3) aho viSalal]'l bhupala bhuvanatrit~yqdaram / mati matum asakyo'pi alliteration in poetry was never questioned, provided that its use
yasorasir yad atra te (Mammata; tlie king's glory cannot be con- corresponded to the effect desired.
tained even by the three worlds; the example is also found in DaJ;lqin upaniigarika (perhaps a Prakrit dialect): (1) a type of alliteration in
2.219 for the term adhikya atisayokti, q. v.). (4) " ... warned me my which figure prominently clusters of identical stops (kk, tt) and clus-
watch was relieved. It could not have lasted more than two hours: ters of stops with homorganic nasal preceding (uk, nt). (2) U 1.5,
many a week has seemed shorter" (Charlotte Bronte; two hours M 108. (3) san4rllravindavrndotthamakarandllmbubindubhil; / syan-
exceed in duration the thing of which two hours is a part). (5) dibhil; sundarasyandul]'l nanditendindira kvacit (Udbhata: "Some-
Mammala in his definition allows for the possibility that the con- where a bumblebee is delighted by the flowing drops ofliquid honey
tainer exceeds the term predicated upon it, but both his examples show from thick clusters of white lotuses"). (5) Upanagarika resembles
only the reverse (the present case). madhura anuprasa of the Agni PuraQa and Rudrata. The term may
mean "cultured". Cf. gramya, to which it is opposed.
anupriisa komala, 'soft': (1) same as gramya anuprasa. (2) MilO.
anupriisa, 'throwing.<l;fter': (1) alliteration. (2) B 2.5-8, D 1.52-59, griimya, 'common': (1) a type of alliteration characterized by the absence
V 4.1.8-10, U 1.3-10, AP 343.1-11, R 2.18-32, M 104-16. (3) kil]'l of clusters and the predominance of liquids and nasals. (2) B 2.6,
taya cintaya kante nitanteti (Bhiimaha: "0 lovely, why are you U 1.6, M 110. (3) kelilollllimalanal]'l kalail; kolahalail; kvacit /
afflicted with doubts?"). (5) Anuprasa is treated by all the writers kurvati kananarughasrznupuraravabhramam (Udbhata: "Sometimes
except Bharata, but DaJ;lqin considers it an aspect of madhura gUQa accompanied by the soft humming of the bee swarms, playfully
rather than a figure. The varieties of alliteration considered are (a) restless, she simulates the maddening sound of the anklets of Sri
repetition of phonetic features (DaJ;lqin: see varQllvrtti, note); (b) wandering in the forest"). (5) Bhamaha apparently considers this
repetition of phouemes or phoneme clusters (paru~a, upanagarika, type defective or vulgar, but the other two authors allow it as one
gramya, madhura, lalita, praUl;lha, bhadra); (c) variation of vowels of the five legitimate types. It is probably to be opposed to upana-
within similar consonant strings and vice versa (cheka), and (d) garika, which may mean 'cultured or citified', as opposed to 'rustic,
repetition of words or morphemes (lata). Alliteration is carefully vil/ageois'. Compare Bhiimaha's example "kil]'l tayll cintayll kante
distinguished from yamaka (cadence), in that the occurrence of the nitanta" with that offered under upaniigarika (which term Bhiimaha
alliterated elements is not predetermined in verse or verse part. It is, does not use). Mammata calls this figure komala.
in other words, the p,]1onemes or phonetic features that are being cheka, 'clever': (1) a type of alliteration characterized by metathetic
Ie
variation of consonants and vocalic substitutions. (2) U 1.3, M 106. sphulapli{anasupa{uko{ibhih ku{ilaih / khele'pi na khalu nakharair
(3) sa devo divaslin ninye tasmifi saiIendrakandare / gari${hago$lhf- ullikhati harih kharair likhulY! (Rudrata: "Not in play does the lion
prathamaih pramathaih paryuplisitah (Udbhata: metathesis, as of rip apart the rat with his hard, curved claws whose tips are quite
th-m to m-th, and substitutions, as of i and a for e and 0: "The God sharp from evident tearing into the tough Itide of elephants' jaws").
Siva spends his days in this cave of the high Himalaya, served by his (5) The definition is inferred from the example; Rudrata says baldly
attendants, principal among the great assemblies"). (5) Both that this style of alliteration employs "what is Ieft"-the consonants
authors distinguish this type from alliteration properly speaking, and clusters not used in the other four-specifying that whatever
inasmuch as its effect depends upon variation rather than repetition. clusters are used must be "agreeable to the ear".
paru~a, 'harsh': (I) a type of alliteration characterized by a predominance madhura, 'lovely': (I) a type of alliteration characterized by clusters of
of sibilants and of clusters involving sibilants or "r". (2) U 1.4, stop following homorganic nasal, double '''1'' and "r" and ":I)." in
AP 343.6-11, R 2.26-28, M 109. (3) lipsun sarvlin so'ntarbrahmOdyair light syllables. (2) AP 343.3, R 2.20-23. (3) bha~a taru~i rama~a
brlihma~air vrtah pasyan / jihretY,.agarhyabarhfhse$asayah kO$asunyah mandiram linandasyandisundarendumukhi / yadi sallilolilipini gacchasi
san (Rndrata; -ps-, -rbr-, -hm- and many single sibilants, including tatkilY! tvadfyalY! me / ana~ura~nma~imekhalam avirataSifijlinamafi.-
the gutteraI: "Surrouuded by Brajmtins who have penetrated the jumafijiram I parisara1Jflm arw:zacarave rmJaravakam akiiravarrz kurute
Veda, he sits, watching avaricion&".peopIe. He is ashamed deep (Rudrata: "Tell me, gentle lady with face lovely as the moon steeped
within himself, for he has abandoned his:wealth; all that remains to in joy, if indeed you are going, sweetly murmuring of love, to the
him is a bed of blameless feathers"). (5) The four writers who home of your lover, then why does your passing here, feet dripping
distingnish five types of alliteration agree only on the name of this with lac, with necklaces jangling and anklets sounding incessantly
one, though two other of the five types seem to be comparable sweet, work in my soul this needless desire?"). (5) This figure
(ef. upanligarika and madhura, grlimya and lalita). Paru$a is said to resembles upanligarika anuprlisa in its clusters with homorganic
contribute to ojas gu~a, but this is a late attempt to rationalize two nasal. Rudrata gives rules for the proper use of this alliteration,
unrelated systems. Dangin treats all alliterations as aspects of saying that the quality of "loveliness" will be lost if the "I" is used
mlidhurya gu~a. more than two or three times and that the clusters of stops should
padiiuuprlisa, 'foot-alliteration': (I) same as llila anuprlisa. (2) V 4.1.10. not exceed five. The scope of titis rule is not specified, but it is
prauq!Ja, 'proud': (I) a type of alliteration characterized by clusters of probably the sloka. Rudrata lays stress on the importance of
"flO followed by,~'~"y" or "I)." or any stop except cerebrais or nasals,
observing the proprieties in all five types of alliteration (2.32).
and clusters of "t" with "p" or "k", (2) AP 343.5, R 2.24-25. (3) lalita, 'gay': (I) a type of alliteration characterized by the unclustered
klirytikliryam anliryair unmlirganirargalair galanmatibhih / ntikar~yate letters "dh", "gh", "gh", "r", "8", and "1" in light syllables. (2)
vikar~air yuktoktibhir uktam uktam api (Rudrata; as -ry-, -rg-, -rn-, AP 343.4-5, R 2.29-30. (3) malayi1nilalalanolialamadakalakalakalJ-
-kt-: "The Iowborn, heedless ones, who unfettered tread the paths of Ihakalakalalallimah madhuramadhuvidhuramadhupo madhur ayam
unrighteousness as though they had lost their minds, do not heed adhunli dhinoti dharlim (Rudrata: "The spring now afIlicts the earth;
their duties or proscriptions, even though they be spoken by men of bees are helpless from drinking sweet honey; the southern wind is
sage connseI"). (5) According to Rudrata's commentator, this amorous with the arguments of kokila birds, muted with drink").
anuprlisa is called by others ojas, which was originally defined by (5) As the example shows, the criteria are permissive rather than
Dangin as a stylistic quality consisting in the nse of long compounds. obligatory: in the first half-sloka, the "I" is principally employed;
Prauq.ha has no apparent counterpart in the five alliterations of in the second, the "dh", which is only to say that the letters given
Udbhata and Mammata. See paru$a. may be employed in a context of unclustered, short syllables. The
bhadra, 'pleasant': (I) a type of alliteration characterized by the pre- figure resembles grlimya.
dominance of unvoiced gutterals and cerebraIs and by the absence lata (latiya) (a region): (I) the repetition wititin the same verse of a
of clustering. (2) AI' 343.6, R 2.29-31. (3) utkalakarikaralata{a- word or words having the same meaning but, through the context,
L
differing in acceptation. (2) B 2.8, U 1.8-10, M 112-16, V 4.1.10. of Brahmins, attained prosperity, there was a festival of righteousness
(3) dmi/'fl dr~lisukhii/'fl dhehi candras candramukhOditah (Bhiimaha; in the world") where the "~" of e~a and the "r" of rdjd are both
candramukhii is apparently a vocative despite the ending, or it cerebrals, the 'T' and following "y" are palatals, "d" and "I" are
represents secondary sandhi: "Let us see your face, lovely-to-see; dentals, and so on. Vamana, however, distinguishes varQdnuprdsa
the moon, moon-face, is risen"). (4) "It was the same rounded, from piiddnupriisa, or the repetition of metrical nnits (feet); in this
pouting, childish prettiness, but with all love and belief in love context, also, it amonnts to alliteration in the nsual sense: repetition
departed from it-the sadder for its beauty, like that wondrous of identical phonemes in adjacent syllables. Anupriisa, according
Medusa face, with the passionate, passionless lips" (George Eliot). to Dal)<Jin, consists in observing the mean; the effect is lost if the
(5) Udbha!a and Mamma!a give an elaborate classification of this repeated phoneme is too far away (1.58), or if the phrase is too
figure according to whether the word repeated follows immediately broken by harsh junctures (1.59). The repetitions must be close
(as here) or is placed at the beginning or the end of the half-verse; enough, but not too close, within these two limits.
similarly, tbey distinguish words. free (having a case termination) vrtti, 'mode': (I) a word applied to some or all of the kinds of alliteration.
from words bound (in compouftd). Mamma!a and Vamana (who (2) R 2.19, M 105-107. (5) The vrtti is an old element of dramatic
calls the figure piiddnupriisa) allow the repetition of the entire theory, mentioned in Bharata, which seems to signify the basic
half-sloka, provided that the word~"!llboth halves are the same context of the play insofar as it determines a style of representation,
as: "yasya na savidhe dayitd davadahanas tuhinadidhitis tasya / similar to Shakespeare's "tragical-comical-historical-pastoral". The
yasya ca savidhe dayitii davadahanas tuhinadidhitis tasya" (Mammala; term thus has little relevance to poetics and the early writers ignore
in the first half, dava- is attributive to tuhina-, in the second half, it. Rudrala, however, uses the word in a neutral sense to mean the
just the reverse; "For him whose beloved is absent, the cool-rayed five kinds of alliteration taken individually (vrtti literally signifies
moon is burning fire; for him whose beloved is present, the burning only 'existence' or 'specific mode of existence') as the modes of
fire [of the sun] is cool-rayed"). In this case, the alliteration has alliteration. At the same time, the dhvani theorists were examining
become for all intents and purposes a yamaka, except that the indi- the older vocabnlary in the light of their novel doctrine, and with
vidual words are taken as the same words in both utterances, instead their general disposition to belittle or collapse such extrinsic distinc-
of splitting the utterances differently. The figure ldldnupriisa thus tions, vrtli was lumped together with other stylistic concepts of the
occupies the mid-position between alliteration and cadence, differing older writers such as gUQa and rili (see Dhvanyaloka 3.33; Anandav-
from the former in its concern with words rather than phonemes, ardhana on the Dhvanyiiloka, p. 182). Anandavardhana says that
and from the latter'in its coucern with meaning rather than phonemic the vrtti of Bharata is a function of the meaning (vacya), while that
sequence. Cf iivrtti. of other writers is a function of the outward shape of the words
varl)linupriisa, 'letter-alliteration': (1) same as varQdvrtti. (2) V 4.1.9. (vacaka). By the latter, he apparently signifies the kinds of allitera-
varl)livrtti, 'letter-repetition': (I) alliteration. (2) D 1.55, V 4.1.9. (3) tion as distinguished by Udbhala (upanagarikddi). Out of this
candre saranniStJtta/'flse kundastavakavibhrame I indraniianibha/'fl confusion, Mamma\a, who everywhere attempts to reconcile the
lak~ma sa/'fldadhiity ani/ah [sic]sriyam (Dal)<Jin; we prefer the alinah views of the dhvani theorists with the older doctrines, propounds
of D. T. Tatacharya and most other Indian editors: "Its marks, the novel view that the three kinds of alliteration involving phonemic
dark as sapphires, give the beauty of the bee swarm to the ornament repetition (that is, excepting cheka and lala) are to be called vrW,
of the autumn night-the full moon, lovely as the jasmine bnd"). and that these three are the equivalents of the three rilis, or styles of
(5) In Dal)<Jin, this is anupriisa in the narrow sense, distinguished diction, proposed by Vamana, which originally referred to the entire
from a kind of semi-alliteration in which only phonetic features, context of word and meaning ("ornate", "limpid", "intense", etc.),
such as dentality or gutturalness, are repeated: for example: e~a but very little else can be expected of Mammala, who represents the
rdjd yadd lak~mi/'fl prdptavdn briihmaQapriyah I tatah prabhrti worst of the syncretistic tendency. Cf Abhinavagupta on the Dhvan-
dharmasya loke'sminn.utsavo'bhavat ("as soon as that king, beloved yaloka, p. 6.
I
7
GLOSSARY 109
108 GLOSSARY
anumiina to give the underdog a better kennel" (Frederick Lewis Allen). (5)
anumiina, 'inference': (I) a figure in which an inference is explicitly formu- The girl and the swan (as the lover and the lake) share no common
lated. (2) R 7.56-63, M 182. (3) savajiiam agami$yan niinalfl patito'si property (guQa) in the eyes of the Indian aestheticians, which is only
padayos tasyal;z / katham anyathti lalate yavakarasatilakapaiiktlr to saythat the basis of the comparison is to be sought in a verb, in
iyam? (Rudrata; reference is to the painted toenails of the beloved: an actIOn (kriya), rather than in a qualification; cf vakyartha upama.
"You must have fallen at her feet, having to return so contemptibly: Similarly, in the English example, the principal analogy is drawn
how else would that row of red lac spots appear on your brow?"). between the two acts of uplift, though the similarity between the dog
(4) "Scylla is toothlesse; yet when she was young, / She had both
and the lower classes is perhaps more vivid than that between the
tooth enough, and too much tongue: / What should I now of tooth- lover and the lake.
lesse Scylla say? / But that her tongue hath worne her teeth away"
anyonya
(Anon.). (5) The cause (sadhaka) may be inferred from the effect
(sadhya), or vice versa; it is ~~sential that the term inferred be anyonya, 'reciprocal': (I) a figure wherein two things are said to be
parok$a-in some way not obvious. In both our examples, the cause reciprocally cause and effect. (2) R 7.91 (92), M 187. (3) riipalfl
is inferred. The following lines from Somerset Maugham show yauvanalak$mya yauvanam api riipasalflpadas tasya!:z / anyonyam
inference of the effect: "As I waJk~.(J. a.Io~g the winding road ... alalflkaraQalfl vibhati saradindusundaryal;z (Rudrata: "Her beauty is
I mused upon what I should say. Do they not tell us that style is ornamented by her youth; her youth is heightened by her beauty;
the art of omission? If that is so, I should certainly write a very she IS as lovely as the autumn moon"). (4) "The Devil, having
pretty piece". In such instances, the effect is usually placed in future nothing else to do, / Went off to tempt My Lady Poltagrue. / My
Lady, tempted by a private whim, / To his extreme annoyance,
time.
This figure differs from hetu alalflkara as the active differs from tempted him" (Hilaire Belloc). (5) The reciprocity of cause and
the passive: in the latter figure, a relation of cause-effect is described; effect is the same as being mutually conditioned.
in tbe former, it is used to secure intelligence of one or the other term
apahnuti
so related. It is curious that Mammata should reject hetu while
accepting anumana, as the ground of exclusion he advances for the apabnuti (I), 'denial': (I) a figure in which the object of comparison is
one should apply a fortiori to the other: no figurative usage need aflirmed in place of the subject of comparison. (2) B 3.20 (21),
be present. Ru(J.rata distinguishes several types which are the V 4.3.5. (3) neyalfl virauti bhriigalf madena mukhara muhul;z / ayam
equivalents of Ddlj.<;lin's three kinds of hetu: diirakarya, sahaja, and akNyamaQasya kandarpadhanu~o dhvanil;z (Bhamaha: "It is not a
karyanantaraja. Rudrata's own version of hetu has no subtypes. swarm of bees, humming incessantly of honey; it is the sound of
the Love-hunter's bow being drawn"). (4) "And there is not a
anyokti whisper on the air / Of any living voice but one so far / That I can
anyokti, 'saying something else': (I) a figure in which the real subject hear it only as a bar / Of lost, imperial music, played when fair /
of comparison is suggested by explicit description of the object, And angel fingers wove, and unaware, / Dead leaves to garlands
where, nevertheless, the two compared terms have no common where no roses are" (E. A. Robinson; that is not a whisper, that is
property, bnt only a mode action in common. (2) R 8.74 (75). music). (5) Cf tattvapahava riipaka.
(3) muktva salilahalflsalfl vikasitakamalojjvalalfl saral;z sarasam / apabnuti (II): (I) a figure in which an essential property of the subject is
bakalulitajalalfl palvalam abhila$asi sakhe na halflso'si (Rudrata: denied and portrayed otherwise; irony of qualification. (2) D 2.304-
"Abandoning tbis pleasant lake with its swans and lotus blooms, 309, U 5.3, AP 345.18, M i46. (3) na paiice~u!:z smaras tasya sahasralfl
you long for the forest pool rough from the flight of cranes; yet, patriQam (DaI).<;lin: "The God of Love is not possessed of five arrows;
friend, you are no swan"). (4)" ... the men and women who in a indeed he has a thousand"). (4) "Because these wings are no longer
hundred different ways were laboring, as William Allen White said, wings to fly / But merely vans to beat the air" (T. S. Eliot). (5)
1
110 GLOSSARY GLOSSARY 11l
Apahnuti is a figure found in all the writers after Bhamaha, but no (2) D 2.306 (305). (3) candanarrz candrika mando gandhavahas ca
unanimity as to its acceptation is discernable. It is related on the dak$i(lab ! seyam agnimayf sr${ir mayi sita paran prati (Da114in:
one hand (by Bhamaha and Vamana) to the tattvapahnava riipaka "For me, these things-the sandal paste, the moonlight, and the
(which figure appears only in Da114in), and on the other to the softly blowing southern wind-are made of fire; others may think
mata alarrzkara (as here), wherein the interest attaches to the mis- them cool"). (4) "Those who have crossed! With direct eyes, to
representation of the subject in a certain way. Subtypes are distin- death's other Kingdom ! Remember us-if at all-not as lost !
guished as to the intellective basis (opinion, necessity) of that Violent souls, but only ! As the hollow men ! The stuffed men"
misrepresentation (Da114in) and as to the mode of its affirmation (T. S. Eliot). (5) In svariipa, the misrepresentation is a function
(mere attribution, transformation: Mammala). See vi$aya, svariipa, ofthe nature ofthe thing itself; that is, it amounts to a reinterpretation
sabdi, arthf. of that thing.
apabnuti (III): (I) a figure in which the subject of comparison is portrayed sabdi, 'literal': (1) a type of apahnuti in which the misrepresentation is a
as possessing a quality which)Jl nature belongs to the object of function of denial and contrary affirmation. (2) M 146C. (3)
comparison. (2) R 8.57 (58). '(3) navabisakisalayakomalasakalava- avaptab pragalbhyarrz pari(zatarucab sai/atanaye kalarrzko naivayarrz
yava vi/asinf sai$a ! anandayati j{lnanarrz nayanani sitarrzsulekheva vilasati sasarrzkasya vapu$i ! amu$yeyarrz manye vigaladamrtasyan-
(Rudrala: "A lovely, wanton ladY>y\'ithlimbs as soft as new lotus diSisire [sic] iii sranta sete rajanirama(li galjham urasi (Mammala:
shoots delights the eyes of men just like the cool-rayed crescent"). "That is no mere spot which has appeared on the moon's full,
(4) "Ask not the Cause, why sullen Spring! So long delays her brilliant form, 0 Parvati; rather I think the courtesan of the Night
flow'rs to bear; ! Why warbling birds forget to sing, ! And Winter lies exhausted in tight embrace on his broad chest cool from the
Storms invert the year? ! Chloris is gone: and fate provides! To flowing stream of nectar"). (4) "Stay, 0 sweet, and do not rise! !
make it spring, where she resides" (John Dryden). (5) This figure The light that shines comes from thine eyes: ! The day breaks not:
is just the reverse of adbhuta upama, where a striking property of it is my heart,! Becanse that you and I must part" (John Donne; in
the subject is transferred to the object. Cf asarrzbhava upama, where this example both the daylight and daybreak are misrepresented,
the quality is transferred from the subject to the object. the former as the light in her eyes, the latter in the weak pun. Both
artm, 'implied': (1) a type of apahnuti in which the misrepresentation is are literal, the latter almost too literal). (5) Cf arthi.
expressed via a transformation of the subject in qnestion. (2) M 146C. svariipa, 'natural': (1) a type of apahnuti in which the misrepresentation
(3) amu$mirrzl li{ya(lyamrtasarasi niinarrz mrgadrsab smarab sarvaplu- is expressed as a reinterpretation of the nature of the thing itself.
${ab prthujaghanabhiige nipatitab ! yad aiigaiigara(larrz prasamapisuna (2) D 2.308 (307). (3) amrtasyandikira(las candrama namato matab !
nabhikuhare sikhiidhiimasyeyarrz pari(lamati romavalivapub (Mamma- anya evdyam arthdtma vi$ani$yandididhitib (Da114in; the moon is
la: "The God of Love, whose body was consumed [in the fire of] Siva's different to the rejected lover: "The moon is generally considered
[wrath], has now taken up his abode between that doe-eyed maiden's to have rays of flowing nectar; but it has another soul as well, for
broad thighs-veritable streams of beauty's nectar. See how the thin its brilliance is steeped in poison"). (4) "Death, be not proud, though
line of hair on her navel has assumed the form of a wisp of smoke; some have called thee! Mighty and dreadful, for thou art not so"
thus the smouldering coals of Love's body are being extinguished"). (John Donne). (5) Cf vi$aya.
(4) "Full fathom five thy father lies; ! Of his bones are coral made: !
Those are pearls that were his eyes:! Nothing of him that doth fade,! aprastutaprasarpsa
But doth suffer a sea-change ! Into something rich and strange" aprastutaprasarpsii (I), 'mentioning the irrelevant': (1) a figure in which
(Shakespeare). (5) In Stibdi, the misrepresentation is accomplished the real but implicit subject matter is obliquely referred to by means
by simple denial and affirmation: hence it is called "explicit". of an explicit, but apparently irrelevant, subject which, however,
vi~aya, 'circumstance': (1) a type of apahnuti in which the misrepresentation stands in a specific relationship to the former. (2) B 3.28 (29),
is stated to depend llpon a difference in point of view or condition. U 5.8, AP 345.16, M 151. (3) pri(litapra(layi svadu kale pari(latarrz
c
1
I
bahu / vinii puru$akiirer.za phalalJl pasyata Siikhiniim (Bhamaha; a describes the cause of his early return from a journey: "Those who
courtier is referring to the bounteousness of the king: "Regard the have gone to another country, why should they not return? Beloved,
fruit of the trees, pleasing to those who seek it, sweet and ripe in its you must grieve for me no longer; you have grown so thin! Even
own time, grown heavy without the aid of man"). (4) "0 powerful while I speak to you in tears, you look at me with eyes downcast
western fallen star! / 0 shades of night-O moody, tearful night! / with shame aud full of pale tears, while your hysterical laughter
o great star disappear'd-O the black murk that hides the star! / 0 surely portends approaching death!"). (4) "With how sad steps,
cruel hands that hold me powerless-O helpless soul of me! /0 harsh o Moon! thou climb'st the skies! / How silently, and with how wan
surrounding cloud that will not free my soul" (Walt Whitman; a face! / What! may it be, that even in heavenly place / That busy
referring to the death of President Lincoln). (5) This figure is usually archer his sharp arrows tries?" (Sir Philip Sydney; the effect of
distinguished from samiis{jkti; for a discussion of its relation to that being in love is described through its cause). (5) Cf nimitta.
figure, see samiis{jkti. It is apparently the same as the figure paryiiya tulya, 'equal': (1) a type of aprastutaprasalJlsii in which the relation be-
of Rudrata • ,
who does not recognize
'J.>_'.-'
aprastutaprasalJlsii. It is also tween tbe implicit and explicit subjects is one of similitude, real or
called aprastutastotra in Da\lqiri and the Agni Puriir.za. apparent. (2) M 152. (5) If the similitude is real, we have siidrsya-
adbyiiropa, 'figurative attribution': (I) a type of aprastutaprasalJlsii in miltra; if only punned, samiis{jkti; if the implicit subject itself is
which qualities are attributed to th~~)(plicit subject which can apply punned, sle$a. See these terms for examples.
literally only to the implicit snbject. (2) M 152e. (3) kas tvalJl For the earlier writers, intimation seems only to have been used
bhol;-kathayiimi daivahatakalJl miilJl viddhi SiikhO!akalJl / -vairii- where a relation of similitude could be seen; it is often described in
gyiid iva vak$i siidhu viditalJl kasmiid idalJl kathyate / -viimenatra the same terms as upamii ('simile'), the implicit term being the subject
va!as tam adhvagajanal; sarvatmanii sfvate / na cchiiyapi par{jpakii- of comparison (upameya). But Mammala broadens the figure to
rakarave miirgasthitasyapi me (Mammala; the tree to which the include other relations: that of cause-effect, and general-specific.
courtier likens himself is literally incapable of speech: "'Who might See aprastutaprasalJlSii.
you be?' 'I will tell you: think of me as a twisted and accursed nimitta, 'cause': (1) a type of aprastutaprasalJlsii in which the real subject
Siikho!a tree!' 'You seem to be speaking in a spirit of indifference!' is a cause and is intimated through a description of its effect. (2)
'Well said!' 'Why do you describe yourself thus?' 'On the left over M 152. (3) riijan riijasutii na pii!hayati miilJl devyo'pi tU$r.zilJl sthitiil; /
there is a banyan tree which travellers resort to with great relief. kubje bhojaya miilJl kumiira sacivair nfidyapi kilJl bhujyate / itthalJl niitha
But I have no shade to serve others with, though I too grow along sukas tavaribhavane mukto'dhvagail; pafijariit / citrasthiin avalokya
the road'''). (4ff'Of the Folly of Loving when the Season of Love sunyavalabhiiv ekaikam iibhii$ate (Mammala; describing the fright
is past: Ye old mule! that think yourself so fair, / Leave off with caused by the news that the king has set out against his enemies:
craft and beauty to repair" (Thomas Wyatt). (5) Mammala divides '''0 King, the princesses do not address me! Even the Queens
intimation in two ways: by considering the relation of the two sub- remain silent! Hey, humpback! come play with me! Prince! why
jects, and by the relation of the qualities expressed to their subjects. aren't you with your friends?' Thus does the parrot, who has been
This is an example of the latter topic. For an example of intimation freed by passersby from its cage in your enemy's palace, carryon
in which the qualities are not thus attributed to the expressed subject, as he wanders about the empty halls looking at the portraits").
see aprastutaprasaYflsii. (4) "Help me to seek! for I lost it there; / And if that ye havefound it,
kiirya, 'effect': (I) a type of aprastutaprasalJlsii in which the real subject ye that be here, / And seek to convey it secretly, / Handle it soft, and
is an effect and is intimated through a description of its cause. (2) treat it tenderly, / ... It was mine heart! I pray you heartily / Help
M 152. (3) yiitiil; kin na milanti sundaripunas cintii tvayii matkrte / n{j me to seek" (Sir Thomas Wyatt; the poet is in love, which has
kiiryii nitariilJl krsasi kathayaty evalJl sabii$pe mayi / lajjiimantharatii- resulted in the loss of his heart). (5) Cf kiirya.
raker.za nipatatpitasrur.zii cak$u$ii / dr$!vii miilJl hasitena bhiivimara- viSe~a, 'speciality': (1) a type of aprastutaprasalJliis in which the real
r.z{jtsiihas tayii sucital;/(Amaru, quoted by Mammala; a lover thus subject is particular and is intimated through mention of an ap-
propriate universal. (2) M 152. (3) suhrdvadhiibti$pajalapramd- mere fact of your shining in the sky, you are a veritable treasure of
rjana/"fl karoti vairapratiydtanena yal;z / sa eva piijyal;z sa pumdn sa coolness [of stupidity]"). (4) "Beneath in the Dust, the mou1dy old
nftiman sujivita/"fl tasya sa bhtijana/"fl sriyal;z (Mammata; this is spoken Crust / of Moll Batchelor lately was shaven, / Who was skill'd in
by a minister of the slain Naraka and urges retaliation on Kr~"a: the Arts of Pyes, Custards and Tarts, / And every Device of the
"The Prince who wipes away the tears of his friends by taking re- Oven. / When she'd Iiv'd long enough, she made her last Puff, /
venge on his enemies, he alone is honorable, he is a man and a just A Puff by her Husband much prais'd; / And here she doth lie, and
man, his auspicious life is a vessel of good fortune"). (4) "But at my makes a Dirt Pye, / In Hopes that her Crust may be rais'd" (Anon.;
back I always hear / Time's winged chariot hurrying near" (Andrew an epitaph. The real subject of Moll's death and resurrection is
Marvell; to his coy mistress). (5) Cf sdmdnya. suggested by puns on her culinary abilities). (5) In sle$a, the real
sle~a, 'double-entendre': (I) a type of tulya aprastutaprasa/"flsd in which subject itself is effected through a pun on the explicit subject, not
the real subject is intimated by puns or double meanings. (2) M entirely on its qualifications. Cf also stidrsyamdtra.
I 52C. (3) PU/"flstvtid api pravj{;aled yadi yady adho'pi yaytid yadi sadrsyamatra, 'mere similitude': (I) a type of tulya aprastutaprasa/"flsd
pravayane na mahtin api syat / abhyuddharet tad api viivam itldr- in which the real subject is intimated through the force alone of its
slya/"fl kenfipi dik praka(itfi puru$8.ttamena (Mammata; flattery of a similitude with the explicit subject. (2) M 152C. (3) tiddya vari
king; reference is to the forms of';:Yi~"tt: "Even if he deviates from parital;z sarita/"fl mukhebhyal;z kin tdvad arjitam anena durarvavena /
masculinity [from heroism], even if he descends to earth [suffers k$arfkrta/"fl ca va¢avddahane huta/"fl ca pdtalakuk$ikuhare viniveSita/"fl
reverses], even if he is not of great size [not powerful], nevertheless, ca (Mammata; the picture is that of a wealthy man wasting his
he upholds the earth; in this way has the expanse of this earth been resources: "Taking all the water from the mouths ofrivers hereabouts,
made manifest by the Great Lord [a great lord]"). (4) " ... A dripping making it salty and throwing it on the submarine fires and losing it
Pauper crawls along the way, / The only real willing out-of-doorer, / into the secret maws of hell: what indeed has this Ocean profited?").
And says, or seems to say, / 'Well, I am poor enough-but here's a (4) "It's but little good you'll do a-watering the last year's crop"
pourer!'" (Thomas Hood; the subject intimated is the rainstorm). (George Eliot). (5) By mere similitude is meant that no puns or
(5) Cf samds8kti and sadrsyamatra. Sle$a differs from avayava double meanings operate to suggest the implicit subject. See Sle$a
sle$a in that the real subject is there explicit and the pun ancillary. and samas8kti. The relation is also between particulars, much as
samasokti, 'concise speech': (1) a type of tulya aprastutaprasa/"flSa in which if it were a dmfinta with the subject implicit. Cf viSe$a and sdmanya.
the real subjectis intimated by puns (or double meanings) on the samanya, 'generality': (1) a type of aprastutaprasa/"flSa in which the real
descriptive qua11fications of the explicit subject. (2) M 152C. (3) subject is universal and is intimated through description of an
yendsy abhyuditena candra gamital;z klanti/"fl ravau tatra te / yujyeta appropriate particular. (2) M 152. (3) etat tasya mukhdt kiyat
pratikartum eva na punas tasyalvapadagrahal;z / k$fvenaitad anu${hita/"fl kamalinfpatre kava/"fl vdrivo yan muktamavir ity ama/"flsta sa ja¢al;z
yadi tatal;z ki/"fl lajjase n8 manag / asty eva/"fl ja¢adhtimata tu bhavato srvv anyad asmtid api / aiigulyagralaghukriydpravilayiny iidfyamdne
yad vyomni visphurjase (Mammata; this is spoken to a poor man who sanail;z kutr#¢fya gato mamiity anudina/"fl nidrdti nfintal;z suca (Bhallata,
has demeaned himself by asking alms. The sun and moon (ex- quoted by Mamma!a; the universal here is said to be that the
plicit subjects) are not punned upon, but the descriptive qualifica- property sentiment of fools is apt to be overextended. Punctuation
tions are as piida, 'ray' and 'foot', k$il)a, 'new moon' and 'prop~ would help in this example: a comma after kiyat, a period after
ertyless', etc. Note that the last pun requires substitutability of ja¢al;z, a comma after sanail;z: "How few words [of sense] come from
the phonemes 14/ and /11 in ja¢adhtimatd-jaladhtimata. "By whose his mouth; he thinks a drop of dew fallen on a lotus petal to be a
rising have you become so pale, 0 moon? You should try to out- pearl of high price! And listen to this: slowly lifting the dewdrop
shine [emulate] him and not be eclipsed by his rays [fall at his feet]; until it melts between the tender movements of his fingers, he cries,
and if you have done this through being but a thin crescent [because 'Where has my pearl flown to?' and he cannot sleep for the pain in
of your poverty], you should be ashamed indeed! So be it! By the his soull"). (4) DA / Dayadhvam: I have heard the key / Turn in the
door once and turn once only / We think of the key, each in his the human race" (E. M. Forster; an apparent encomium of genius,
prison / Thinking of the key, each confirms a prison" (T. S. Eliot; but in reality a remark directed against mankind as such). (5) This
the explanation is given by Eliot himself in his notes, quoting type of aprastutaprasa'1"sii is just the opposite of vyajastuti. For
F. H. Bradley: "My external seusations are no less private to myself DaJ;14in, the figure has little to do with samasiikti; he is the only
than are my thoughts or my feelings. In either case my experience writer who treats both figures for whom this is true (see samiisiikti).
falls within my own circle, a circle closed on the outside .. ,").
(5) Cf viSe$a. abhivyakti
aprastutaprasaIpsii (II): (I) an elliptical simile in which the subject of abhivyakti, 'manifestation': (I) intimation. (2) AP 345.7-18. (5) This
comparison is referred to by a sign or token, usually a double- figure may represent a stage in the prehistory of the dhvani theory.
entendre based on comparable qualities common to the two things. It is described by the author of the Agni PuralJa as twofold: sruti and
(2) V 4.3.4. (3) liivaI!yasindhur aparalva hi keyam atra yatriitpalani dhvani, and the former is then described in terms quite similar to the
sasina saha sa'1"plavante / u'7ll1ajjati dviradakumbhata/i ca yatra classical analysis of the kinds of meaning (mukhyii, Iiik$alJiki, and
yatriipare kadalikalJ<JamrlJaladtJiJlJiih (Viimana; the other river is, of gaulJi). The category dhvani (also called ak$epa), which may and
course, a young lady in the river",The lotuses refer to her eyes, the should be the gaulJi of the preceding triad (cf DhvanyiiIoka, chap.
lobes to her breasts, etc. "Who cau'!p.af second River of Beauty be- I), is then subdivided into five common aIa'1"karas: iik$epa, aprast-
where the lotuses are playing with the 'moon and the submerged utastotra, samiisiikti, apahnuti, and paryiiyiikta. In addition, the
elephant shows his great frontal lobes, and where [are seen] other term abhivyakti has become a standard gloss for dhvani in the later
soft stalks like the trunks of banana trees?"). (4) "Lemon tree very writings. Abhinavagupta asserts that the ni$patti of Bharata's
pretty, and the lemon flow'r is sweet; but the fruit of the poor lemon rasasiitra means abhivyakti (quoted in Kavyapradfpa). ACCording to
is impossible to eat" (traditional folksong; the poet refers to his S. K. De, the Agni PuralJa may have been contemporary with the
disappointed love). (5) This fignre resembles the usual samiisiikti author of the kiirikiis of the Dhvanyaloka. The matter is made
inasmuch as the emphasis is placed on recognition of the implicit hypothetical by the terseness of the Agni PuralJa, which offers no
subject through qualifications which can apply to both subject and examples for any of the figures defined.
,object. Viimana is concerned only with those aspects of the several
figures which display features of the simile; he departs from tradition artha
in many such cases. His figure samasiikti is defined as total ellipsis artha, 'sense': (I) a cover term for those figures whose poetic effect was
of the subject;"by which is probably meant reference through thought to depend on the meaning of the expression rather than on
similitude only, not (as here) through punned qualifications. Viimana verbal patterns or devices. (2) B 1.16, V 1.1.1, D 3.186, U 5.12,
would have conformed more closely to tradition by reversing the AP 344.1, R 7.9, M chap. 10. (5) Although the arthiiIaYflkara are
names of the two figures. Cf adhyavasiina atisayiikti, where the on the whole formally defined, the nature of the form differs from
point is the confusion of two things. that of the more obvious sabdfiIaYflkiira. These latter figures repose
aprastutaprasaljlsii (III): (I) a figure in which blaIne of an implicit subject upon non-referential criteria, such as morpheme type (see sle$a)
is to be understood through praise of an explicit object. (2) D 2.340 and metre (see yamaka). The former involve characteristics attribut-
(341-42). (3) sukha'1" jivanti harilJa vane$V aparasevinah / anyair able to the subjects of the utterance or to the relation between the
ayatnasulabhais trlJadarbhiifikuriidibhih (DaJ;14in; this is to be under- snbject and a descriptive phrase, such as comparability (simile),
stood as a complaint addressed to an illiberal benefactor: "The gentle exaggeration (hyperbole), non-literalness, or combinations of these.
deer in the forest think only of serving others and live without The basic distinction is that between grammatical form and inten-
hardship on easily obtainable grasses, darbha shoots, and the like"). tional reference, but the formal aspect of both should not be under-
(4) " ... the Dean expatiated upon what is perhaps the most mysterious estimated (see upama, vyatireka, sIe$a).
characteristic of gerlius, its tendency to appear among members of
artbilntaranyiisa united with those of the other, and the clearness is lost forever.
artbilntaranyiisa, 'introduction of another matter': (I) a figure in which Virtuous and vicious persons can associate for a time, keeping their
a proposition or remark is justified or substantiated by the adjunc- characters distinct. But if the associations be continued, the virtuous,
tion of a relevant moral or rationale; apodixis. (2) B 2.71-74, pnre character will become soiled by the vicions. No one can
D 2.169-79, V 4.3.21, U 2.4, AP 344.24, R 8.79-84, M 165. (3) associate freely with the wicked without becoming in some measure
priyel)a sarrtgrathya vipak$asarrtnidhtiv upiihitarrt vak$asi pivarastane / like them" (Robert Blackwell). (5) Cf yuktiitman and yuktiiyukta.
srajarrt na kacid vijahau jalavilarrt vasanti hi preml)i gUl)a na vastuni yuktiitman, 'essentially correct': (I) a type of arthiintaranyasa in which
(Bharavi, quoted by Vamana: "She clasps to her full bosom the the situation referred to in proposition and substantiation is ap-
water-faded garland once offered by her lover in the presence of her proved by the speaker. (2) D 2.170 (177). (3) ayarrt mama dahaty
rivals, for quality resides in the thought, not the thing"). (4) "Hoist ai/gam ambhojadalasarrtstara/:l / hutiisanapratinidhir dahiitma nanu
up sail while gale doth last, / Tide and wind stay no man's pleasure" yujyate (Dal).<jin: "This expanse of lotus flowers pains my whole
(Robert Southwell). (5) This figure differs from dmiinta in that the being, yet it may be proper that something as brilliant as fire have a
intention of the speaker is to ~~iablish his remark, not to clarify it. soul aflame"). (4) '''No, 1 just couldn't feel the same about her
The particle "for" may be understpod to be connecting the proposi- again.' 'Well, why feel the same? One has to cbange as one gets
tion and its substantiation and p~pyides one basis for subdividing older. Why, then years ago 1 couldn't be interested in anything later
the figure (Bhamaha, Udbhata). RUdr"ta, however, and to some than the Sumerian age and 1 assure you that now 1 find even the
extent Mammata, consider arthiintaranyasa a conjunction of remarks Christian era full of significance'" (Evelyn Waugh). (5) Cf ayukta-
general and specific, while dr$liinta is a relation of two observations, kari, where the situation is judged ill.
both specific and neither amenable to the intention of the speaker. yuktiiyakta, 'correct and incorrect': (I) a type of arthiintaranyasa in
Cf dmiinta and ubhayanyasa. Though fonnded on a similitude, which the situation referred to in proposition and substantiation is
arthiintaranyasa may function through antithesis (vaidharmya: Agni generally or conditionally approved by the speaker but for some
Pural)a, Rudrata, Mammata). That its end is not the description reason is, iu this case, considered irregular. (2) D 2.170 (178).
of that similitude distinguishes this figure from upama. Dal).<jin (3) k$il)otu kamarrt sftiirrtsu/:l kirrt vasanto dunoti mam / maliniicaritarrt
considers eight subtypes, distinguished with reference to the nature karma surabher nanv asampratam (Dal).<jin: "Let the moon consume
and scope ofproofitself: universal (viSvavyapi), particular (viSe$astha), me if it wants to! Why does the springtime make me suffer? Such
apparent (Sle$iividdha), paradoxical, i.e., apparently false (viro- a black deed is surely unsuited to the sweet season"). (4) "Before she
dhavat); and by'considering the relation of the speaker to his thesis: realized it she was absorbed in what had so often been on her mind
disapproval (ayuktakari), approval (yuktiitman), qualified disapproval lately .... His warm playfulness, his affectionate tenderness-what
(yuktiiyukta), and qualified approval (viparyaya). Vamana alone had become of it? ... Oh no, no! she caught herself, how can 1 be
considers the figure indivisible. thinking of such things again! The sweet desires of the flesh are the
ayuktakiiri, 'doing wrong': (I) a type of arthiintaranyasa in which the nets of Satan" (0. E. Rolvaag). (5) Here the inconsistency is in
situation referred to in proposition and substantiation is condemned fact condemned (ayuktatva is siddha). Cf viparyaya, the reverse.
by the speaker. (2) D. 2.170 (176). (3) madhupanakalat kal)lhtin viparita, 'reversed': (I) same as vaidharmya arthiintaranyasa. (2) R
nirgato'py alinarrt dhvani/:l / katur bhavati karl)asya kaminarrt papam 8.82.
idrsam (Dal).<jin: "The sounding of the bees, though it issues from viparyaya (1), 'reversal': (I) a type of arthiintaranyasa in which the situa-
throats thick with honey, is harsh to the ears of lovers. What a tion referred to in proposition and substantiation is generally or
shame this is !"). (4) "The waters of the Mississippi and Missouri conditionally condemnable, but is here for some reason approved.
unite and form one river. The water of the latter is exceedingly (2) D 2.170 (179). (3) kumudany api dahaya kim ayarrt kamaliikara/:l /
turbid, and the former clear. When they first meet the waters refuse na hlndugrhye$ugre$u siiryagrhyo mrdur bhavet (Dal).<jin: "So much
to mingle.... By degrees the clear, bright waters of the one become do the night lotuses afflict me, how much more ought the day lotus
2
to burn! For one of the sun's retinue will not be mild when the This figure differs from viparyaya in that the inconsistency is here
friends of the moon are harsh!"). (4) "Sweet is the rose, but grows accepted, not excused.
upon a brere; / Sweet is the juniper, but sharp his bough: / ... So viseiiastha, 'specific': (I) a type of arthantaranyiisa in which the situation
every sweet with sour is temper'd still, / That maketh it be coveted and substantiation are of specific import, that is, do not apply to
the more: / For easy things, that may be got at will, / Most sorts of all men. (2) D 2.170 (173). (3) payomucab paritiipa'1' haranty eva
men do set but little store" (Edmund Spenser). (5) The term "reversal" sarlrilJiim / nanv iitmaliibho mahatii'1' paradubkhopasiintaye (Dal)<;lin:
is probably to be taken as reversal of yuktayukta, where an otherwise "The great rain clouds relieve the scorching heat of summer for
appropriate situation is deemed in some respect inappropriate. Here the wandering ascetics, for it is the office of the great to alleviate the
the inconsistency is accepted. suffering of others"). (4) "What he said had a hateful truth in it,
vlparyaya (II): (I) a type of arthantaranyiisa in which the substantiation, and another defect of my character is that I enjoy the company
having the form of a general remark, follows the proposition, which of those, however depraved, who cau give me a Roland for my
is particular in reference. (2) n 2.4. (3) siva apasyac catika${iini Oliver" (Somerset Maugham).
tapyamiinii'1' tapii'1'sy umiim /asa'1'bhiivyapatfcchiinii'1' kanyiinii'1' visvavyapin, 'universal': (I) a type of arthantaranyiisa in which the situa-
kii parii gatib (Udbhata; Uma had set her mind on having none but tion and substantiation are of universal import, that is, apply to all
Siva: "[Siva] watched Uma practi'1'il\gausterities of unbelievable men. (2) D 2.170 (172). (3) bhagavantau jagannetre suryiicandra-
austerity; what other recourse have ,!;iriS'who desire a perfect hus- masiiv api / pasya gacchata evasta'1' niyatib kena laiighyate (Dal)<;lin:
band?"). (4) "On the College of Wadham at Oxford being insured "The blessed eyes of the world, the sun and moon, even they must
from Fire, after a Member had been suspected of an unnatural set; who can escape his fate?"). (4) "The glorious lamp of heaven,
Crime: Well did the amorous sons .0fWadham / Their house secure the sun, / The higher he's a-getting, / The sooner will his race be
from future flame; / They knew their crime, the crime of Sodom, / run, / And nearer he's to setting. / .... / Then be not coy, but use
And judg'd their punishment the same" (Anon.). (5) Udbhata your time, / And while ye may, go marry: / For having lost but once
is the first writer to classify apodixis in this way, but he perversely your prime, / You may for ever tarry" (Robert Herrick). (5) The
applies the term viparyaya to that type which the earlier writers figure is contrasted with viSe~astha.
consider perfectly normal: a particular remark justified by a general vaidharmya, 'difference': (I) a type of arthantaranyiisa in which the verbs
remark, as: "Keep in the heart the journal nature keeps; I Mark of the proposition and its substantiation are opposite in sense;
down the limp nasturtium leafwith frost" (Conrad Aiken). Udbhata's substantiation by antithesis. (2) M 165C. (3) hrdayena nirvrtiinii'1'
innovation is, of course, that he allows the general remark to precede, bhavati nrlJii'1' sarvam eva nirvrtaye / indur api tathiihi manab kheda-
as in the example offered under yuktatman. Rudrata and Mammata yatitarii'1' priyiivirahe (Rudrata: "Everything delights those whose
both allow for this same distinction, but do not give it a name. hearts are full of bliss; to lovers in separation even the cool moon
virodhavat, 'contradictory': (I) a type of arthantaranyiisa in which a afllicts the mind unmercifully"). (4) "You may think I was seeing
seeming paradox is justified. (2) D 2.170 (175). (3) jagad iinandayaty lions in the path, but it is never safe to reckon on meeting nothing
e~a malino'pi niSiikarab / anugrhlJiiti hi pariin sado~o'pi dvijiiSvarab more formidable than a sheep" (Oliver Onions). (5) Vaidharmya is
(Dal)<;lin: "The orb of the night, though covered with blemishes, the same as viparlta. The figure is known to the Agni PuriilJa, but
delights the whole world; but then, a Brahmin, even if he have is not named (344.24). Cf vaidharmya dr~lanta and remarks under
faults, confers favors upon others"). (4) "Before you despise Adam arthantaranyasa.
as deficient in penetration, pray ask yonrself ... if you ever could, sle~aviddha, 'invested with double-entendre': (I) a type of arthantaranyiisa
without hard head-breaking demonstration, believe evil of the one in which a pun underlies the attempted substantiation. (2) D 2.170
supremely pretty woman who has bewitched you. No: people (174). (3) utpiidayati lokasya prlti'1' malayamiirutab / nanu diik~i
who love downy peaches are apt not to think of the stone, and lJyasampannabsarvasyabhavatipriyab (Dal)<;lin; diik#nya means both
sometimes jar their teeth terribly against it" (George Eliot). (5) 'southern', as applied to the wind, and 'polite', as applied to the
7
friend: "The wind from the southern mountain arouses joy amongst sweet wind did gently kiss the trees, / And they did make no noise,
men' indeed one born in the South [accomplished in piety] is every- -in such a night / Troilus methinks mounted the Troyan walls, /
bod;'S friend"). (4) "So round his melancholy neck, / A rope he And sigh'd his soul toward the Grecian tents, / Where Cressid lay
did entwine, / ... And there he hung, till he was dead / As any nail that night" (Shakespeare). (5) Rudrata gives two examples, the
in town- / For though distress had cut him up, / It could not cut first expressing nobility (holiness), the second love; the occasion for
him down!" (Thomas Hood). Shakespeare's remark is clearly amorous. In this and several other
siidharmya, 'similitude': (J) a type of arthiintaranyiisa in which the verbs figures, Rudrata delineates what appear to be types of dhvani, or
of both proposition and substantiation are parallel in sense, that suggestion. On the other hand, the figures lesa, sak$ma, paryiiya,
is not antithetical. (2) M 165. (3) (4) See arthiintaranyiisa. (5) and avasara can be related to the earlier figure paryiiyokta, not
This subcategory is arthiintaranyiisa itself-a category invented by present in Rudrata's classification and never before subdivided.
Mammala to balance vaidharmya, q.v. Rudrata, probably a Kasmlri and a contemporary of Anandavar-
dhana, may indeed have been familiar with the dhvani theory and
avayava may have attempted to incorporate it into a standard alalflkiira
avayava, 'member': (J) an arthaSle$a in which the second meaning, treatise. The Agni Puriiva also propounds a curious view of dhvani
suggested through puns on certai~,~spects or qualifications of the (see abhivyakti).
primary subject, augments or ameliorates the force of the description.
(2) R 10.18. (3) bhujayugale balabhadral; sakalajagallafighane tatM avis~a
balijit / akraro hrdaye'sau riijiibhad arjuno yasasi (Rudrata; the puns avise~a, 'lacking qualifications': (J) an arthasle$a in which the double-
are balabhadral;, balijit, and arjunaq which apply to the king as entendre is expressed in and through the noun or subject of the
descriptive adjectives but are also the names of great heroes: utterance, instead of through qualifications thereof. (2) R 10.3. (3)
"In his two arms fortunate of strength [Balabhadra], in overwhehn- saradindusundararucalfl sukumiiriilfl surabhiparimaliim aniSam /
ing the whole world a conqueror of his enemies [Balijit], straight- nidadhiiti niilpapuvyal; kavthe navamaUkiilfl kilntiim (Rudrata;
forward [Akriira] in his heart and glorious [Arjuna] in his fame, was navamaUkii is both 'jasmine' and a girl's name: "No one who does
this King"). (4) "The scene in water colours thus I paint" (Thomas not deserve it puts jasmine around his neck: she who has the beauty
Hood; the rainy day is described in "watery" words). (5) I think of the autumn moon is sweet and always fragrantly perfumed").
the point is not that the pun is between an adjective and a proper (4) "Synthesis, smoking in a corner / Groans, pulls himself together"
name, since several other types involve this same feature (aviSe$a, (Robert Graves). (5) The point here is that the pun is not carried
perhaps tattva), and since the name of the type would itself then be by the adjectival qualifications (the first half Sloka or the phrase
inexplicable. It is to be contrasted with aviSe$a, where the pun is "pulls himself together") as it is in the canonic sle$a (cf. aviruddha-
on the primary subject, not on any qualifications of it. kriyii, viruddhakarman). Indeed, the qualifications apply equally
to either sense, but those senses are expressed by a single word
avasara here (the noun), which, syntactically primordinate, carries the
avasara, 'occasion': (J) a figure in which a sentiment is expressed through double-entendre.
a description of a particular fact strongly suggestive of it. (2)
R 7.103 (104). (3) tad idam aravyalfl tasmin dasarathavacaniinupiila- asaip.gati
navyasani/ nivasan biihusahiiyascakiira rak$al;k$ayalfl riimal; (Rudrata; asaip.gati, 'non-concomitance': (I) same as darakiirya hetu. (2) R 9.48
through an association with Rama, the idea is intimated that this (49), M 191.
is a holy place: "In this forest Rama lived, faithful to the com-
mands of his father, and with his bare hands, he slew all the demons"). asaip.bhava
(4) "The moon shines bright :-in such a night as this, / When the aSaip.hhava, 'impossibility': (I) an arthasle$a in which an apparently
a
, I

inapplicable qualification, when understood as a pun, becomes a enunciation of an interdiction'), the most obvious case relating to
descriptive qualification. (2) R 10.16. (3) parihrtabhujal]1gasaiiga/z an event about to take place which the speaker wishes to prevent or
samanayano na kuru$e Vr$arrz didha/z / nanv anya eva dr${as tvam atra avoid (vak$aymana, bhavi$yat). But the notion of interdiction is also
paramesvaro jagati (Rudrata; here a king is likened to Siva, despite applied to past time, in the sense of contradiction, where the event
the epithets given, which seem to distinguish him from Siva; these is too unlikely or preposterous or wonderful (ukta, vrlta). Bhamaha
epithets are understood as puns which, in fact, describe the king: and those following him, Udbhata and Mammata, leave the matter
"You have avoided the company of snakes [suspicious characters], there, but DaJ;l<)in offers a third variety by applying the interdiction
you have an even number of eyes [do not have three eyes] and do not to present time (vartamana), where the connotation is that of doubt
mount a bull [never decrease prosperity]; still you are another visible or ~uspicion as to which of two alternatives is the more likely or
Lord of Lords [Siva] in this world"). (4) "'Oh, Daddy dear, what is deSIrable. The general notion of objection or denial is thus strongly
a basket?' / Said a youthful and mischievous elf: / 'All baskets, me boy, qualified by the temporal relation of the events and the speaker
are children of joy. / In fact you're a basket yourself'" (Anon.; and presents an interesting study in miniature of the possible kinds
"basket" does not seem to apply10 the boy until it is understood that, of negation. Rudrata views the figure more in these latter terms
in this dialect, "basket" and "bastard" are synonymous). (5) The i.e., as a question of mode rather than a mere matter of time, and
name "impossibility" refers to the fast that the distinctive qualifica- he distinguishes two varieties: an impossible event (that is one
tion cannot apply to that subject from which the real subject is which is negated) is either conventionally accepted (prasiddh~: as
being distinguished: samanayana/z ('equal-eyed') applies to the king, the "burning" of moonlight to the lover), or is entirely irrational
but not to Siva who has three eyes; nevertheless, the qualification (viruddha: as, measuring the sea with a dish). The original idea of
'uneven-eyed' is so commonly applied to Siva that the resemblance preve~ting an imminent and objectionable event is here completely
of the two qualifications is enough to suggest Siva. This sle$a lost sIght of, and the negation is made a quality of the event itself.
amounts to a vyatireka expressed through puns, but it also fits into DaJ;l<)in goes on to illustrate twenty-one other types of ak$epa, of
the canonic pattern of sle$a, where a qualification generally carries two basIc sorts. One element in a relation is objected to or denied
the double-entendre (ef viruddhakarman). (either cause or effect, or subject or predicate). For example, a
denial of the effect would be: "Baby ronsed its father's ire / By a
ahetu cold and formal lisp. / So he placed it on the fire / And reduced it
ahem, 'absence of cause': (I) same as viSe$okti II. (2) R 9.54 (55). to a crisp. / Mother said, 'Oh, stop a bit! / This is overdoing itl'"
(Harry Graham). The remaining seventeen varieties reflect differing
iik~epa affective suggestions which can accompany contradiction. Most
iik~epa, 'objection': (I) a figure in which is expressed an objection to or illustrate the very first and most obvious sort, that of threatening or
denial of some state of affairs, either real or imagined, either past, prevention; a girl says "don't go" to her lover with anger, despair,
present, or future; contradiction. (2) B 2.66-70, D 2.120-68, U 2.2-3, Irony, bitterness, disgust, etc.
AP 345.14-15, R 8.89-91, M 161. (3) aharrz tvarrz yadi nek$eya In the Agni PuralJa, ak$epa is also the genus, equated with dhvani
k$aJ;am apy utsuka tata/z / iyad evastv ato'nyena kim uktenapriye~a te (see abhivyakti), of five figures: ak$epa, aprastutastotra, samasokti,
(Bhamaha; the girl is threatening to expire if her lover leaves her; apahnuti, and paryayokta.
"If! should not see you, even for a moment, my impassioned soul .... okta, 'spoken': (1) a kind of ak$epa in which the state of affairs denied
Enough of that! Why should I repeat more unpleasantness?"). or questioned has already occurred. (2) B 2.67 (70), D 2.122 (121),
(4) "Streets that follow like a tedious argument / Of insidious U 2.2-3, M 161. (3) anaiiga/z paiieabhi/z pU$pair viSvarrz vyajayate-
intent / To lead you to an overwhelming question ... / Oh, do not $Ubhi/z / ity asarrzbhiivyam atha va vicitra vastusaktaya/z (DaJ;l<)in: "The
ask, 'What is it?' / Let us go and make our visit" (T. S. Eliot). God of Love conquered the whole world with five flower-tipped
(5) Bhamaha and Dai;l<)in defiue this figure as prati$edhOkti ('the arrows. This is quite impossible; amazing is the power of things I").
m
(4) "No, no, for my Virginity, I When I lose that, says Rose, I'll saying things like that. You want to grow up to be a lady, don't
dye: I Behind the Elmes, last Night, cry'd Dick, I Rose, were you you?'" (Harper Lee). (5) Vak$yamana is the same as bhavi$yat
not extremely Sick?" (Matthew Prior). (5) Dal)C}in uses the term ak$epa of Dal).c;lin. Compare ukta and vartamiina ak$epa.
vrtta ('occurred'). Compare vak$yamiina and vartamiina, where the vartamiina, 'being': (1) a type of iik$epa in which the state of affairs
facts are about to occur or are occurring. denied or questioned is now taking place. (2) D 2.124 (123). (3)
prasiddha, 'established', 'well known': (1) a type of iik$epa in which the kuta/; kuvalayafTl karl;e karo$i kalabhii$il;li I kim apiifigam aparyiiptam
question takes the form of an objection to a conventional or well- asmin karmGl;lI manyase (Dal).c;lin; flattery is suggested through a
known fact. (2) R 8.89 (90). (3) janayati safTltiipam asau candraka- fanciful alternative: "Why do you fix a lotus at your ear, my soft- '
liikomaltipi me citram I athavii kim atra citrafTl dahati himani hi voiced one? Do you think your sidelong glance unable to attract
bhumiruha/; (Rudrata; during the separation of lovers, it is couven- me?"). (4) "In a church which is furnish'd with mullion and gable,
tional to speak of the "burning" moon: "It is marvellous that the I With altar and reredos, with gargoyle and groin, I The penitent's
soft-rayed moon causes such a,fever; yet perhaps it is not so odd: dresses are sealskin and sable, / The odour of sauctity's eau-de-
do not the winter snows consume all things that grow on earth!"). Cologne. / But only could Lucifer, flying from Hades, I Gaze down
(4) "'You a Magistrate chief', his wife tauntingly said, I 'You a on this crowd with its panniers and paints. / He would say, as he
Methodist-Teacher! and caught w#h;your Maid! I A delicate Text looked at the lords and the ladies, I 'Oh, where is All Sinners', if
you've chosen to handle I And fin~ holding forth, without Daylight this is All Saints' ?'" (Edmund Yates; blame is suggested through a
or Candle!' I Quoth Gabriel, 'My Dear, as I hope for Salvation, fanciful alternative). (5) Only Dal).c;lin offers this middle term be-
I You make in your Anger a wrong Application; I This evening I tween ukta, 'spoken' and vak$yamiina, 'about to be spoken'. Though
taught how frail our Condition; I And the good Maid and I were but all three types of objection can be reduced to what appears to be
at-Repetition'" (Anon.). (5) Both examples offer a rationale which this mere outward distinction of time, it is interesting to note the
attempts to meet the objection. This rationale is based upon the changes of mode which parallel and are probably functions of that
situation objected to being well known; compare viruddha iik$epa, distinction. An objection referring to past time (ukta) is inevitably
where the question takes the form of exposing an irrational im- ironical and expresses amazement or suspicion; that referring to
possibility. By "well known", Rudrata refers to the character of future time (vak$yamana) tends to be hortatory or interdictive and
certain situations which, though unlikely (the moon burning, a need not be founded upon a hyperbole. Similarly, the iik$epa of
Methodist fornicating), are not entirely unexpected when they do present time (vartamiina), objecting to something that is in the process
occur. Most caricatures depend upon this basic plausibility of of completion but not yet accomplished, has in mind au alternative
the conventionally implausible. Prasiddha resembles ukta ak$epa, end, preferable or indifferent.
but the emphasis is modal, not temporal. Doubtless it was a consideration like this which prompted Rudrata
bhavi~yat, 'about to be': (1) same as vak$yamiina iik$epa. (2) D 2.126 (125). to recast the definition of iik$epa in modal terms: the state objected
vak~yamiina, 'about to be spoken': (1) a type of iik$epa in which the state to is either consistent with convention or impossible to contemplate
of affairs denied or questioned has not yet occurred. (2) B 2.67 (prasiddha, viruddha). Complete parallelism is, however, not to be
(69), D 2.126 (125), U 2.2-3, M 161. (3) satyafTl bravimi na tvafTl looked for.
miifTl dra$lufTl vallabha lapsyase I anyacumbanasafTlkriintaliik$tiraktena viruddba, 'contradicted': (1) a type of ak$epa in which the objection refers
cak$u$ii (DaI).<}in; a threat designed to prevent a state of affairs: to an impossible situation-one not conventionally realizable.
"I'm telling you the truth. You'll not be able to see me, lover, (2) R 8.89 (91). (3) lava gal;layiimi gUl;lan aham alam athavtisa-
with eyes red from the lac of others' lips !"). (4)" 'You like words tpraliipinifTl dhifi miim I ka/; khalu kumbhair ambho miitum alafTl
like damn and hell now, don't you?' I said I reckoned so. 'Well, jalanidher akhilam (Rudrata: "I am enumerating your qualities!
I don't,' said Uncle Jack, 'not unless there's extreme provocation Enough of my thoughtless muttering! Who indeed would try to
connected with 'em ..::. Scout, you'll get in trouble if you go around measure the whole sea with a pot?"). (4) "How is it that this girl
$
could cry at having to tell Sam Bannett she could not think of him, padiivrtti, 'repetition of the word': (1) a figure in which the same word is
and then treat another lover as she treated the Virginian? I cannot repeated each time in a different sense. (2) D 2.116 (118). (3)
tell you, having never (as I said before) been a woman myself" utkalJ{hayati meghdnli'r/ mlilli vrnda'r/ kallipinlim / yilnii'r/ ciJtka/J{ha-
(Owen Wister). (5) Compare prasiddha, where the situation is yaty eva mlinasa'r/ makaradhvajah (DalJqin; the verb is taken first
conventional though in fact just as impossible. Here the impossibility in its literal sense, 'raises the neck', i.e., causes to harken, and then
is carried by the fact itself (counting an infinitude, understanding a in a figurative sense, "causes to be enamored": "The massing clouds
woman). Of course, poetic license must be allowed in determining make the flocks of peacocks harken; the God of Love puts longing
just what facts are admitted. into the minds of youths"). (4) "Old black rooks flapping along the
vrtta, 'occurred': (l) same as ukta lik$epa. (2) D 2.122 (121). sky and old black taxicabs flapping down the street" (Joyce Cary).
(5) Cf ubhaytivrtti, where the same word is repeated in the same
iivrtti sense. Padtivrtti is the logical opposite of arthtivrtti, q. v.
iiv{tti, 'repetition': (1) the repetiti0l} pf a word or an idea in the same or a
closely related phrase. (2) 0"2.116, AP 343.18-20. (5) DalJqin iisi~
distinguishes three types of repetition: the sense but not the word iisi~, 'benediction': (1) a figure expressing a wish for prosperity, good
may be repeated (arthdvrtti), the "io~dbut not the sense (padavrtti), fortune, or reconciliation. (2) B 3.55 (56-57), D 2.357. (3) plitu yah
or both the word and the sense (ubJii:lydvrtti). See s.v. for examples. parama'r/ jyotir aVliiimanasagocaram (DalJqin: "May the supreme
In the Agni Purli/Ja, livrtti is discussed in the same terms as lli{anu- Light, best seen by the detached spirit, protect you"). (4) "Let
prlisaofUdbhata,astowhetherthewords are bound or free (paratan- endless peace your steadfast hearts accord / And blessed plenty wait
tra or svatantra) and as a part of anuprlisa (along with yamaka). upon your board; / And let your bedwithpleasureschasteabound,/
arthiivrtti, 'repetition of the sense': (1) a figure in which the same idea is That fruitful issue may to you afford" (Edmund Spenser). (5) This
repeated through different words; paraphrase. (2) D 2.116 (117). figure, appropriately enough, occurs at the end of Bhamaha's and
(3) vikasanti kadambiini sphu{anti ku{ajadrumlih / unmflanti ca DalJqin's lists. Like several earlier figures (preyas, ilrjasvi, rasavat),
kandalyo dalanti kakubhlini ca (DalJqin; all the verbs mean 'bloom': it was thought too closely allied to the content of its expression (see
"The cadamba tree is coming out, the kutaja is flowering, the kandal! note on artha ala'r/klira) and hence was discarded by later writers.
bush is blooming, the kakubh is breakiug out"). (4) "If a man
wished to abstract himself from the world-to remove himself from ukti
within the reach· of temptation-to place himself beyond the pos- ukti, 'speech': (1) an arthasle$a in which the second meaning is vulgar or
sibility of any inducement to look out of the window-we should risque. (2) R 10.14. (3) kallivatah sa'r/bhrtamalJ4alasya yayli
recommend him by all means go to Lant Street" (Charles Dickens). hasantytilva hrttisu lak$mih / nrlJlim apliiigena krtas ca klimas tasylih
(5) In this type of repetition, the important thing is that the words karasthii nanu nlilikasrih (Rudrata; apparently this is an encomium
themselves be different. Cf ubhaytivrtti. of a proper young lady, but a second sense may be obtained roughly
ubhayiivrtti, 'repetition of both' (sc. the word and sense): (1) a figure in as follows: "The good fortune of those she cozzens is in the pahn of
which the same word is repeated in the same sense. (2) D 2.116 her hand-she who laughingly accepts payment from her well-
(119). (3) jitvli viSva'r/ bhavlin atra viharaty avarodhanaih / viharaty ensconced paramour and who will make love at the flick of an eye-
apsarobhis te ripuvargo diva'r/ gatah (DalJqin: "Overrunning this brow"; "She holds the beauty of the lotus [the fortune of fools] in
world, my Lord sports with the harem; his enemies, gone to heaven, her hand and by her side-long glance [with playful glance] is passion
sport with the Nymphs"). (4) "So loveliness reigned and stillness, [love] inspired [made] in [with] men; she laughing stole the beauty
and together made the shape of loveliness itself, a form from which [money] of the moon [of her client] full orbed [in the midst of his
life had parted" (Virginia Woolf). (5) Cf artha- and padtivrtti, friends]"). (4) "Let us roll all our strength and all / Our sweetness
where one or the other, but not both is repeated. up into one ball, / And tear our pleasures with rough strife / Through
1
T

the iron gates of life" (Andrew Marvell). (5) As in the other kinds utprek~ii
of arthasle$a which Rudrata describes, the second meaning shonld ntprek~ii, 'ascription': (1) a figure in which a property or mode of behavior
further in some relevant way the sense of the first or evident meaning. is attributed to a subject literally incapable of sustaining that property,
Mere punning for the sake of punning (word play) is strictly relegated whereby an implicit simile is suggested whose subject (upameya)
to the realm of sabdasle$a. So here the vulgar undertone does not is the subject receiving the attributed property and whose object
serve the end of lewdness, but rather expands and directs the appar- (upamiina) is the real basis ofthat property. (2) B2.91 (92), D 2.221-34
ently innocent intent of the overtone, which is to say that both (222, 224, 226), V 4.3.9, U 3.3-4, AP 344.24-25, R 8.32-37 (33, 35,
examples suggest that innocence is but a veil. 37), R 9.11-15 (12-13, 15), M 137. (3) ki'llsukavyapaddena tarum
iiruhya sarvatab / dagdhtidagdham aravyiinyiib pasyativa vibhavasub
uttara (Bhamaha; here the red flowers are portrayed as fire, consuming the
uttara (I), 'answer': (I) a figure in which a preceding remark is inferred tree and looking for unburnt parts of the forest: "It is as though
from the reply given to it. (2) R 7.113 (94), M 188. (3) bhava miinam anya- fire had climbed the tree in the guise of ki'llsuka flowers and was
tha me bhrukuti'll vidhatum mauiw'll aham asaha/ saknomi tasya pura- looking all about the forest for trees yet unburnt"). (4) "The yellow
tab sakhi na khalu pariiiimukhfbhavitym (Rudrata; from this we are to fog that rubs its back upon the windowpanes, / The yellow smoke
infer that the girl has been receivingJnstruction in how to simnlate that rubs its muzzle on the windowpanes / Licked its tongue into
anger in the presence of her lover: "Describe anger another way, the corners of the evening, / Lingered upon the pools that stand in
friend. I am unable to produce a brow-bent silence! I cannot remain drains, / Let fall upon its back the soot that falls from chimneys, /
with my face averted before him!"); (4) '''When you call me that, Slipped by the terrace, made a sudden leap, / And seeing that it was
smile!' And he looked at Trampas across the table" (Owen Wister; a soft October night, / Curled once about the house, and fell asleep"
the Virginian has just been called a "son of a..."). (5) See praina. (T. S. Eliot; the fog is portrayed as a cat). (5) The figure utprek$ii
uttara (II): (I) a figure wherein is given a series of fanciful answers to probably comes closer than any other to capturing the sense of the
one or more questions. (2) R 8.72 (73), M 121-22. (3) ki'll marava'll vague term metaphor. Although rupaka is generally translated
diiridryarp ko vyiidhirjfvita'll daridrasya / kab svargab sanmitra'll suka- 'metaphor' (a custom we have followed), its use in the Sanskrit
latra'll suprabhub susutab (Rudrata: "What is death? Poverty. What is anthologies makes clear that a far more precise meaning is to be
sickness? The life of the poor. What is heaven? True friends, a attached to the term than 'metaphor' will allow. We have, when
good wife, a fiW' master, devoted children"). (4) '''You are old, the context required such precision, used the phrase "metaphorical
Father William,'''the young man said, / 'And your hair has become identification" for rupaka, in the sense that two ontologically un-
very white; / And yet you incessantly stand on your head- / Do related things are treated gramatically as one thing or, in other words,
you think, at your age, it is right?' / 'In my youth,' Father William are identified one with another. The relation of identification is of
replied to his son, / 'I feared it might injure the brain; / But, now course directly from one term to another and does not require the
that I'm perfectly sure I have none, / Why, I do it again and again.' interposition ofproperties, although these may implicitly substantiate
/ 'You are old,' said the youth, 'as I mentioned before, / And have the identification. Carl Sandburg's "moon mist mourning veils" or
grown most uncommonly fat; / Yet you turned a back-somersault the standard cliche "face-moon" illustrate the necessary explicitness
in at the door- / Pray, what is the reason of that" / 'In my youth,' of such identifications. The usual technique for constructing rupakas
said the sage, as he shook his gray locks, / 'I kept all my limbs very is the dvandva compound with the object of comparison (upamiina)
supple / By the use of this ointment-one shilling the box- / Allow in the final position (gramatically free). In English we have elaborated
me to sell you a couple?''' (Lewis Carroll). (5) Compare this poetic another mode of expression, probably because our language does
figure with the conundrum prasnottara, a series of answers to ques- not encourage explicit compounding to such an extent: namely the
tions involving a pun.. subjective genitive, as "the orb of her face", where the object of
comparison ("orb") is again the syntactically free term. Utprek$ii
I
I
l
differs from rupaka in that, instead of the subject and object of typical of the iilmrzkiirika writers. Only Udbhata even suggests the
comparison being identified with one another, a property character- possibility of subdiViding utprek$ii, and goes only so far as to
istic of the object is said of the subject in the most general sense (as enumerate two types (bhiiv/ibhiiva). Even more surprising is the
predicate, or verb, or even as an independent noun phrase introduced unanimity which is evident in the defining of the figure. Rudrata,
by "as though"). This case is more devious and more universal, though offering no classification, does give six separate definitions
though both rupaka and utprek$ii do involve the metaphorical of the figure, two of which seem to refer to Udbhata's earlier dich-
(literally 'carrying over') transfer of something onto something else. otomy. These six types will be discussed separately, even though
It might be said that utpreh;ii was a rupaka with suppression of the they involve no terminology and no important deviation from the
object. The standard technique, both in English and in Sanskrit, general definition, because of the typical astuteness which Rudrata
of utprek$ii is simply a noun, representing the subject of comparison, demonstrates in discussing the principles underlying the various
followed by a verb or predicate which literally must be understood aspects of this important figure. His first definition is the same as
with the objects of comparison,)!s: "And one blue parasol cries all that already given, and we will not repeat it here. A mode of action
the way to school" (Thomas Hood). A parasol can't cry, but a appropriate to one thing is attributed to another, in terms of an
parasol with rain dripping off may, be likened to a little girl's face, implicit simile. That simile, so explained, is nothing but a standard
which can. A rupaka represents atgti\Iidentification of two things; comparison (see upamii) involving a subject, an object, and a real
an utprek$ii is only a partial coalescence through the transfer of a property justifying the similitude (such as those attributed to the
characteristic property or function. Other figures are of course very cat in Eliot's verse, for example). Now, according to Rudrata, the
closely related to utprek$ii; perhaps the most significant is samiis8kti, case is not always so straightforward: for instead of the real property
where the subject of comparison is entirely implicit in an expression or mode of behavior simply, (a) a second, or subordinate simile
which in fact represents the object ofcomparison: "A bird in the hand (that is, an entire subordinate comparison) may be ascribed to the
is worth two in the bush", refers to the advisability of choosing original subject (type 2), invoking the same three terms ; (b) a quality
a present advantage (whatever it may be) rather than a future may be attributed to, or implied in another thing, not directly
and more attractive advantage. Utprek,'ii does not subsume com- through an upamiina, but in virtue of the relation of both upameya
pletely the subject of comparison in this way: it remains explicit, and upamiina to the terms of a further simile which is then under-
usually as the subject of the sentence. Mixing these closely related stood as justifying the first attribution; or, (c) the ascription may
figures in any protracted discourse is, of course, quite common, not be based upon a real similitude at all, but may be entirely Con-
especially in the case of utprek$ii and rupaka (sometimes enumerated ventional. These types follow.
as a separate figure, or utprek$/ivayava). Virginia Woolf is partic- utprek~li (II): (I) the ascription of a characteristic to a subject, not in
ularly rich in such complicated metaphors, as: "Suddenly, as if terms of an implicit object of comparison simply, but through the
the movementofhis hand had released it, the load of her cumulated relation of that subject and object to a further subject and object
impressions [rupaka] of him tilted up, and down poured in a ponder- which, as a more general simile,justify the first attribution. (2) R 8.34
ous avalanche all she felt about him [utprek$ii]." Notice how easily (35). (3) iipii~¢uga~¢apiilfviracitamrganiibhipatrarupel)a / saslSafika-
the one figure can be transformed into the other: "Suddeniy, as if yeva patitarrz liifichanam asyii mukhe sutano/l (Rudrata: "the spot
the movement of his hand had released their load, her cumulated has fallen on her face"; the immediate simile suggested is that of
impressions of him tilted up [utprek$ii] and down poured the ponder- the beauty marks on the girl's face (subject) and the spots on the
ous avalanche of all she felt about him [rupaka]." moon (object); but this simile suggests a further simile of the girl's
It is curious that the figure utprek$ii, which in importance is face as such (subject) aud the moon (object), which in fact justifies and
perhaps second only to upamii and rupaka, and which is recorded by explains the first simile and the attribution based upon it: "A beauty
all the writers from Bhamaha onwards, should never have been mark has fallen on to the face of this slender-bodied girl, thinking
made the subject of' an elaborate subdivision or classification so it the moon, for her pale cheeks are decorated with lines of musk
GLOSSARY GLOSSARY 135
from the navel of the deer"). (4) "Desolate and lone / All night long found in both (though in fact it is limited to the object). So with the
on the lake / Where fog trails and mist creeps, / The whistle of a utprek$ii founded on a standard simile (see above), but in this case,
boat / Calls and cries unendingly, / Like some lost child / In tears instead of a simple object, there are two terms, related conventionally
·and trouble / Hunting the harbor's breast / And the harbor's eyes" or accidentally, one of which serves as the technical object of
(Carl Sandburg; here all the parts are made explicit to facilitate comparison to the subject (as the flag), the other of which, though
comprehension: the first utprek$ii [the whistle cries] is followed by not sharing any similarity with the subject, gives the rationale for
the object on which it is based [the child], by which is constituted the figurative usage or transfer (as the sun). The figurative or
the immediate simile; but that simile is extended: first subject [whistle] metaphorical ascription is meaningless when the subject is related
to another [harbor] and first object [child] to another [breast], which to either object in isolation: the dawn may behave like the flag only
further simile [here in the form of a rilpaka] justifies the first). (5) of the sun, the Baronet may wear the garland only of Bully Bottom;
The point here does not concern the utprek$ii itself, but only the yet in both cases the metaphor is understood as a relation between
mode of interpreting the ascriptLon which constitutes the utprek$ii; the dawn and the sun, between the Baronet and Bottom. The form
that is, relating that ascription to the simile or similes which it which this utprek$ii embodies seems to be that of paraf[lparita rilpaka
assumes. In this case, the immediate simile so understood is, in a (see utprek$ii II).
way, not adequate unto itself (conil1~re' the next type) because it Rudrata, having accounted for certain non-standard similes as
represents a subordinate and limited aspect of a more universal foundations for the figure utprek$ii, discusses the figure again in
simile, which situation is suggested by mention of any of its aspects. terms of the thing said to have the property ascribed (the subject);
The form is exactly parallel to the rilpaka called samastavastuvi$aya, specifically, in terms of the relation of that subject (or upameya) to
'referring to the whole thing (as well,as its parts)', and illustrates that aSCribed property. Now, again the point of departure is the
the generality of the formal framework proposed by the Indian standard simile, and here the subject of comparisou, as we said,
aestheticians. may plausibly be thought of as having the property, in the most real
utprek~ii (III): (1) the ascription of a characteristic or mode of behavior and literal sense. The transfer is justified in terms of a real similarity.
to a subject, not through direct comparison with an implicit object, Rudrata's type four illustrates this.
as in simile, but via a conventional attribute of that object to which utprek~ii (IV): (1) a metaphorical ascription of a property or mode of
the subject bears a certain relation. (2) R 8.36 (37). (3) atighana- behavior justified by an inherently plausible similarity between the
kuiikumariigii puri1!) patiikeva drsyate saf[ldhyii / udayatalantaritasya explicit object and the implicit subject. (2) R 9.11 (12). (3) ghanasa-
prathayaty iisannatiif[l bhano!) (Rudrata; the dawn does not herald the mayasaliladhaute nabhasi saraccandrikii visarpantf / atisiindratayeha
approach of the sun merely in virtue of its natural relation of nr~iif[l giitrii~y
anulimpatfveyam (Rudrata; while the moonlight can-
precedence to the sun, but, according to the Indian mythology, not "anoint" anything, the utprek$ii and its implied simile are
because the sun's chariot carries a banner the color of the dawn: plausible becanse of the almost substantial qnality of the tropical
."The dawn is seen like a flag of deep saffron, heralding the approach moonbeams, which do something very near to "flowing" over the
of the morning Sun hidden behind the eastern hills"). (4) "The body: "In a sky cleansed by the streaming rain of the monsoon
Baronet stroked his brow, as if he already felt Bully Bottom's clouds, the autumn moon wanders and, almost like an unguent,
garland" (George Meredith; the Baronet is being compared to anoints the limbs of men"). (4) "The very touch of that canvas was
Bully Bottom, not directly, in virtue of his "being distinguished by enough to make my hand sing. I felt the colonr flowing on to it as
woman", but through the garland which Titania has, in signification, sweet as cream" (Joyce Cary; as in the Sanskrit, we have the "flow-
placed upon Bully's brow). (5) The irregularity which this variety of ing" of color, but the simile is spelled out by adding "cream" as
utprek$ii accounts for is that of the apparent irrelevance of the terms the object of comparison). (5) The point is not that the usage is
to one another. In a standard simile, the subject is related to the not figurative, but that the figuration is plausible in terms of an
object through a property which, with some plausibility, can be inherent pattern of behavior present in both the object and implied
subject. Since the relation is inherent and does not involve the Lastly, a sixth type of utprek~ii is possible, where the ascription is
context, Rudra(a considers it sarrzbhiivita ('hypothetical'). In the not a quality or a mode of behavior at all, but a fanciful rationale
next variety of utprek~ii, the subject does not possess a plausible for a perfectly literal action (see below).
relation to the object. utprek~ii (VI): (I) the metaphorical ascription of a motive or rationale.
lItprek~ii (V): (1) a metaphorical ascription of a property or mode of (2) R 9.14 (15). (3) sarasi samullasadambhasi kiidambaviyogaduya-
behavior justified by au accidental but relevant context. (2) R 9.11 miineva / nalinf jalapraveSarrz cakiira var~{jgame sadyal; (Rudrata:
(13). (3) pallavitarrz candrakarair akhilarrz nf!{jsmakullim{jrvf~U / "Nalinl takes her bath in the laughing river every day at the onset
tiiriipratimiibhir idarrz pu~pitam avanipatel; saudham (Rudra(a; the of the rains, as though she were grieving for the departed geese").
moonbeams make the stucco palace appear as if flowering: "Its (4) "Her great dark eyes with their long eyelashes touch one so
spacious floors set with sapphires, the entire royal palace seemed strangely, as if an imprisoned frisky sprite looked out of them"
covered with buds in the moonlight; its fine stucco walls were forced (George Eliot). (5) This is one of the most frequently met types of
into flower by reflections of stars'). (4) "Arthur Donnithorne was ... utprek~ii, and yet it differs significantly from those so far described.
stared at, from a dingy olive-green piece of tapestry, by Pharoah's The fancifulness of the ascription is here more explicit and obvious
daughter and her maidens, who ought to have been minding the and seems less to coucern the structure of the figure as au ontological
infant Moses" (George Eliot; the P~"70ah's daughter, being present treason. A motive or rationale is, of course, less inherent than a
only in a piece of tapestry, would not ordinarily be characterized as mode of behavior or a quality, both of which imply an ontological
"staring" were it not for the handsome young Arthur, who distracts agent (kartr); the ascription of a motive, on the other hand, neces-
her). (5) This utprek~ii can be seen as one in which the ascription is sarily involves a bystander as well, and an element of indeterminacy
more in view of the grammatical direct object of the assertion than is built into the situation. That this is considered to be utprek~ii
its grammatical subject. (Note that the words subject and object shows that it is .ascription and not the thing ascribed which defines
are not used here as "subject of comparison", etc.) The ascription the figure. But since a motive is necessarily ascribed, it might seem
could be called "transitive": the moonbeams do not behave as that auy explanation of whatever sort would qualify as an utprek~ii.
vivifiers because of some quality which they inherently possess, but Rudrata obviates this objection by specifying that the motive ascribed
only because of their effect on the stones of the palace; similarly, must replace another more obvious, natural, or literal motive. In
the portrait does not "stare" because the artist has woven her that this sense, we say the "fanciful" ascription of a motive: Nalinl really
way, but because, of the presence of an object to be stared at, namely enters the water to bathe, the girl looks at him in a manner which
Arthur. It mighf,appear that it was in fact the grammatical object has nothing to do with sprites or imprisomnent. The second motive
(jewels, Arthur) in these examples which subtended the ascribed thus plays the same role as the second quality or mode of behavior
quality; au interpretation of this sort is lent authority by both ex- in that it brings in another term or situation which functions as
amples being in the passive voice. There are two reasons why this the object of comparison (imprisoned sprite). What appeared at
view cau not be accepted: the passives can always be expressed as first to be an irregular utprek~ii now appears as a double utprek~ii: an
actives with no alteration whatever in the argument, and the Sanskrit ascription of a motive which itself bears a relation of ascription to
authors always speak of the ascribed quality as a kriyti, or simply, another [literal] motive. This variety of utprek~ii fits into the se-
'act.' It is this act which, aside from grammatical expression, quence of the previous two in a perfectly rational way once its form
constitutes the basic element of the utprek~ii, and in terms of the act is understood: just as the ascription of type four took place in
are defined subject (kartr) and object (ktiralJa). It would be perverse reference to the subject alone (first person), and that of type five
to use these well-known terms in a non-standard sense. The subject took place also in reference to the direct object (third person), this
is the only plausible basis for the act, and these two types of ascrip- type demonstrates those ascriptions dependent upon the second
tion differ precisely in the reference of that ascription to the third person, or observer. This again illustrates the characteristic insight
term (the direct object), or in the ascription's irrelevance to it. of the Indian writers into the structure of the figures and their ability
.
to classify exhaustively and rationally the appearances of poetic involves no other issues than the extreme frequency with which this
inspiration. particular metaphorical complex is encountered. The poet is always
One other problem is discussed by DaJ;lc;lin and repeated by some tempted to draw out his ascriptions (utprek~as), especially as they can
commentators: the use of the comparative particle (iva) in some become quite obscure without much effort, and certainly because an
utprek~as has led some thinkers to identify utprek~a and upama. enlarged metaphor is more of a poetic object than an abbreviated
The example discussed by DaJ;lc;lin is limpattva tamab ('the darkness, one. Vamana's definition of utprelqavayava is brief in the extreme
as it were, anoints'). Now, the English seems to distinguish the and quite misleading at first glance: he says simply: "utprek~ahetur
two usages where the Sanskrit does not: we use "as it were", "as if", utprek~avayavab" ('utprek~avayava means the cause of an utprek~a
or "as though" for utprek~a, and "like" or "as" for simile. Davcj.in [is given]'). This is to be understood in the sense that the subordinate
likewise insists upon the substance of the difference, even though metaphors or similes define the broader context in which the main
the word may be the same (2.227-34). A simile relates two similars utprek~a becomes alive.
in terms of a shared quality: th!;Jva attaches to the object of com-
parison. In the utprek~a, the ivdattaches to the verb, which cannot uditta
be considered an object of compari":>ll since it possesses no property. uditta, 'lofty': (I) a figure in which great accumulation of wealth or
>:":" greatness of character (viz. self-denial) is described. (2) B 3.12 (II, 13),
utprek~avayava D 2.300-303, U 4.8, M 176-77. (3) muktab kelivisutrahtiragalitab
utprek~avayava, 'component parts of the ascription': (I) a type of meta- sa'f1marjanfbhir hrtab pratab praiigal;lasfmni mantharaealadMlaii-
phorical ascription (utprek~a) in which further subordinate metaphors ghrilak~arul;ltib / durad darjimabijasaiikitadhiyab kar~anti kelfSuka yad
explicate and expand the principal ascription. (2) B 3.46 (47), vidvadbhavane~ubhojanrpates tat tyagalflayitam (Mammaja: "Bestow-
V 4.3.31, 33. (3) aiigulfbhir iva kdasa'f1eaya'f1 sa'f1nigrhya timira'f1 ing benefits is so much a game to your Majesty that in the homes of
marfcibhib / kurjmalfkrtasarojaloeana'f1 eumbativa rajanfmukha'f1 saH your advisors the pearls, dropped from necklaces broken in the
(Vamana; the principal ascription is: "the moon, as it were, kisses sports of love, are swept up by the charwomen and, scattered about
the face of the night"; this is extended by drawing a parallel between the borders of the yards, are marked by red lac from the feet of
fingers playing with a maiden's tresses and the rays of the moon slowly strolling maidens; pet parrots drag the pearls away thinking
glancing through the darkness (as through tree branches, etc.): them to be pomegranate seeds"). (4) "The business was a gold mine,
"Grasping the darkness with its rays as though it were hair and they as Sigsag had said. The profits on wine and liquor were of course
were fingers, the moon kisses the face of the night, her eyes demurely high; we paid no rent; and the best people in America were our
closed-lotuses on the lake unbloomed !"). (4) "The Moon, like a customers. There was no overhead; refrigerators, light, office ex-
flower, / In heaven's high bower, / With silent delight / Sits and smiles penses, telephone, glasses, ice and waiters were paid for by the hotel;
on the uight" (William Blake; ahnost identical to Vamana's example, and a thick golden stream of profit ran into what von Kyling called
except that the subordinate parallel is between the moon itself and a 'the General Welfare'.... And along with the profits from the
flower). (5) Utprelqavayava is an independent figure in Bhamaha, immense turnover of champagne-a hundred cases sometimes being
and one of the two compound figures (sa'f1Sr~li) allowed by Vamana used in some single party-there were of course liberal tips on how
(see upamarupaka); it may be considered in the same context as to treble that profit on the stock-market" (Ludwig Bemelmans).
utprek~a. It differs from simple utprek~a only in being associated (5) The figure is always described as being two fold: if great wealth
with other and subordinate figures in a "mixed" metaphor. Both the can be appropriated, then it can also be relinquished; the greatness
English and Sanskrit examples show an upama and a rupaka in of character is founded upon previously acquired material greatness.
conjunction with the principal utprek~a. Later writers consider this The common example is Rama leaving his capital for the forest:
figure nothing but one of the many kinds of multiple ala'f1kara "udalta'f1 saktiman ramo guruvakyanurodhakab / vihtiy6panata'f1
(sa'f1Sr,'li), and its early enumeration as a separate figure probably rajya'f1 yathti vanam upagamat" (Bhilmaha: 'Mighty Rama, faithful
e
to the words of his teacher, abandoned his prosperous and devoted definitions of certain cases are vicious or too restricted (cf sle$a).
kingdom and entered the forest'). Compare: "Till at length / Your The two systematic writers, DaJf4in and Rudrata, as well as the
ignorance ... / ... deliver you as most / Abated captives to some compiler Mammata, consider simile the characteristic figure and
nation / That won you without blows! Despising, / For you, the offer elaborate classifications of it. Upama was recognized as a
city, thus I turn my back: There is a world elsewhere" (Shakespeare; category of interpretation as far back as Yaska's Nirukta, and it
Coriolanus speaks). figures in the NighaJ;l!u (3.13), but the term signifies generally
The element of exaggeration is not necessarily present, but of metaphorical usage and comprehends what are later considered
course this amounts to a kind ofhyperbole (see atisayokti).! Udbhata separate figures (rupaka, samiisokti).
is careful to distinguish this figure from rasavad alarrzkiira, for here The broader question of the poetic scope and nature of simile
the evocation of the rasa (for example, vira rasa in the two quota- would of course be the most interesting to raise at this juncture.
tions given above) is subordinated to other considerations: a descrip- The limitations put upon this work forbid it. A sketch, however,
tion of the forest, or the obloquy•.heaped upon Coriolanus' enemies. may be in order, insofar as the later alarrzkiira tradition itself develops
The example from Bhamaha does not support the distinction very along lines which bring into prominence just that discussion. In the
well; Udbhata's example is a description of the wealth of the Hima- dhvani theory and in the work ou vakrokti, the notion is propounded
laya as a backgrouud for Parvati's hitFh. that poetry necessarily involves non-literalness: the poetic passage
The present figure is one of the group of figures which seem to must refer to a greater range of ideas and things than its immediate
depend more on their subject matter than on form. Compare rasavad, words literally convey. In this same context, the importance of
urjasvi, preyas. Except for Mammata, these figures are restricted simile is probably also to be located. The simile is just such a broad-
to the earlier writers. Anandavardhana devotes much significant ening of the expression: a second thing, by nature irrelevaut, is
argument to these figures (especially rasavat) in discussing the brought into the ,context, whereby the first, the relevant, or subject
relation between rasa and alarrzkiira; they do show that in the earlier term is illuminated in a peculiarly characteristic way. The simplest
literature the tendency was to include the notion of "mood" within from of non-literalness is just this doubling of the subject. Of
that of "figure", and not the reverse, as happened later. course, the non-literal is not at all the irrelevant; the ultimate aim
of all poetic diction is coherence, unity, and accuracy and is no
«pama wise different from science in this respect. But the skill of the poet
lipuma, 'comparison':(1) the comparison of one thing with a substantially lies in his ability to create that coherence out of words and phrases
different thing in"ferms of a property, quality, or mode of behavior that are constantly fleeing into the shady mists of connotation,
which they share; simile. (2) NS 16.40-52, B 2.30-33, D 2.14-65 constantly avoiding their original meaning and scope. Likewise,
(51-56) (discuss upamiido$a), V 4.2.1-21, U 1.15-21, AP 344.6-21, the poet who proclaims that his love is like a rose says something far
R 8.4-31, M 125-34. (3) ambhoruham iviitiimrarrz mugdhe karatalarrz more accurate about that young lady as she is than he could hope to
tava (DaJf4in: "Like a pale pink lotus, my sweet! your hand ..."). express in terms of her eyes, hair, or physical shape. He does this
(4) "My Luve's like a red, red rose" (Robert Burns). (5) Upamii, one via an irrelevant discursus which takes us for a moment to the field
of the four original alarrzkiiras, is in all the rhetorics the most im- of botany and associated connotations. This irrelevance is, of
portant figure. This is due in part to the universality of the simile course, irrelevant only in the reahu of the literal and scientific and
in works of art, but another and more cogent reason no doubt constitutes the point of departure for those describing the poetic
concerns the place of simile in the system of the alarrzkiiras. Of the function of comparison. The ultimate relevance of such oblique
approximately one hundred figures enumerated, perhaps fifty are reference is at the heart of the poetic problem. By singling out a
reducible to a basic simile or are describable in terms appropriate to thing which is so obviously different-a rose or the moon-the
the simile. One of the authors, Vamana, even attempts to state all of poet, by a type of Platonic definition, and by placing it against his
the figures involving/meaning (arthiilarrzkiira) as similes, but his subject, immediately cancels out in the reader's mind the entire
range of literally irrelevant and incomparable aspects and connota- defined above; who indeed wonld deprive the scientist of the use of
tions of each term so juxtaposed taken separately, and presents only such convenient explanatory devices as "sodium reacts like potassium
those two things as manifesting some common aspect, the tertium, in many compounds". Perhaps it is for this reason that Bhamaha,
which by the force of this being abstracted and displayed alone, as the earliest writer we know about, avers that no figure can be really
it were, redounds to the descriptive credit of the original subject. poetic unless it also has a touch of exaggeration, or atisayokti
Simile, accomplishes this feat of intellective specification by the use (B 2.81,85), associated with it (repeated by DaI;lqin 2.220). Bhamaha,
of particles such as "like" (iva). Udbhata, and Mammata all emphasize in defining upamii that the
The simile is limited in its expressive power only by the ability things compared must in fact be substantially different-'contrary
of the mind to comprehend the two things as common; the appro- by reason of place, time, or mode of action', as Bhamaha says.
priateness of the simile is primarily a question of the comparing Mammata boldly defines simile as 'similarity in difference' (siidhar-
object being precisely proportioned to the subject in just that aspect myal?' bhede). But the other writers, though they consider only
which is contextually relevant,. although in rare cases the object similes which by any standard would be considered poetic, do not
itself may have to be consideri,'d. appear to have been aware ofthe problem of over-extension, or "end",
All Indian writers agree on analyzing the simile into the four com- as it were. DaI;l<;1in says only that upamii is siidrsyam ('similitude').
ponent aspects we have introduced.;;(a) the upameya, or 'thing to be The problem is perhaps more academic than real, since the non-
compared': the subject of comparison, through which the simile is poetic similes are just those where the expressive potential of
related to the literal or outward sequence of ideas which constitute simile is least well exploited, that is, where so little difference is
the framework of the poem (compare this literal and grammatical understood between the terms that comparison itself is almost otiose.
freedom of the subject in upamii with its uecessary subordination in It might almost be said: "give a simile something to do, and it will
rupaka); (b) the upamiina, or 'agent of comparison': the object be poetic". The comparison of sodium and potassium is not un-
introduced to concentrate attention on the essentials of aspect or poetic because of the subject matter, but just because, for all practical
behavior; (c) the siidhiiravadharma, 'shared property': the quality purposes, the two things are in fact indistinguishable, are like
so singled out; and (d) the dyotaka, or 'clarifying' element: the Tweedledum and Tweedledee (note that the last simile is highly
comparative adverb "like" (iva), or a similar indicator. This termin- poetic).
·ology goes back at least to PaI;lini, who uses it in describing certain Simile is limited on the one side by the indistinguishability or
compounds which express comparisons (3.1.10, 3.4.45, 2.1.55-56, literal replacability of its terms, but it also has the same limit on the
etc.). The same concepts are also used to describe those figures which other side, for beyond simile lies the realm of metaphor (rupaka),
depend upon a basic simile but do not express an explicit comparison, where, despite differences great enough to permit scope to simile,
such as rupaka, utprek$ii, vyatireka, etc. In this work, the words the terms of comparison are identified with each other-said in such
"subject" and "object" are used in the senses given above unless a way that sameness alone is suggested and not similarity-as in
otherwise specified, and some care must be taken not to confuse the phrase "reahu of metaphor." The mode or the modal reality
this usage with the more common philosophical or grammatical ofthe comparison changes, but the terms of its description do not;
subjects or objects. in rupaka, for instance, the object of comparison (upamiina) is
All comparisons necessarily involve an element of non-identity, "projected onto" (meta-phor) or, as we say, identified with the subject
but of course the terms of some comparisons are far more "realistic" of comparison (upameya): not "her face is like the moon" but "her
(sc. similar) than others, as: "Featured like him, like him with friends face is the moon" (the moon of her face delights the evening crowd).
possessed" (Shakespeare). Vamana alone of our authors Seems to The common property is usnally not expressed, since the aim of
have perceived this problem and allows a simile called tattviikhyiina, metaphor is to suppress all difference; the comparative particle of
or 'literal', where the end is not praise or blame, but merely precision. course is necessarily absent (but cf utprek$ii, where it reappears in
Simile here seems to leave the strictly poetic realm, in the sense a new sense).
s .
In this way, the various figures involving a duplication of the adverb "like" in this connection, but Bhiimaha allows two others
context are explained and reduced to similes. We ueed not charac- beside yathevasabda upama, namely samasa, where the simile is
terize them more fully here, since at least half of this work is con- expressed by a compound word instead of the adverb (moon-faced),
cerned with just that problem. However, some accounting of the and vati, ('possessing the suffix -vat'), where the upamana is also
various classifications proposed for simile itself is necessary. in bound form-bound not by the upameya, but rather by an ad-
The general tendency is for the discriminations or subtypes more verbial suffix having the same meaning as iva (moon-like face).
and more to be based on the quadripartite structure we have given. It is in this context that the argument as to the relative antiquity of
The earlier writers, however, while obviously recognizing that Bhamaha and DaJ)<!in finds its moment. The two authors appear
0
structure in defining the basic figure, tended to classify simile in to be engaged in mutual refutation. Bhiimaha not only rejects a
terms of the end or final cause of the comparison. This is especially sequence of similes in exactly the order in which Daw!in gives them
interesting in view of the universal preoccupation with structure, (nindaprasaYflsiicikhyasa), mentioning acikhyasa, which term is
even among the early writers, in classifying ri1paka. This difference peculiar to Dar;><;lin, but in reply, Dar;><;lin appears to belittle the
seems to reflect the character(;f the problem under consideration. classification by grammatical type in his rather offhand enumeration
Since comparison is always a mqtter of degree, it would appear of approximately fifty words and conventions for expressing simile
appropriate to consider the usageo;ptthe various degrees, which is (2.57-65). Elsewhere, Dar;><;lin objects to figures which are peculiar
not a questiou of structure, but of theokinds of things compared to Bhiimaha (upamari1paka, utprek~iivayava, ananvaya, sasaYfldeha) iu
and the reasons for that selection of things; but metaphor, being 2.358-59. Much controversy has been occasioned by this chronology,
identification pure and simple, is never a question of degree (except and we make these comments only insofar as the problem may com-
in the sense that the metaphor cqn pe more or less well specified pliment that of the sequence of analytical models proposed for simile.
in its parts, or complete), and the only relevant question concerns Dar;><;lin accepts Bharata's point of view entirely, but advances the
the scope of the identification, which has little to do with the things classification to an undreamed of degree of snbtlety. His treatment
themselves, but is entirely a matter of the poet's employing or of upama is probably unequaled in the history of alaYflkarasastra
not employing the ideal metaphorical type (see ri1paka). for its length, perspecuity, and philosophical interest. The thirty-
In classifying upama, the non-structural, or contextual, tradition four types illustrate a variety of intuitioual situations which the
may be said to begin with Bharata himself, for he allows similes of upama may facilitate. From the old varieties of 'praise' and 'blame',
praise (prasaYflsa) and blame (nindii), as well as three similes which we progress to 'judiciousness' (acikhyasa), 'confusion' (moha),
differ as to the~;degree of comparability intended by the poet: 'amazement' (adbhuta), 'flattery' (ca{u). All of these are specific
sadrSi, or entirely comparable, that is, where the subject and object ways of representing (or misrepresenting) the basic similitude, the
possess the same property to a great degree; kiYflcitsadrSi, where the singled-out property.
same subject shares comparable qualities with several objects An important distinction introduced by Dar;><;lin and accepted by
and is therefore partially comparable; and kalpita, where, strictly later authors is that between simile of quality and simile of mode of
speaking, no comparability at all is alleged; that is, no property is action. The former is regarded as the typical comparison, and is
described as common to both subject and object, but rather different that which has been described above; in the latter, the notion of
descriptive properties are assigned to both which are, in fact, similar common property is broadened to include modes of action; in
(the similarity is not literal, but analogical). effect, adjectival similes are replaced by verbal similes (he is as swift
The other, or structural, tradition may claim almost the same as a horse; he runs like a horse). Because the subject and object are
antiquity, for Bhllmaha, who specifically objects to the classification related now through a verb, the latter type of simile is called
by praise and blame as irrelevant (2.37), enumerates only three vakyiirtha, or 'referring to the entire phrase' (of noun and verb).
kinds of upama, depending only on the grammatical device by which The simple simile, or simile of property, does not involve the verb.
the similitude is expressed. We have mentioned previously only the Vamana also mentions this distinction.
9
The contextual point of view loses ground after Dat.l<;lin; only the adjectival compound, thus distinguishing the compound which forms
Agni PuriiQa is fully committed to it. Vamana allows the three- a simile from that which forms a ri1paka and which is a karmadhiiraya
fold distinction "stuli [for praimllsii] nindii tattviikhyiina", presumably type of tatpuru$a. The terms of that compound, as we remark else-
more on the authority of Bharata than Dat.l<;lin, but at the same time, where, are inverted. From the simile "moon-face(d)", we get the
he suggests another distinction which soon becomes dominant, and metaphor "face-moon", but this inversion is just a transparent way
which is clearly based on the method of Bhiimaha. This distinction of illustrating the contrast in compound type.
is the first which clearly sets forth the four elements of simile as As viikyopamii, that is, similes expressed through free (not bound)
criteria. A simile in which all four elements are explicit is called nouns and adverbs, Rudrata admits six types, all of which are
pi1rQa, or 'complete'; if one or more of the elements is implicit only, known from other authors but whose selection here again typifies the
the simile is called lupta, or 'deficient'. Bhiimaha's samiisopamii author's preoccupation with system. The first type (unnamed) is a
would be an example of a lupta upamii, since neither the tertium canonical pi1rQa upamii with all fonr elements explicit; the second
nor the particle are expressed. },Jdbha;a, who follows Bhiimaha in shows ellipsis of the common property (siimiinytibhiiva~the same
most matters, here adapts the purQa-lupta distinction to his predeces- as Dat.l<;lin's vastu upamii). This pair illustrates the standard simile
sor's three types and comes up w.ith fourteen varieties of simile. in which the only variable element is the tertium. Next come two
Calling It/pta saYflk$epa, or 'ellipsis1i'Ydbha;a defines four varieties similes which may be called reciprocal or reflexive, in which the
depending on which element or elemlmtsate not expressed (tertium, subject is in effect compared to itself: this may be done either by
particle, both, both plus subject). (See siimyaviicaka, tadviici- not mentioning an object at all (ananvaya: "her face is like her face"),
saYflk$epa.) Mammata takes up this problem again and goes to or, when an object is given, by immediately proposing that object
absurd lengths to illustrate certain possible ellipses (cf. upameyadyo- as subject (ubhaya: "the moon is like her face"). This is Dat.l<;lin's
takalupta). These types usually amount to Bhiimaha's samiisopamii, upameyopamii. Lastly, we may have similes in which either the prop-
but some involve other principles. erty (tertium) or the object are assumed to be hypothetical for the
Udbhata also improves upon Bhiimaha's category vali, where, purposes of the poet (kalpita and utpiidya, or abhi1ta).
it will be remembered, the object of comparison was bound by a Rudrata also mentions a simile which is evidently patterned on
comparative suffix -vat. Admitting this type, Udbhata then finds the standard treatment of ri1paka and which shows very well the
certain other morphological contexts where the object of comparison influence of the structural approach to the definition of these figures:
in some form or'other appears in bound form with verb-, adverb-, he distinguishes samastaviSaya from ekadeiin, assnming the standard
or adjective-forming suffixes. The Sanskrit language, in fact, allows metaphorical whole (cf. ri1paka).
any noun to be made into a verb having the sense of "behaves like X" atisaya, 'pre-eminence': (1) an upamii in which the similitude is expressed
(see iiciira); likewise an adverbial accusative in -am, always distin- by minimizing the difference between the things compared to the
guished from the accusative case, may express the idea of similitude point where they appear as bare facts without qualitative differ-
when suffixed to the object of comparison (see Qamul). Lastly, other entiation. (2) D 2.22. (3) tvayy eva tvanmukhaYfl dmaYfl driyate divi
taddhita suffixes than -vat are comparative in meaning (-kalpa, g.v.). candramiib I iyaty eva bhidii nanyii (DaJ.l<;lin: "Your face is seen on
Rudra;a in a way represents a summation of the structural you, the moon is seen in the sky; so much are they different and
tradition. He allows the same three types as Bhiimaha and Udbhata, no more"). (4) "For the time being he had lost the primitive faculty
calling them viikyopamii (not the same as Dat.l<;lin's viikyarthOpamii) that instinctively classifies the various sensory impressions according
for Bhiimaha's yatMvaiabdopamii, as opposed to samiisopamii, to their relative values. One afternoon he saw a transport truck run
which name Rudrata keeps, and pratyaya, or suffixed similes, by into an automobile. But this bloody accident impressed him no
which term Rudra;a apparently intends all those formed by suffixa- more vividly than the sight, a few minutes later, of a scrap of news-
tion as described by Udbhata. In reference to samiisa upamii, it paper fluttering in the wind" (Carson McCullers). (5) For variations
might be remarked that the compound so formed is a bahuvrihi, or on the theme of minimizing the difference, see catu, tattvakhyiina.
Here the common property is not shared to different degrees, yet the (2) D 2.18. (3) taviinanam iviimbhojam ambhojam iva te mukham
two similars are not "confused" as in salflsaya. In ca!u, the common (DaJ:1Qin: "Your face is like a lotus; the lotus is like your face").
property is shared to different degrees, but that difference is over- (4) "She walks iu beauty, like the night / Of cloudless climes and
looked. See also pratiyamana vyatireka, bhedamatra vyatireka, starry skies; / And all that's best of dark and bright / Meet in her
vyatirekariipaka. aspect and her eyes" (Byron). (5) Anyonya is the same as upamey6-
adbhuta, 'marvellous': (1) an upama in which a real property of the sub- pama of Bhamaha, Vamana, Udbhata, and Mammata; as paraspa-
ject is predicated of the object; a presumed similitude is thus ex- r6pama of the Agni Purava; as ubhay6pama of Rudrata.
pressed. (2) D 2.24, AP 344.16. (3) yam kilf!cid bhavet padmam abhiita, 'not happened': (I) an upama in which the object of comparison
udbhru vibhrantalocanam / tat te mukhasriyalf! dhattam (Dal,lQin: "If is a hypothetical universal and is, strictly speaking, nonexistent.
there were a lotus with arching brows and roaming glance, then it (2) D 2.38. (3) sarvapadmaprabhasaral; samahrta iva kvacit /
would have the beauty of your face"). (4) '''It's lovely, lovely, lovelY', tvadananalf! vibhati (Dal,lQin: "Like the distilled essence of every
she said, with diminishing caden£.S', ending in pensiveness once more. lotus' beauty, your face is lovely"). (4) "I am thinking of him-
'Do you see that little bit just there? No, not where the trees are-that loosely I admit-very much as some political cartoonist might think
bare spot that looks brown and "Yarm in the sun. With a little of a generalized and consolidated figure that turns a deaf ear to the
sage-brush, that spot would look s<in;~thing like a place I know on Bolshevist and his sinister whisperings ..." (Oliver Onions). (5) The
Bear Creek. Only, of course, you don't get the clear air here'" idea is that the object is never exposed to the pettiness of mere
(Owen Wister). (5) Cf. abhiita, asadharaJ}a. experience, yet it can be expressed as an extrapolation on experience.
auauvaya, 'lack of consequence': (I) self-comparison; an upama in which The subject is thus, a fortiori, elevated above the mundane. In
the subject doubles as object. (2)R ~.11 (12). (3) iyam iyam iva adbhuta, there is a transfer of property from subject to object; here
tava ca tanul; ... (Rudrata: "Your body resembles itself alone"). the object is impossible in its own terms. In utpadya, the object
(4) "It was always a source of great preoccupation with the ladies is hypothetical, bnt not generalized.
that no bit of pad should show through the natural hair. Often asaJllbhava, 'impossibility': (1) an upama in which an incongruons
they put up a tentative hand to feel, even in the midst of the most property, in fact belonging to the subject, is predicated of the object
absorbing conversation; and then their faces wore the expression of comparison. (2) V 4.2.20. (3) cakasti vadane tasyal; smitacchtiya
which is seen only on the faces of women whose fingers investigate the vikasinal; / unnidrasyiiravindasya madhye mugdheva candrika (Vamana:
back of their heads" (Vita Sackville-West). (5) This figure is an "A smile appears on her bright face like pure moonlight among
iudependent ala/ttkara for Bhamaha (3.44), Vamana (4.3.14), sleepless lotuses"). (4) "Holt was constantly attentive: the Admiral's
Udbhata (6.4), and Mammata (135). Dal,lQiu (2.358) considers it flag-lieutenant hung over her like a decorated cliff" (Nicholas
equivalent to his asadharava upama. Mollsarrat). (5) Asalf!bhava differs from asalf!bhtivita only in being
aniyama, 'absence of restriction': (1) an upama in which the similitude stated positively, and from adbhuta in being stated as a proposition.
is said to extend to any object exhibiting the common property. asaJllbhiivita, 'impossible': (I) an upama in which the subject ofcomparison
(2) D 2.20, AP 344.12. (3)padmalf! tavat taviinveti mukham anyac ca is, strictly speaking, nonexistent; that is, the common property
tadrsam / asti ced astu tatkari (Dal,lQin: "Your face resembles the proposed is incongruous or unlikely. (2) D 2.39. (3) candrabimbad
lotus, and whatever may be said to be similar to the lotus-why your iva vi~alf! candanad iva pavakal; / paru~a vag ito vaktrat (Dal,lQin:
face resembles that as well"). (4) "When, dearest I but think of thee, / "A harsh word from her mouth would be like poison from the moon's
Methinks all things that lovely be / Are present, and my soul disc or fire from sandal-paste"). (4)" 'There's that Bessy Cranage-
delighted" (Sir John Suckling). (5) Cf. niyama. This figure differs she'll be flauntin' i' new finery three weeks after you're gone, I'll
from acikhyasa in that there the idea is that we are debating the be bound: she'll no more go on in her new ways without you, than
appropriateuess of the object of comparison. a dog 'ull stand on its hind-legs when there's nobody looking'"
anyonya, 'mutual': (1) au upama in which the similitude is made reciprocal. (GeorgecEliot). (5) This is ironical comparison, for two things are
g
compared through a property they do not have in order to express satisfied with that, / Satisfied if a troubled mirror show it, / Before
the opposite property. The other forms of unreal comparison that brief gleam of its life is gone, / An image of its state" (William
(adbhuta, abhitta) are exaggerations only. Butler Yeats). (5) The figure is not defined by Bhiimaha, who con-
asadbaraJ)a, 'particular': (I) an upama in which the absence of proper siders the term otiose. Here the intention of the speaker is neither
objects of comparison is described. (2) D 2.37, AP 344.19. (3) praise nor blame (cf prasaf[lsa, ninda, to which acikhyasa stands
candriiravindayob kak~yam atikramya mukhaf[l tava / iitmanaiviibhavat as third in a triad); the speaker is rather unable to decide between
tulyam (DaJ.l<,lin: "Exceeding the style of the moon or lotus flower, the two.
your face is indeed like itself alone"). (4) '''She [Nature] is', the arthi, 'implied': (I) a type of pitrlJa upama in which the similarity of
secretary coutinued, 'like an assemblage of blondes and brunettes, two things is inferred or indirectly expressed. (2) M 127. (3) dura-
whose tresses-' 'Oh, bother the blondes and brunettes!' 'Well, she lokab sa samare nidaghiimbararatnavat (Mammala: "His aspect is
is like a picture gallery, where the features-' 'No, no; Nature is as painful to look upon as is the summer sun"). (4) "The candles'
like Nature; why introduce simil,s?'" (Voltaire, quoted by E. M. ... flames looked at me like the eyes of tigers just waking from sleep"
Forster). (5) AsadhiiralJa is a vifiation of ananvaya, from which it (Joyce Cary). (5) A subtlety is intended. A comparison, strictly
differs in that the object of compari~on, though ultimately rejected, speaking, is the expression of a relation of similitude between two
is m e n t i o n e d . ) O T things which have a property in common. But properties are
acara, 'conduct': (I) a type of upama in wlllch the object is expressed in a distinguished from modes of action or behavior. A comparison
verbal form. (2) U 1.17,19. (3) sa dubsthiyan krtiirtho'pi nibSe~ai based npon a like action permits only an inference as to the similitude
Svaryasaf[lpada / nikamakamaniye'pinarakiyati kanane (Udbha!a: of the things as possessing properties. In the example, candles are
"He [Siva], all goals fulfilled in his infinite power, nevertheless suffered compared to eyes in virtue of their having a capacity in common-
[behaved himself in the manner of one suffering] in that forest lovely "looked at me":. the flame looked at me just as the eyes of tigers
yet filled with the tortures of hell [behaving like hell; helling]"). might look at me. We may then presume that the eyes resemble
(4) "The hills belly-rumbled with thunder" (McDonald Hastings). the flame as to color, size, or what have you, but this, the literal
(5) This facility of Sanskrit is a function of the denominative con- comparison (cf sabdi) is not made explicit. The same distinction
jugation, whereby any noun or adjective can be transformed into a is involved in the definition of the vakyiirtha upama.
verb having the sense of "resembling, acting like X" (paJ.lini 3.1.10). ntpadya, 'invented': (I) an upama in which the object of the comparison
In the following example, a comparison is first drawn, then the object exists only in the poet's hypothesis and exhibits a striking quality
is cleverly substituted for the grammatical subject in order to produce of the subject. (2) R 8.15 (16). (3) kumudadaladidhitinaf[l tvak
a similar effect: "And there he would lie all day long on the lawn saf[lbhitya cyaveta yadi tiibhyab / idam upamiyeta taya sutanor asyab
brooding presumably over his poetry, till he reminded one of a cat staniivaralJam (Rudra!a: "If skin could be imagined on the reflec-
watching birds, and then he clapped his paws together when he had tions of the lotus petals (in the pond), and if that skin might be
found the word ..." (Virginia Woolf). By other writers, this type of touched-there would be something that might be comparable to
comparison is classified differently: see pratyaya, upameyadyotaka- the gossamer of her breasts"). (4) "The new moon behind her head,
lupta, dharmadyotakalupta. an old helmet upon it, a diadem of accidental dewdrops round her
Compare also colloquial English "to rat", and "to dovetail," etc. brow, would have been adjuncts sufficient to strike the note of
ac!khyasa, 'wanting to explain': (I) an upama in which the propriety Artemis, Athena or Hera" (Thomas Hardy). (5) In adbhuta upama,
or aptness of the comparison is in doubt. (2) B 2.37, D 2.32. (3) a property is hypothetically transferred from subject to object; here
candrelJa tvanmukhaf[l tulyam ity acikhyasu me manab / sa gUlJo the object is hypothesized as a substratum for the property. Compare
viistu do~o va (Da(l<,lin: "Your face is indeed like the moon, but I the following ritpaka, where the basis of the identification is likewise
can't decide whether this is a virtue or a vice"). (4) "Some moralist hypothesized: "Dr. MacBride had fixed upon me his full, mastering
or mythological poet / .Compares the solitary soul to a swan; / I am eye: and it occurred to me that if they had policemen in heaven,
he would be at least a centurion in the force" (Owen Wister). to asadhiira~a upama; for example : "Fair was this meadow, as thought
utprek~lta, 'opined': (I) an upama in which the similitude is expressed me overall; / With floweres sweet embroidered was it all; / As for to
as a relative and subjective opinion about which of several objects speak of gum, or herb, or tree, / Comparison may none y-maked be"
of comparison is most likely or approriate. (2) D 2.23. (3) mayy (Chaucer). A more likely interpretation is that poetry is implicitly
evasya mukhasrfr ify alam indor vikatthanai!; / padme'pi sa yad asty compared to yoga through the qualificatiou "providing relaxation
eva (DaJ.l4in: "Enough of the moon's boasting 'I alone rival the of all the senses". We have followed the latter interpretation in
beauty of her face'; her loveliness is found in the lotus, too"). (4) givingthe English example: the absence ofa proper object is mentioned
"... I give you your choice which was the bluest-the aimlessly only to suggest that Per Hansa's wife has supra-feminine qualities.
fluttering butterflies, the nodding harebells, or her demure and "She could be both minister and father confessor, that woman!"
reprehensible eyes" (Oliver Onions). (5) The name of this simile upameyadyotakalupta, 'ellipsis of the subject and particle of comparison':
may be taken in the sense of "reflected, considered", in which case (I) self-explanatory term. (2) M 133. (3) krpa~6dagradorda~i/a!; sa
the emphasis in the examples sB,?uld be placed on the judicious [raja] sahasrayudhfyati (Mammata: "With a sword held in his
meditation of the speaker vis-a·vis the scope of his simile. Ut- outstretched hand, the King resembles a man having a thousand
prek$ita differs from salflsayopama in that the confusion in the lat- weapons (sahasrayudha)"). (4) "Then Jesse Jones brought a new
ter is between the object and the subject, and from nir~aya in that note into the self-congratulatory deliberations. In a hectoring speech,
the object in that case is distinguish~d from its own subject, not he advised the banks to improve their capital position ..." (Arthur
putatively, as here, from several other objects. Schlesinger, Jr.). (5) The point here turns upon a rather flimsy
upamiiuadharmadyotakalupta, 'ellipsis of the object, common property, grammatical exegesis. "In a hectoring speech" must be taken to
and the particle of comparison': . (I) self-explanatory term. (2) mean "in a speech in which he behaved himself like Hector", as the
M 134. (3) mrganayana harate muner mana!; (Mammata: "Gazelle- Sanskrit is taken to mean "he behaved himself like Sahasrilyudha".
eyes' steals the ascetic's mind away"). (4) "Perhaps he lurks in "Himself" becomes the subject of the comparison as grammatical
yonder woodbine bower / To steal soft kisses from her lips, and object of the verb "behave" and parallel to "Hector". Hence the
catch / Ambrosial odours from her passing sighs" (William White- ellipsis. Many of Mammata's classifications are similarly far-fetched.
head). (5) The compound mrganayana ('gazelle-eyed') and the phrase Cf iicara.
"ambrosial odours" are alone relevant here. Each is a simile in upameyadharmadyotakalupta, 'ellipsis of the subject, the common
miniature when interpreted, for example, "whose eyes are like the property, and the particle of comparison': (I) self-explanatory term.
eyes of a gazelle";';'Only the subject is explicit: "eyes" and "odours" (2) U 1.17. (3) talfl saSicchayavadaniilfl ... gaurflfl prati mano dadhau
are mentioned but once and are taken as the subjects of comparison. (Udbhata: "[Siva] contemplated Gauri, whose face had the beauty
Cf upameyadharmadyotakalupta. of the moon"). (4)" ... he recognized the pail-of-water-over-the-head
upamiinalupta, 'ellipsis of the object': (I) an upama in which the object of experience ..." (Margery Allingham). (5) In the Sanskrit, "[the
comparison is not made explicit. (2) M 129. (3) sakalakara~a beauty of whose] face [is like] the beauty of the moon", only the
paraviSramasrfvifara~alfl na sarasakavyasya / drsyate'tha niSamyate latter beauty is explicit. In the English, the experience which the
va sadrsam alflsalflsamatre~a (Mammata: "There is nothing seen pail of water, etc. suffices to characterize is not named in so many
or heard which even in the smallest part resembles mood poetry- words. Cf upamanadharmadyotakalupta. For the problem of
-nothing at all which provides such joyful relaxation of all the distinguishing such similes from metaphors (rilpaka), see lupta
senses"). (4) "Per Hansa stood there in the darkness of the winter upamii.
night, looking after the disappearing figure .... No, her equal was not ubbaya, 'both': (I) same as anyonya. (2) R 8.9.
to be found!" (0. E. Rolvaag). (5) Mammata's example can be taken ekad.siu, 'having parts, partial': (I) a multiple upama wherein several
in two ways. The obviousness ofthe first borders on pettiness: true po- corresponding parts of the subject and object are compared without
etry is like nothing (ellipsis through non-existence). This would amount that comparisou being extended to the principal terms themselves.
(2) R 8.29 (3 I). (3) kamaladalair adharair iva dasanair iva kesarair certina with a hole in it" (Joyce Cary). (5) Cf sadrsavyatireka.
virlijante / alivalayair alakair iva kamalair vadanair iva nalinyah kiIpcitsadrsi, 'somewhat similar': (I) an upamli in which one subject is
(Rudrata: "The lotuses are splendid-their petals like lips, their compared to several objects by means of several properties. (2)
filaments like teeth, bees like locks of hair swarming about their NS 16.46 (51), AP 344.21. (3) sarrzpurQacandravadana nflotpalada-
face-like blooms"). (4) " ... Mr. Moseley came in and knocked on lek~aQa / mattamlitafigagamana sarrzprlipteyarrz sakhi mama (Bharata:
the counter with a half crown. His face was as red as red ink; and "My friend has been at last secured whose face is like the full moon,
he had a complete new colour scheme, all in browns. Brown suit, whose eyes resemble the petals of the blue lotus, whose walk is
the colour of old ale. Golden brown tie like lager. Brown boots undulant like a rutting elephant"). (4) "Eustacia's dream ... had as
shining like china beer handles. Guinness socks. And a new brown many ramifications as the Cretan labyrinth, as many fluctuations
bowler, the colour of bitter beer, over his left eye" (Joyce Cary). as the Northern Lights, as much colour as a parterre in June, and
(5) See samastavastu upamli, in which the major terms are men- was as crowded with figures as a coronation" (Thomas Hardy).
tioned. '." (5) This figure differs from utprek#ta in that property is there unique,
ekababu, 'singular-plural': (1) an upamli in which the subject is plural from ekadeSin in that the similitudes are there subsidiary in a whole,
and the object singular. (2) NS 16.42 (43). (3) sasafikavat praklisante and from samuccaya in that there we have but one object.
jyotirrz# (Bharata: "The stars shinelil<.e the rabbit-marked moon"). gamana, 'going': (I) probably the same as rasana upamli (2) AP 344.20.
(4) "These parties oftheirs ... were like chain-smoking: each cigarette (5) Since the Agni PuraQa gives no examples, the definition of this
was lighted in the hope that it might be more satisfactory than the unique item is subject to caution. The text reads: "upameyarrz yad
rest" (Vita Sackville-West). (5) By later writers, non-parallelism anyasya tad anyasyopama matli / yady uttarottararrz ytiti taddsau
of number is considered a defect (vacanabheda do~a). Here we have gamanopama" ('if the upameya of one term is deemed the upama of
a curious inconsistency in the general tendency to preserve a classi- another, and the sequence is continued, then this is gamana').
fication at any cost. The terms of most similes are, of course, paral- cato, 'flattering words': (I) an upamli in which the real difference between
lei: "She stood breast-high among the corn, / ... Like the sweet- subject and object-that of possessing the common property to a
heart of the sun" (Thomas Hood). lesser and a greater degree, respectively-though recognized, is
kalpapprabhrti, 'having the form of, etc.': (I) an upamli which contains voluntarily ignored. (2) D 2.35. (3) mrgek~aQdfikarrz te vaktram
such an expression of comparison instead of the comparative particle mrgeQaivdfikitah saSf / tathapi sarna evdsau notkar~i (Dal)Qin: "Your
("as", "like"). (2) U 1.21. (3) caQl/.iilakalpe kandarparrz plu${Vli glance is learned from the gazelle. The moon is marked with the
mayi tirohite / sart!jlitdtulanairlisyli kirrz sli soklin mrtli bhavet (Udbha- gazelle itself: he is thus quite similar, but in no way superior").
ta: "While I was hidden there in the form of an outcaste man, Love (4) "Ask me no more where Jove bestows, / When June is past,
was consumed; and she [Parvati], in whom an immense despair was the fading rose; / For in your beauty's orient deep / These flowers,
born, appeared about to die of sorrow"). (4)" ... drawn with Diireres- as in their causes, sleep" (Thomas Carew). (5) Ca!u differs from
que vigor and dash" (Thomas Hardy). (5) For other examples of atisaya in that there the difference between the subject and object,
similes formed with taddhita suffixes, see s.V. and sadrsa, samlisa. as far as the common property is concerned, is cancelled.
kalpita, 'artificial': (I) an upamli wherein the similitude is stated in terms l}amuI (fictive for the accusative absolute in -am): (1) an upama in which
of comparable properties of the subject and object, but not through the force of the comparison is rendered by means of such a construc-
one property, common to both. (2) NS 16.46 (49), AP 344.21, R 8.13 tion. (2) U 1.20. (3) sa dagdhavigraheQdpi viryamlitrasthitdtmana /
(14). (3) mukham lipurQakapolarrz mrgamadalikhitdrdhapattralekharrz Spr~(ah klimena samanyapraQicintam acintayat (Udbhata: "Touched
te / bhiiti lasatsakalakalarrz sphu(allifichanam indubimbam iva (Rudra- by Love, though Love's body was consumed and his force consisted
ta: "Your face, full-cheeked and bearing the beauty marks of musk, of heroism alone, Siva remained pensive with cares common to all
resembles the full moon's orb with its argent spots"). (4) "I saw men"). (4) "Another head came into view from behind the wings of a
the professor winking:at me so hard that his face was like a con- chair, and its owner glared at us with a Harvard accent" (peter de
l
Vries). (5) The English example illustrates the grammatical point proud and haughty"). (4) "And then the hyena laughed out. Pleased
only grosso modo, of course. The comparison of Harvard glances at such an arrangement! Pleased at having her enemy converted
with Harvard speech is expressed via an adverbial clause which is into a dean with twelve-hundred a year! Medea, when she describes
functionally similar to the Sauskrit "had the cares which all men the customs of her native country ... assures her astonished auditor
have". Mamma!a (130) calls this a type of ayotakalupta. that in her land captives, when taken, are eaten. 'You pardon them?'
tattvlikhyana, 'literal description': (I) an upamii in which the similitude says Medea. 'We do indeed,' says the mild Grecian. 'We eat them!'
is assumed to lend itself to a coufusion, so that one is obliged to says she of Calchis, with terrific energy. Mrs. Proudie was the Medea
identify the subject and object of the comparison. (2) D 2.36. of Barchester; she had no idea of not eating Mr. Slope" (Anthony
(3) na padmarrz mukham evedarrz na bhriigau cak$U~f ime (Da!).qin: Trollope). (5) Cf tulyayogitii alarrzkiira where the same conjunctiou
"That is no lotus, that is a face; those are not bees, they are eyes"). is expressed literally and not through the use of figurative devices
(4) "I have seen roses damask'd, red and white, / But no such roses (simile or metaphor).
see I in her cheeks" (Shakespe~re). (5) This figure differs from dyotakalupta, 'ellipsis of the comparative particle': (I) self-explanatory
ninJaya in that there a state of doubt or suspicion is assumed, here term. (2) M 130. (3) tatab ... kiiminfgalJ¢apiilJ¢unii / ... candrelJa
there is merely a possibility of confu~ion. In hyperbolic exaggeration, miihendrf dig alarrliqtii (Mamma\a; the Sanskrit translates literally as
tattvakhyiina is the next step beyond;c!lft'. Cf tattvapahnava riipaka. "Iover's-cheek-pale moon": "The eastern quarter is adorned by the
tattvlikhyana (II): (I) an upamii in which the aim is merely to represent- moon pale as a lover's cheek"). (4) "Her forehead ivory white"
neither to praise or blame. (2) V 4.2.7. (3) tiirrz rohilJfrrz vijiinfhi (Edmund Spenser). (5) Mamma!a also includes here certain denom-
jyoti~iim atra malJ¢ale / yas tanvi tiirakiinyiisab sakatakiiram iisritab inative constructions: cf iiciira and dharmadyotakalupta. This variety
(Vamana; Rohi!).! or Taurus, the ':re<;l one", is so called from Al- of ellipsis is also known as tadviici, pratyaya, viidi, q.v.
debaran, the main star: "Know that configuration of stars to be dbarma, 'property': (I) an upamii in which the similitude is spelled out by
Rohi!).! which in form resembles a cart"). (4) "To my notion all of mentioning the comparable property or aspect of the two terms.
the early part of Mourning Becomes Electra has the sinewy and (2) D 2.15, AP 344.10. (3) ambhoruham ivatiimrarrz mugdhe karatalarrz
homely narrative strength of-let me reach for a comparison which tava (Da!).qin: "The palm of your hand is like a pale lotus"). (4)
does him neither too little nor too much honor-a novel by Charles "River roughed up with little waves like the flat side of a cheese
Reade" (Alexander Woollcott). (5) For Vamana, this is the middle grater" (Joyce Cary). (5) Cf vastu, where that property is implicit.
term in the triad:stuti ... nlndii. Cf DaJ:lqin, where tattvakhyiina is The notion of property is here taken in an exact sense, and presum-
replaced by iicikhjiiisii-doubt as to the appropriateness of praise or ably excludes those similes based on mode of action or result; cf
blame. viikyartha. Vamana uses the word gUlJa instead of dharma; cf the
taddbita, 'secondary suffix': (I) an upamii utilizing such a suffix to express commonplace distinction gulJa-kriyii. Here is an example of a simile
the comparison. (2) U 1.20, M 127. (3) (4) For examples, see whose common property is a mode of action: "Richard arrested
subtypes vati, kalpapprabhrti. (5) The well-known grammatical his resumption of speech, and he continued slowly to fizz like an
term. Mamma\a distinguishes taddhita upamii from similes formed ill-corked effervescence" (George Meredith).
by samiisa (compounding), q.v. dbarmadyotakalupta, 'ellipsis of the common property and the particle of
tadvacisaJllk~epa:ellipsis of the comparative particle': (I) same as comparison': (I) self-explanatory term. (2) M 131. (3) savitii
dyotakalupta. (2) U 1.18. vidhavati vidhur api savitarati tathii dinanti yiiminyab / yiiminayanti
tulyayoga, 'conjunction of equals': (I) an upamii in which the object is of diniini ca sukhadubkhavasfkrte manasi (Mamma!a; in the Sanskrit,
strikingly exalted station vis-It-vis the subject. (2) D 2.48 (49). all the upamiina are denominative verbs: "The sun resembles the
(3) divo jiigarti rak,siiyal pulomarir bhuvo bhaviin / asuriis tena hanyante moon and the moon, the sun; the hours of the night are as those of
savalepiis tvayii nrpiib (Da!).qin: "Indra keeps watch in heaven and the day and those of the day, the night for one whose mind is afllicted
you, 0 Lord, on earth; demons are slain by him and by you, the by the round of pleasure and pain"). (4) "No profane hand shall
l
dare, for me ... to Bowdlerize my Shakespeare ... " (Anon., quoted in niyama, 'restriction': (1) an upamii in which the similitude is said to be
Burton Stevenson; here one is enjoined from turning the author's limited to the object in question. (2) D 2.19, AP 344.12. (3) tvan-
edition into one like Dr. Bowdler's in the matter of expurgation-the mukhalJ1 kamalenaiva tulyalJ1 ntinyena kena cit (DaJ.l4in: "Your face
common property). (5) The figure is also known as siimyatadviicivi- may be compared to the lotus and to the lotus alone"). (4) "He
cyava. Cf. iiciira. Udbhaia's example is tridasddhiSaSiirdUia/:t ('Indra- looked over his paper with that plump, gratified satisfaction at a
tiger'), an epithet of Siva; compare a term like "moonstone". chance to shine which in the dog world is the peculiarity ofthe hound"
dharmalupta, 'ellipsis of the common property': (1) self-explanatory (Margery Allingham). (5) Cf. aniyama.
term. (2) M 128. (3) riijivam iva te vaktralJ1 netre nflotpale iva nir~aya, 'deduction': (I) an upamii in which the two comparable things
(DaJ.l4in: "Your face is like a lotus; yonr eyes are like lotus petals"). are distinguished from one another through a deduction based upon,
(4) "My delight and thy delight / Walking, like two angels white, but critical of, their excessive similarity. (2) D 2.27. (3) na padma-
/ In the garden of the night" (Robert Bridges). (5) This figure is syendunigriihyasyendulajjiikari dyuti/:t / atas tvanmukham ev€dam
also known as vastu, siimyaviiqakasalJ1k$epa. Cf. dharma upamii. (DaJ.l4in: "That can't be the gleam of a lotus putting the moon to
dharm6pamanalupta, 'ellipsis of thetommon property and the object of shame, since the lotus is liege to the moon; it must be your face").
comparison': (I) self-explanatory term. (2) M 132. (3) !U1J!uviiyamiino (4) "He was as a ghost, all whose power of wandering free through
mari$yasi kaQiakakalitiini ketakii;q~iini / miilalikusumasadrk$alJ1 these upper regions ceases at cockcrow; or rather he was the oppo-
bhramara bhraman na priipsyasi (Mafum.aia: "Buzzing about in the site of a ghost, for till cockcrow he must again be a serf" (Anthony
thorny ketakl groves, 0 bee! you will surely die; yet you will not Trollope; reference is made to the dependence of the Bishop on his
resemble the miilatiflower"). (4) "For her own person, I It beggar'd wife). (5) In tattvtikhyiina, the same distinction is made, but without
all description" (Shakespeare). (5) Mammaia's example requires the semblance of an argument.
snch a tortuous interpretation that this commentator blushes to oiscaya, 'decision': (I) probably the same as nirvaya. (2) AP 344.12.
give it. "You will never attain similarity with the miilali flower" is (5) No example is given, but the commentary on D 2.27 equates
taken to mean: "the miilati flower is like nothing else in the world this term with nirvaya.
insofar as you are concerned". Cf. upamiinalupta and the note thereon. padarthavrtti, 'whose scope is the meaning of a word': (1) an upamii which
ninda (I), 'blame': (I) an upamii whose intention is to depreciate or expresses a relationship between things in terms of a common prop-
belittle and whose object of comparison is therefore pejorative. erty, not between actions in terms of analogy. (2) V 4.2.3. (3)
(2) NS 16.46 (48), V 4.2.7. (3) ... kalatralJ1 / hiiliihalalJ1 vi$am haritanu$u babhrutvagvimukhiisu yiisiilJ1 / kanakakavasadharmii
ivtipaguQam (Viimana; the poison was so deadly it threatened to miinmatho romabheda/:t (Vamana: "On whose golden bodies, now
kill all life: "An evil wife is like the poison Siva swallowed"). (4) divested of their clothes of reddish bark, was seen the lovely thin
"Both of you are good at keeping secrets-like onions on the breath line of hair resembling a string of golden beads"). (4) "Her breast
... " (Joyce Cary). (5) Nindii is the opposite of stuti, 'praise'. Cf. like to a bowl of cream nncrndded ... " (Edmund Spenser). (5) Cf.
iicikhyiisii, tattvtikhyiina. vakytirthavrtti, dharma.
ninda (II): (1) an upamii wherein, by an ironic depreciation of the object, paraspara, 'mutnal': (I) same as anyonya. (2) AP 344.11.
flattery of the subject is intended. (2) B 2.37, D 2.30, AP 344.21. p~a, 'full': (1) an upamii in which the four characteristic elements of
(3) padmalJ1 bahurajas candra/:t k$ayi tiibhyiilJ1 tavtinanam / samiinam the comparison are explicitly stated. (2) V 4.2.5, R 8.5 (6), M 126.
api sotsekam (DaJ.l4in: "The lotus is spotted with pollen, the moon (3) svapne'pi samare$U tViilJ1 vijayasrir na muiicati / prabhiivaprabha-
wanes; your face, though similar, is more proud"). (4) "If When the val!' kiintal!' svddhinapatikii yathii (Mammala: "Even in the sleep
sun at noon displays / His brighter rays, / Thou but appear, / He then between battles, the Goddess of Victory cleaves to you, 0 King,
all pale with shame and fear, / Quencheth his light, / Hides his dark like a faithful wife to her excellently beautiful lover"). (4) "The moon
brow, flys from thy sight, / And grows more dim / Compared to was coming up ... making ... the houses look like fresh cut blocks
thee than stars to hini" (Thomas Carew). (5) See above. of coal, glittering green and blue" (Joyce Cary). (5) The four charac-
1 .
teristic elements of every simile, whether explicit or not, are (a) both resemble your face"). (4) "She stood breast-high among the
the snbject of comparison (upameya: "honses"), (b) the object of corn, I Clasp'd by the golden light of morn, I Like the sweetheart of
comparison (upamana: "blocks of coal"), (c) the common property the sun, I Who many a glowing kiss had won" (Thomas Hood).
(sadhtiravadharma: "glittering ..."), and (d) the comparative particle (5) This figure illustrates the definition of the upamana (object of
(dyotaka: "like"). Cf lupta and the various terms mentioned for comparison) as "that term in which the property resides to a higher
examples of ellipsis. See upama for the problem of translation, degree"; by drawing a comparison with an exalted object, the subject
and the appropriate terms for a discussion of their meaning and necessarily participates in its elevation. Cf ninda, which can also
context. Pilrva is described by Rudrata, but not named. praise the subject through irony. Prasalflsa is the same as stuti.
prativastu, 'counterpart': (1) example; an upama in which the object of babu, 'many': (1) an upama in which a number of different objects are
comparison is introduced as the subject of another situation which mentioned. (2) D 2.40, AP 344.14. (3) candanOdakacandralflsucan-
manifests the relevant common property and in which the comparative drakanttidisftalal; I sparsas tava (DaJ;l<)in: "Your touch is cool as
particle is absent. (2) B 2.3+~5 (36), D 2.46 (47). (3) naiko'pi moonstone, as the fall of moonbeams, as sandal-water"). (4) "As
tvadrso'dyapi jayamane$u rajasiij nanu dvitfyo nasty eva parijtitasya lightning, or a taper's light, I Thine eyes, and not thy noise, waked me"
padapal; (DaJ;l<)in: "There is not ev~n one who resembles you among (John Donne). (5) Bahudiffers from utprek#ta in that here there is no
the victorious kings; but then, the cilr~l tree has no imitator either"). effort to find the right object; from mala 11 in that there the multitude
(4) "Follow a shadow, it still flies yoil; I Seem to fly it, it will pursue: of objects manifests a multitude of properties, here there is but one
I So court a mistress, she denies you; I Let her alone, she will court property.
you. I Say, are not women, truly, then, I Styled but the shadows babveka, 'plural-singular': (1) an upama in which the subject is singular
of us men?" (Ben Jonsou). (5) Prativastu is cousidered by others and the object plural. (2) NS 16.42 (44). (3) syenabarhivabhtisanalfl
to be a separate figure, perhaps because the comparative particle is tulyarthal; [sa kascit] (Bharata: "He is like eagles, peacocks, and
uecessarily abseut. In this it differs from vakyartha upama. hawks"). (4) "Behold a critic, pitched like the castrati" (Theodore
prati~edba, 'prohibition': (1) an upama in which certaiu flaws of the object Roethke). (5) See the note on ekabahu. An example of comparing
are said to vitiate the comparison. (2) D 2.34. (3) najtitu saktir indos plural with plural is: " ... elegant shoppers wrapped like dainty
te mukhena pratigarjitum I kalaiikino jatjasya (DaJ;l<)iu: "Indeed bears" (Edgell Rickword). Bharata, not an accomplished classifier,
the moon cannot rival your face; mark its cold and blemished air"). neglects the possibilities offered by the Sanskrit dual.
(4) "Shall I compare thee to a summer's day? I ... Rough winds do milla (I), 'garland': (1) an upama in which a series of comparisons are
shake the darling' buds of May, I And summer's lease hath all too given which not only involve the same similitude, but in which a
short a date" (Shakespeare). (5) This fignre differs from nindti in that qualification of that similitude becomes the subject of the following
here the mood is the indicative rather than the "optative". In simile. (2) D 2.42. (3) pil$VY atapa ivahniva pil$a vyomniva vasaral; I
vyatireka, the virtne of the subject, rather than the vice of the object, vikramas tvayy adhtillak$mfm (Dawpn: "Victory founded its good
is usually alleged as prohibition. fortune on you, just as the heat did in the sun, the sun did in the day,
pratyaya, 'suffix': (1) an upamti in which the force of the comparison is and the day did in the sky"). (4) "He moves among men as most
rendered by a verbal suffix. (2) R 8.23 (24). (5) Pratyaya is considered men move among things" (Bernard Shaw). (5) This type of malti
by Rudrata to be an ellipsis of the comparative particle. Cf dyotaka- differs from the following in that there but one similitude is stated.
lupta. The same as ticara. It differs from rasana in that the architectonic moves from substratum
prasaljlsa, 'praise': (1) un upama whose intention is to appreciate or to manifestation rather than from subject of comparison to object
praise, that is, whose upamana is mejorative. (2) NS 16.46 (47), of comparison. Cf asalflbhtivita.
B 2.37, D 2.31, AP 344.21. (3) brahmavo'py udbhaval; padmas milla (11): (1) an upama in which one subject is compared to several objects
candral; sambhusirodhrtal; I tau tulyau tvanmukhena (Da]J<)in: "The through one or several properties. (2) AP 344.15, R 8.25 (26), M 134.
lotus is born of Brahman, the moon is fixed on the brow of Siva; (3) sytimiilateva tanvi candrakatevatinirmala sa me I halflsiva kalalapa
it
eaitanyal1' harati nidreva (Rudrala: "Slender as the dark creeper, spot- the crystal water clear as sky, the round, refreshing moon limpid as
less as the new-born, waxing moon, soft-throated as the swan, water, the maiden's coquettish mien like the glancing moon"). (4) "If
she steals my reason as do dreams"). (4) "What follows should be when the sun at noon displays IHis brighter rays, IThou but appear, I
prefaced with some simile-the simile of a powdermine, a thunder- He ... I ... I ... grows more dim I Compared to thee than stars to
bolt, an earthquake-for it blew Philip up in the air and flattened him" (Thomas Carew).
him on the ground and swallowed him up in the depths" (E. M. lupta, 'ellipsis': (I) an upamii in which at least one ofthe four characteris-
Forster). (5) This figure is the same as kil1'citsadrSi, except that tic elements is not explicitly stated. (2) V 4.2.6, M 126. (3) (4) See
here the possibility of one property is allowed, at least by Mammala: the various subtypes grouped under the names of the element drop-
"My heart is like a singing bird I Whose nest is in a water'd shoot; I ped: upameya, upamiina, dyotaka, dharma. (5) All the writers implic-
My heart is like an apple-tree I Whose boughs are bent with thick- itly recognize this type, beginning with Bhiimaha who distingnlshes
set fruit; I My heart is like a rainbow shell I That paddles in a halcyon similes containing a particle of comparison (yathevasabda) from
sea; I My heart is gladder than,~!1 these, I Becanse my love is come those formed by compounding and therefore without such a particle.
to me" (Christina Georgina Rossetti). Bhiimaha (2.38) mentIOns Likewise, Dal)<;lin distingnlshes dharma and vastu upamiis on the
the term miilii, but not in a way th~t would permit precise definition basis of the former mentioning the common property and the latter
of its significance. <::~> . not. The distinction between punJa and lupta upamii has, however,
moba, 'bewilderment': (I) an upamii in wh.iSh thetwo terms ofcomparison become such a commonplace in the later poetics that it is usually
are confused with one another. (2) D 2.25, AP 344.17. (3) sasity imposed by commentators whenever possible upon the earlier writers,
utprek~ya tanvaiigi tvanmukhal1' tvanmukhiisayii I indum apy anu- even though they manifestly had other reasons for arranging their
dhiiviimi (Dal.u;!in: "Now I'm runniqg ~bout after the moon, seeking distinctions in the way they did. Mammala shows the way, being
for your face, for I thought that your face was the moon"). (4) the first writer to' ignore completely considerations of subject matter
'''When I slung my teeth over that,' he remarked, 'I thought I was and intention in defining simile in favor of elements of construction.
chewing a hammock'" (Owen Wister). (5) Moha differs from bhriin- This may be called the triumph of the material principle over the
timat alal1'kiira only in that the comparability of the two confused final.
terms is here necessarily paramount. I have the following simile to add to Mammala's collection, which
yatbC'vasabda, 'the words yathii (as) and iva (like)': (I) an upamii wherein seems to exhibit ellipsis of both the subject and object of comparison:
the force of the comparison is borne by one of these words, the usual "Smell of boot polish like a lion cage" (Joyce Cary). Here someone's
adverbial particles of comparison. (2) B 2.31, U 1.16. (3) k~aJ;lal1' boots are being compared to those of a lion tamer.
kiimajvarotthityai bhuyab sal1'tiipavrddhaye I viyoginiim abhuc eiindr; vati, 'the suffix -vat ('like'): (I) an upama wherein the force of the com-
eandrikii eandanal1' yathii (Udbhala: "The moonlight of the full parison is borne by such a particle suffixed to the object of com-
moon, like sandal paste, rouses the sudden fever of love in parted parison. (2) B 2.33, U 1.20-21; M 127. (3) dvijiitivad adhite 'sau
lovers and so increases their suffering"). (4) "And there was Hetty, guruvac canuMsti nab (Bhiimaha: "Brahmin-like he studies; guru-
like a bright-cheeked apple hanging over the orchard wall" (George like he instructs us"). (4) "Lion-like March cometh in" (W. D.
Eliot). (5) Yathevasabda is to be distinguished from those similes Howells). (5) This is the example par excellence of the use of a
expressed through compounding (samiisa). See also dyotakalupta taddhita suffix in forming similes. In English, the same word may be
upamii. used in or out of compound, but in Sanskrit, the morphemes are
rasaua, 'rope': (I) a concatenation of upamiis in which the subject of different: -vat only in compound, iva never in compound. In the
comparison of the first simile is the same as the object of comparison ordinary uncompounded simile (ef viikyarthavrtti and piidarthavrtti),
of the following. (2) R 8.27 (28), M 134C. (3) nabha iva vimalal1' this type is subdivided into those which express a nominal comparison
salilal1' salilam iviinandakiiri sasibimbam I sasibimbam iva lasaddyuti and those which express a verbal comparison. The examples given
tarUlJ;vadanal1' sarat kurute (Rudrala: "The autumn season makes illustrate the latter subtype, which seems more natural. Compare the
,
phrase" ... drawn with Dureresque vigor and dash" (Thomas Hardy), to the verb is thus coextensive with the phrase and is sometimes
which expresses a purely nomiual similitude (vigor like that ofDurer). thought of as a simile of actiou or mode of behavior. A good test for
This type is recognized by Yaska (3.17), who asserts that it discriminating such a phrasal simile is this: the same verb is either
expresses a perfect or total similitude (siddha), as opposed to a repeated, as: "The daylight struck down with a pallid glare upon the
partial or presumed similitude expressed by iva. tatters of soot draping the flue as sea-weed drapes a rocky fissure"
vastu, 'the real thing': (1) same as dharmalupta upamti. (2) D 2.16, AP (Thomas Hardy), or must be supplied in the other of the two phrases
344.10. (5) The name implies, according to the commentary, that (as in the example from Eliot) to make sense. "My Luve's like a red,
the emphasis is to be placed on the things compared, rather than on red rose" (Robert Burns) requires no such suppletion.
the common property. See the note on lupta. viidilopa, 'ellipsis of va, etc.': (I) same as dyotakalupta. (2) M 130. (5) va
viikya, 'phrase': (I) an uparnti in which the comparison is expressed in is a term standing here for the ensemble of comparative particles.
the form of a phrase, that is, a relation of independent words. (2) Though its usual meaning is 'or', it can be taken in the sense of iva
R 8.5-16, M 127. (3) svapne'pi sqmare~u tvtif/1 vijayasrir na muficati / according to Bohtlingk and Roth.
prabhavaprabhavaf/1 kantaf/1 svtidhinapatika yatha (Mammata: see vikriyii, 'transformation': (1) an uparna in which the subject ofcomparison
pur1)a for the translation). (4) "Let us go then, you and I / When is expressed as a transformation or modification of the object. (2)
the evening is spread out against tli~.~kY / Like a patient etherized D 2.41, AP 344.15. (3) candrabimbiid iVOtkir1)af/1 padrnagarbhiid
upon a table" (T. S. Eliot). (5) In this sensb,the term is.distinguished tv6ddhrtam / tava tanvaiigi vadanam (Dal).gin: "0 slender-limbed,
from similes formed by compounding and those which are telescoped your face seems carved from the moon's circle or raised from the
into verbs (cf samasa, taddhita, pratyaya). As an instance of the lotus' bud"). (4) "Lowood shook loose its tresses; it became all
baroque complexity which these classifications can attain, take the green '" and it made a strange ground-sunshine out of the wealth
two terms pur1J[l uparna and vakya uparna. For Mammata, vakya is of its wild primrose plants" (Charlotte Bronte; here the object is
the first subtype of pUY1)a; for Rudrata, pur1)a is the first subtype of expressed as a transformation of the subject). (5) In the post-dhvani
vakya. Although both authors define the term vakya in approxim- or encyclopaedic writers on figuration, this variety of simile is raised
ately the same way, the system of classification in which the term to the status of a separate figure, called pari1)ama (transformation).
figures obliges us to modify that meaning slightly and consider its Cf Ruyyaka, Alaf/1karasarvasva (KM edition, p. 51).
two occurences to be of different scope. For Rudrata, a dharmalupta viparita, 'reversed': (I) probably the same as viparyasa. (2) AP 344.11-12.
upama is a type ofvakya on the same level as apur1)a; for Mammata, viparyiisa, 'transposition': (1) an uparnii in which that term which in the
it is simply a noii'pur1)a and mayor may not be a vakya. order of nature is the subject of comparison is cast in the form of
viikyiirtbavrtti, 'whose scope is the phrase': (1) an upama whose two the object, and, similarly, the object term is cast as the subject.
terms extend each to an entire phrase .or sentence. (2) D 2.43 (44- (2) D 2.17. (3) tvadtinanarn iviJnnidrarn aravindam abbat (Dal).gin:
45), V 4.2.3, AP 344_19. (3) tvadananam adhrrak~arn avirdasanadidhiti / "The full-blown lotus was like your sleepless face"). (4) "The flowers
bhramadbhriigam ivalak~yakesaraf/1 bhati paiikajam (Dal).gin: "your did smile, like those upon her face" (William Drummond). (5) By
face of gently roaming glance and lustrous smile gleams like a lotus "order of nature", we refer to the definitions of the subject and
with its darting bees and filaments so fine"). (4) "The readers of object as those terms in which the common property resides to a
the Boston Evening Transcript / Sway in the wind like a field of ripe lesser and to a greater degree, respectively. In this type of simile,
corn" (T. S. Eliot). (5) These similes extend to the entire phrase in each of the two terms is expressed in the formal position naturally
the sense that the similitude involves, and in fact is basically a func- appropriate to the other, thus exaggerating the prominence of the
tion of, the verb. On the other hand, a "simple" simile expresses a in fact inferior subject. In calu, there is merely a cancellation of this
direct relationship between two nouns through a common property difference, not an inversion.
(cf padarthavrlli) and does not involve the sentence itself, that is, virodba, 'opposition': (I) an upamii in which the similitude is so expressed
the grammatical asso6iation of noun plus verb. A simile extending as to imply rivalry on the part of the things compared. (2) D 2.33.
I
C
(3) satapattrall'l saraccandras tvaddnanam iti trayam I parasparaviro- (fantastic, I confess) I It may be Prester John's balloon I Or an old
dhi (Dav.gin: "The hundred-petaled lotus, the autumn moon, your battered lantern hung aloft I To light poor travellers to their distress'"
face-these three are warring"). (4) '''Speak,' she said, 'thou fairest; I (T. S. Eliot). (5) If such a doubt is subjected to reasoning, we have
Beauty thou impairest ... '" (Henry Constable; here Venus addresses nir1)aya; if related to other people's opinion, mata. See also sall'ldeha
Adonis). (5) The idea seems to be that nothing breeds incompatibility alall'lkara and subtypes.
like similitude. In atMaya, the difference between the terms of com- saJ!!k~epa, 'ellipsis': (1) same as lupta. (2) U 1.l7. (5) Only four types are
parison is minimized; here that minimum is dialectically turned into given by Udbhata: ellipsis of the property, of the particle, of both,
its opposite: mutual contradiction. and of both plus the subject. See samyavacaka, tadvaci. Mammata
vyatireka, 'distinction': (1) an upamd of the Agni Pur(1)a whose meaning gives nineteen types of lupta in all.
is unclear. There are no parallels. (2) AP 344.14. (5) The text sadrsapada, "the word 'resembling"': (I) an upama wherein a word such
reads: "yad ucyate'tiriktatvafll vyatirekopama tu sa" ("where pre~ as sadrsa expresses the force of the comparison. (2) U 1.16. (3)
eminence is expressed, that is ca1t2d vyatirekiJpamd"). This figure is prabodhiid dhavalall'l riitrau kiiijalkdllna~a!padam I piir1)endubimbena
probably the same as atMaya upama. samail' asit kumudakananam (Udbhata: "The lotuses were quite
sranti, 'audible': (1) an upama in which. the force of the comparisou is similar to the orb of the full moon-freshly white from blooming
made explicit. (2) M 127. (3) svapn~'lH samare~u tvall'l vijayasrlr na and drawing the night bees to their pollen cups"). (4)" ... and their
muiicati I prabhavaprabhavall'l kantart! sVddhlnapatika yathii (Mam- other North Oxford acquaintances of the same kidney" (Michael
mata; see piir1)a for the translation). (4) "However, I kept myself Innes). (5) Udbhata probably intends by this term that large and
safe yet, though I began, like my Lord Rochester's mistress, that vague category of words capable of expressing the idea of resem-
loved his company, but would notadJllit him farther, t6 have the blance. He thinks of the two most common (yatha, iva) as different,
scandal of a whore, without the joy" (Daniel Defoe). (5) A subtlety probably in the sense that they set up the norm to which the others
is intended: cf. arthf and vakya upama. approximate.
sle~a, 'double-entendre': (1) an upama in which the common property sadrsi, 'similar': (1) an upama in which two things are represented as
is replaced by a pun. (2) D 2.28. (3) sisirdll'lSupratispardhi srlmat fully comparable. (2) NS 16.50, AP 344.21. (3) yat tvayMya krtall'l
surabhigandhi ca I ambhojam iva te vaktram (DaJJQin; "rival"means karma paracittdnurodhina I sadrsall'l na tathaiva syad atimanu~a
"enemy" when applied to the lotus, "similar to" when applied to the karma1)a/:l (Bharata: "What you did today out of compassion for
face, and Sri refers to the goddess when applied to the lotus, to another could be compared only to the deed of a superhuman soul").
"beauty" when applied to the face: "Like the lotus is your face: (4) "T. S. Eliot resembles one of those mighty castles in Bavaria which
moon's rival, abode of Sri, perfumed"). (4) '''Now it's time I was are remarkably visible, famed for their unsightliness, and too
up at the office to get my vay-bill and see the coach loaded; for expensive to tear down" (Karl Shapiro). (5) SadrS! is distinguished
coaches ... is like guns-they requires to be loaded with wery great on the one hand from kill'lcitsadrS!, where one thing is compared
care, afore they go off'" (Charles Dickens; the venerable Mr. to several others through its aspects (partial similitudes), and on
Weller, Sr. speaking). (5) Here we have an example of the ubiquity the other from kalpita, in that the similitude is here actually present
of sle~a alall'lkara; DalfQin regularly expresses interrelationships of in both terms, and the common properties apply literally to both
figures hy considering one a subtype of another. suhjects; the similitude is not just an analogy of qualities which they
sa'llsaya, 'doubt': (1) an upama in which douht is expressed as to severally possess.
which of the two things being compared is which. (2) D 2.26, AP samastavi~aya, 'the whole matter': (1) an upama in which two things and
344.18. (3) kill'l padmam antarbhrantdli kill'l te lolek~a1)all'l mukham I their several corresponding parts are systematically compared. (2)
mama dolayate cittam (DalfQin: "My mind doth ponder well: R 8.29 (30). (3) alivalayair alakair iva kusumastabakai/:l stanair iva
is it a lotus bud with captive bees or a sloe-eyed maiden's face?"). vasante I bhiinti lata lalana iva p(1)ibhir iva kisalayai/:l sapadi (Rudrata:
(4) "I observe: 'Our sentimental friend the moon! I Or possibly "The climbing vines resemhle maidens, their clouds of bees like
d't
tresses, their clusters of blossoms like bosoms, their tendrils like uddhatiiniilJl divyai/z prabhiibhir anapiiyamayair upiiyai/z I saurir
clasping arms"). (4) "She summed her life up every day; I Modest bhujair iva caturbhir ada/z sadii yo lak$mfviliisabhuvanair bhuvanalJl
as morn, as mid-day bright, I Gentle as evening, cool as night" babhiira (Mammala: in the Sanskrit, the two terms of comparison,
(Andrew Marvell). (5) See also ekadesin. These two terms are but 'arms' and 'powers', are in the instrumental case: "Like Srikr~t;la,
tardy extensions of a commonplace distinction usually applied to who supports the world with his four arms where Lak~mi finds
rupaka alalJlkiira. delight, [this King supports the world] with the four royal powers,
samana, 'uniform': (1) an upamii in which the common property is wide extending, punishers of the haughty, divinely glorious, and
replaced by a play on words. (2) D 2.29. (3) biilevOdyiinaliiteyalJl eternal"). (4) "There was a great clock ticking, and every time it
siilakiinanasobhinf (DaJ;lqin: "The young girl is like a forest creeper- ticked the tears all fell together with a noise like broken glass tinkling
of beautiful tresses [alaka] and aspect [iinana]" or "beautifying the in a plate" (Joyce Cary). (5) In addition to the commonplace ex-
forest [kiinana] of siil trees [siila]"). (4) "Why is a lady like a hinge? ample mentioned in connection with the Agni Puriiva in the previous
Because she is a thing to adore';JM. E. W. Sherwood, quoted by entry, Mamma!a includes in the present category of simile this
Russell Lynes). (5) A play on wbrds differs from a pun in that the bizarre and unparalleled instance whereby we are given to under-
latter plays upon a legitimate duplicity ofmeaning (double-entendre): stand that the comparative particle (iva, 'like'), when preceded by
a word can in context be taken in~i!her of two senses (cf sle$a its object of comparison in an oblique case, is considered to form a
upamii). But here there are no words' at the base of the play, only compound with it. In the grammatical literature, such compounds
the appearance of words (hence the name 'uniform') which must be are admitted.
differently construed to obtain the two desired senses. Only as the samnccaya, 'accumulation': (I) an upamii in which a second common
construction of the sentence is decid~d are the words themselves property cumulates the effect of the first common property. (2)
determined. This is, as it were, a syntactical pun. The Sanskrit D 2.21, AP 344.13. (3) na kiintyafva mukhalJl tava I hliidanakhyena
example is clearer because the component words of the two senses canveti karmavendum (DaJ;lqin: "Not only in beauty is your face
don't even have a common phonemic basis; they are functions of a likened to the moon, but in its gladdening charm"). (4) "The sun's
different analysis of the long compound word siilakiinana as sa- beams seemed to hit the white road with a directed energy and bounce
alaka-iinana and siila-kiinana. back like a rubber ball" (Somerset Maugham). (5) This figure differs
samasa (1), 'compound': (I) an upamii in which the object of comparison from utprek$ita upamii in that here the properties alone are relevant
occupies the first position in a compound word. (2) B 2.32, AP 344.8- " ... to hit ... and bounce back ..."); no question is intended as to
9, R 8.17-22. (3y[sii] kamalapattrak$f sasaiikavadanii (Bhamaha: the adequacy of the object to represent the comparison. Samuccaya
"Lotus petal-eyed, moon-faced, she ..."). (4) "Dawn broke in Lon- differs from miilii upamii in iterating only the property, but not the
don, clear and sweet, dove grey and honey" (Evelyn Waugh). (5) object. It has no relation whatever to the upamiisamuccaya alalJlkiira
Several subtypes are recognized, depending on what element of the of Rudrala. .
simile completes the compound: the common property (as in Waugh's silmanylibhava, 'ellipsis of the common property': (1) same as dharmalupta
example), the subject of comparison (as in the Sanskrit; compare upamii. (2) R 8.7 (8).
"pot-belly"), and the Agni Puriiva seems to include here compounds samyatadvacisatpk~epa, 'ellipsis of the common property and the com-
of type indusamam ('moon-like'), in which the comparative particle parative particle': (1) same as dharmadyotakalupta. (2) U 1.18.
takes second place. It is important to remark that all such com- silmyavacakasatpk~epa, 'ellipsis of the common property': (I) same as
pounds are adjectival, but that none involve the object of comparison dharmalupta. (2) U 1.17.
in second position (see rupaka). samyopameyatadvacisatpk~epa, 'ellipsis of the common property, the
samasa (II): (1) an upamii in which the object of comparison is in an particle of comparison, and the subject of comparison': (I) same as
oblique case and is compounded with, that is, followed by, the upameyadharmadyotakalupta. (2) U 1.17.
comparative particle/' (2) M 127. (3) atyiiyatair niyamakiiribhir stuti, 'praise': (I) same asprasalJlsii upamii. (2) V 4.2.7.
c
betu, 'cause': (I) au upamii in which the common property is expressed upamiiriipaka (II): (I) same as paraY[lparita riipaka. (2) V 4.3.31-32. (5)
as the cause of the similitude. (2) D 2.50. (3) kiintyii candramasaY[l This is one of the two kinds of multiple figure (saYflSr#i) given by
dhiimnii siiryaY[l dhairyelJa carlJavam / riijann anukaro~i (Dal).<;lin: Vamana (cf. utprek~avayava).
"0 King, you rival the moon with your beauty, the sun with your
upamiisamuccaya
glory, the sea with your steadfastness"). (4) "At the edge of this
box there lies a great wooden doll, which, so far as mutilation is upamiisamuccaya, 'simile-conjunction': (I) same as samiina upamii.
concerned, bears a strong resemblance to the finest Greek sculpture, (2) R 4.32 (34).
and especially in the total loss of its nose" (George Eliot). (5)
upamey6pamii
Specifically intended is that the common property be expressed
grammatically as a cause would be expressed; for example, with upamey6pamii, 'comparison of the compared': (I) same as anyonya
the instrumental or, in the English, with "in." upamii. (2) B 3.36 (37), V 4.3.15, U 5.14, M 136. (5) Another name
for the same concept is ubhaya upamii.
upamiiriipaka
ubhayauyiisa
upamiiriipaka (I), 'simile-metaphor': (I) <l figure consisting of a riipaka
to which is subordinated, in completji:m' of the image, an upamii ubbayanyiisa, 'introducing both': (I) a figure in which the statement
('simile'). (2) B 3.34 (35). (3) samagragaganayiimamiinadalJtfo of two general remarks suggests a parallel between them, which may
rathanginal;z / piido jayati siddhastrimukhl!ndunavadarpalJal;z (Bhama- in turn suggest a specific reference but in which there is no explicit
ha; according to the commentator, D. T. Tatacharya, the figure comparison. (2) R 8.85 (86). (3) sakalajagatsiidhiirm;avibhavii bhuvi
concerns only the final attributive compound: "mukham indur iva siidhavo'dhunii viraliil;z / santi kiyantas taraval;z susviidusugandhi-
mukhl!ndul;z / tasyiibhiitapiirvo darpm;a ivl!ti"-Iiterally, foot-mirror ciiruphaliil;z (Rudrata: "Rare indeed are those genial souls whose
[riipaka] for the moonlike faces [upamii]: "May Visl).u's foot be dominion is spread throughout the world; how many trees are there
victorious, which is the measuring stick of the entire heaven and sweet smelling and bearing tender fruit?"). (4) "When the lute is
a new mirror for the moon-like faces of the celestial maidens"). broken, / Sweet tones are remembered not; / When the lips have
(4) "Thou [West Wind] on whose stream, 'mid the steep sky's com- spoken, / Loved accents are soon forgot" (Shelley). (5) This figure
motion, / Loose clouds like earth's decaying leaves are shed" is peculiar to Rudrata and seems to fill the classificatory gap occa-
(Shelley). (5) The (Iefinition which Bhiimaha gives is clearly different sioned by his definitions of arthantaranyiisa and dr~tanta: here we
from that for the lfgure upamiiriipaka of Vamana (see paraY[lparita have adjunction of remarks general; in dr~tanta, of remarks specific;
riipaka), but his example is inconclusive. Mukhl!ndu ('face-moon') and in arthantaranyiisa, of a remark specific and its appropriate
would by later writers be considered not an upamii, but another universal. The purpose of this figure is both illustrative and com-
riipaka (see samasta riipaka); th~ figure would show then a riipaka parative and may be seen as a continuation of prativastu (prativas-
subordinated to another riipaka, and indeed illustrate a paraY[lparita tiipamii) alaY[lkiira and dr~tanta. Though the references seem to be
riipaka. Our English example appears to illustrate Bhiimaha's general in both examples cited above, a particular (a beneficent king,
intention better than his own example: a completely articulated simile a departed mistress) is obviously intended.
(clouds like leaves) is subjoined to the main metaphor (wind-stream)
iirjasvi
in order to give added force to the identification of property or
aspect which that metaphor suggests. Likewise, this independent iirjasvi, 'violent': (I) the expression of extraordinary self-assurance or
figure should not be confused with the upamii, a subspecies of arrogance. (2) B 3.7, D 2.294 (293), U 4.5. (3) apakartaham asmlti
riipaka, delineated by Dal).<;lin; in this latter case, the metaphorical hrdi te mii sma bhiid bhayam / vimukhe~u na me khatfgal;z prahartuY[l
identification is completed by a mention of the common property jiitu viiiichati (Dal).<;lin: "Let there be no fear in your heart from think-
which justifies it. . ing yourself an evil rogue; my sword never wishes to strike the backs
1
172
of those who flee from me!"). (4) "Nor Mike Fink along the Ohio and style, acting and mood; a blend of vigor and gentleness. (2)
and the Mississippi, half wild horse and half cock-eyed alligator, AP 345.5. (5) This is one of the six sabddrthala'flkara enumerated by
the rest of him snags and snapping tnrtle. '1 can out-run, out-jump, the Agni PuraQa in an unparalleled treatment (cf abhivyakti, the
out-shoot, out-brag, out-drink, and out-fight, rough and tumble, sixth such figure). All six are elements of style rather than forms of
no holds barred, any man on both sides of the river from Pittsburgh speech and belong rather to that subject (guQa). It is difficult to say
to New Orleans and back again to St. Louis. My trigger finger itches precisely what is meant in the text, both due to the lack of examples
and 1 want to go redhot. War, famine and bloodshed puts flesh on and because the Agni PuraQa also gives an entirely unique account
my bones, and hardship's my daily bread'" (Carl Sandburg). of the guQas themselves. It seems safe to say that Dal).gin's and
(5) As the third in the trio preyas, rasavat, urjasvi, this figure may Vamana's list of ten has been differently sorted out, some now being
originally have meant "excess in the portrayal of a rasa", and this called sabddrthala'flkaras, as kant!, some gUQas, as sle$a. The
explanation is in fact adopted by Udbhata, though his example in catalytic factor may indeed be the dhvani theory (see abhivyakt!),
no way differs from the one giv\,p. The other two writers seem to for the term aucitya is of extreme importance in that latter specula-
pair urjasvi with preyas (excess ofanimosity and excess ofcompliance). tion (Dhvanyaloka, chap. 3); there seems to be no specific reference
Mammata treats this trio, not under. ala'flkara, but in 'subordinated to such a concept among Dal).gin's ten gUQas.
suggestion' (guQfbhfltavyangyadhvani.;'g6ff.). He tries to reintegrate
Anandavardhana, who was not interested in figures except as they aupamya
manifested a kind of imperfect dhvani, into' the poetic tradition. aupamya, 'comparative': (I) a generic term for those figures based
Cf rasavat and udatta. ultimately on upama ('simile') or describable in terms of the same
structure (upameya, upamana). (2) R 7.9, 8.1. (5) Rudrata divides
eklivali arthtila'flkara into four subtypes: aupamya, vastava (descriptive),
eklivali, 'a single row': (I) a figure in which a series of statements is so atMaya (hyperbolic), and sle$a (punning). In this, he improves upon
arranged that a notion introduced as a qualification (direct object, Vamana, who wanted all the figures involving meaning to be derived
etc.) in a preceding statement becomes the subject of the following from upama.
qnalification, and so on. (2) R 7.109 (110-11), M 198. (3) salila'fl
vikasikamalam kamalani sugandhimadhusamrddhani I madhu lfndliku- kanti
ldkulam alik~lam:api madhuraraQitam iha (Rudrata: "The stream is kaut!, 'loveliness': (I) agreeable or pleasant utterance in appropriate
abloom with lotuses and the lotuses are replete with sweet-smelling circumstances. (2) AP 345.4. (5) This is one of the six sabddrtha-
nectar; the nectar is attracting bee swarms, and the bees are gently la'flkara of the Agni PuraQa (see aucitya and abhivyakti). Kant!
buzzing"). (4) "I come from the city of Boston, I The home of the may be related to the guQa "kanta" of Dal).gin. See prasast!.
bean and the cod, I Where the Cabots speak only to Lowells, I And
the Lowells speak only to God" (Anon.). (5) Compare karaQamala, karal).amala
where a similar causal sequence is portrayed, and sara, where a karal).amalii, 'garland of causes': (I) a figure wherein an effect (a term so
gradation of excellences constitutes the "necklace". Mala ('garland') introduced) is said to be the cause of a subsequent effect, and so on.
has of course been associated with many figures, notably upama, (2) R 7.84 (85), M 186. (3) vinayena bhavat! gUQavan guQavat!
as a series of (usually) concatenated comparisons. The present loko'nurajyate sakala/z I abhigamyate'nurakta/z sasahiiyo yujyate
figure illustrates a rhetorical form only-that of superad4ed qualifi- lak$mya (Rudrata: "By just actions one attains virtue; the whole
cation. world delights in a virtuous man. When one is loved, he is never
alone; a befriended man enjoys prosperity"). (4) "By the side of a
aucitya murmuring stream an elderly gentleman sat. I On the top of his
aucitya, 'appropriateness':"(J) the appropriate correspondance of subject head was a wig, and a-top of his wig was his hat. I The wind it blew
I
l
174
high and blew strong, as the elderly gentleman sat; / And bore from more than an effort to take account of that hypothetical objection:
his head in a trice, and plnnged in the river his hat. / The gentleman he does not himself define a figure hetu and indeed says, in discussing
then took his cane which lay by his side as he sat; / And he dropped the figure kara/Jllmala, "purv8ktakavyalifigam eva hetul;" ('the figure
in the river his wig, in attempting to get out his hat. / His breast it hetu is indeed nothing but the previously mentioned figure kavya-
grew cold with despair, and full in his eye madness sat; / So he flung lifiga'). Mamma;a's three examples show qnite forcefully that he
in the river his cane to swim with his wig, and his hat. / Cool reflexion at intends the expression of the relation of cause and effect to be other
last came across while this elderly gentleman sat; / So he thought than descriptive-definitely conventional and presumptive; the
he would follow the stream and look for his cane, wig, and hat. / figure thus resembles Ida (I).
His head being thicker than common, o'er-balanced the rest of his
kavyahetu
fat; / And in plumped this son of a woman to follow his wig, cane,
and hat" (George Canning). (5) The figure is nothing but a string of kavyaheto, 'poetic cause': (1) same as smarmJa alatr/kara. (2) U 6.7.
(5) In the text, Udbhaia also calls this kavyalifiga; Mamma;a uses
causes enchainees.
the name kavyalifiga for another figure and calls this one smarmJa.
kavyadr~t~nta
Kavyahetu is a jfiapaka hetu whose purpose is comparison.
kavya~tanta, 'poetic example': (1) s~P'!~as dmanta. (2) U 6.8. (5)
krama
Udbha;a has been reading Bhamaha:, where dr~liinta has its logical
connotation only. krama, 'series': (1) same as yathiisatr/khya. (2) D 2.273, V 4.3.17.
gnmphana
kavyaliiiga
kavyaliiiga, 'poetic cause': (1) a figure in which a metaphorical relation gnmphana, 'stringing'; (1) composition. (2) AP 342.31. (5) Gumphana
of cause and effect is expressed conventionally either as intention is skill at managing the sequence of the narrative; it is paraphrased
or rationale. (2) M 174. (3) pralJayisakhfsalTlaparihiisarasiidhigatair by the term racana. If the SarasvatikaljlhiibharalJa (2.118) can be
lalitasirf~apu~pahananairapi tamyatl yat / vapu$i vadhiiya tatra tava allowed to have preserved the poetic tradition of the Agni PuralJa,
sastram upak$ipatal; patatu sirasy akalJt;!e'yam adalJt;!a iviii~a bhujal; the term may mean only balanced composition and be similar to the
(Mamma;a; the snbject phrase "may my arm fall" describes the con- figure yathiisatr/khya.
ventional effect and riposte to the cause: the attack of the love god:
citra
"My body suffets from the blows of gay siri~a flowers that you
stole from the mocking games of her dearest friends 1 You have citra, 'glitter' (and du~kara, 'difficult', krft;!a, 'play'): (1) names used
certainly shot these weapons in the hope of killing me. May my variously by the different authors to cover four separate phenomena,
defenceless arm fall for once on your head I"). (4) "When he saw but grouped together because of their basis in pure word play. (2)
in their bright eyes the shadow of the registry office, he told them D 3.186, AP 343.22-31, R 5.1-33, M 4, 121. See also (5) and the
that the memory of his one great love would always prevent him terms there defined. (5) After the triumph of the rasa-dhvanitheory,
from forming any permanent tie" (Somerset Mangham; the registry the term citrakavya comes to be used for the third and lowest kind of
office is the cause of the convenient memory). (5) There is little poetry, where mere verbal virtuosity precludes the expression of any
ground for distinguishing this rather obscure figure from the ordinary rasa.
hetu (q. v.). The main structural argnment for the distinction is that (a) In the most obvious sense, "word play" refers to the composi-
the canse is here specified as poetic; for hetu, snch a determination has tion of various puzzles and games, riddles and conundrums, and
always been implicit. Yet the figure has been rejected by several the like. None of the authors, except perhaps the Agni PuralJa,
authors on the ground that it involves no element of vakr8kti, goes as far as calling this sort of thing poetry, but several treat of
metaphorical utterance. Mamma;a's kavyalifiga may represent no it because of its obvious function of entertaining the same audience
t .
for whom the poetry was destined and also because in some manner ('lance'), sala ('spike'), and hala ('plough'). Rudrala apparently
it does demonstrate the virtuosity of the "poet" who wrote it. Dat;l<;lin considers pictorial verses citra par excellence, for they get first place
gives sixteen different types of conundrum in treating of prahelika. in his account. He gives no specific name, however; type (b) above
The Agni PuraJ;la and Rudrata give approximately the same list is also considered citrakavya.
of six games, but the former calls them citra (the eighth sabdalall'- Lastly (d), the principle of repetition may be located not in the
kara of nine), and the latter kri¢a, appending the topic to a discussion verse at all, but in the individnal syllable; that is, the place of the
of citra (types [b] and [c] below), a sabdalall'kara. In both treatments, syllable is not specified, bnt rather its phonemic quality. Dat;l<;lin
prahelika is but one of six games given, the others being cyUla, and the Agni PuraJ;la call this type niyama, and Dat;l<;lin gives examples
gu¢ha (or gupta),prasna, and samasya (variously subdivided to make of verses composed of four or fewer vowels or consonants, inclnding
six). one tour de force the only consonant in which is the phoneme
A more important category of word play, however, is the various "n".
kinds of patterned verses, which probably have their origin in the The last three types depart in certain respects from the classic
figure yamaka ('cadence'). Threitiypes can be distingnished, depend- yamaka, which is a repetition of phonemically identical syllable
ing upon the principle of repetitiol1 involved. (b) Included here are sequences in specifically defined and symmetrically related parts of
verses whicb, through a geometric~llimitation of the sequence of the verse. The first type (b) can be seen as a variation on the mahti-
their syllables, can be read in more'thall one way to give the same yamaka (q.v.), inasmuch as the entire verse is somehow repeated;
meaning. The most transparent example is the palindrome (pratilo- but the repetition is subjected to conditions which in turn limit the
manuloma), which specifies that the sequence of syllables be the occurrence of syllables within the verse, and this is foreign to yamaka.
same when read backwards. But the Indian authors have been The second type (c) involves a repetition only of specifically placed
ingenious in inventing other principles of total repetition, such as syllables and does not refer to symmetrically related parts of the
'hop-scotch' (anulomaviloma), 'zig-zag' (gomutrika), 'criss-cross' verse. Type (d), of course, pnts no restriction at all upon sequence.
(muraja), 'double palindrome' (sarvatobhadra), 'elephant-walk' It may be seen from the preceding that not all authors agree
(gajapada), and 'knight-at-chess' (turagapada). The geometric 'cart- either on the terminology or typology of citrakavya. Dat;l<;lin, the
track' (rathapada) is two palindromes separated by non-geometrical earliest writer to deal with the subject, defines types (a), (b), and
sequences and could be taken as an example of the next type. No (d), calling them prahelika, du~kara, and niyama. The Agni PuraJ;la
specific name has been given to these geometrics. Dat;l<;lin treats seems to refer to all four under the names (a) citra, (b) vikalpa, (c)
them as an extellsion of yamaka, along with (d), following in what bandha, and (d) niyama, and groups the last three together as
he calls du~kara. The Agni PuraJ;la may intend this type by its cate- dU$kara. Rudrata, in turn, considers (a) kri¢a, (b) and (c) citra,
gory vikalpa du~kara, but some examples of it (sarvatobhadra) are but ignores (d). Lastly, Mammala, who uses only the term citra,
included in bandha du~kara (c). Rudrala and Mammata treat both treats indiscriminately of (b) and (c).
this and the next type (c) under the category citra, though Rudrata Citra, as a category of poetry, is extremely important in the history
does not mix the examples indiscriminately, which perhaps implies of Indian poetic speculation. The growing contempt for the poet's
that he was aware of a difference of principle. virtnosity on the part of the critics probably reflects in part the
(c) When the principle of limitation is not applied to the entire increasing dependence of the poets on these devices, a fact that
sequence of syllables, but requires repetition only of certain strategi- Sanskrit literary history has often remarked. From its origins per-
cally placed syllables in terms of which the whole verse can be ar- haps ultimately in religious symbolism, citrakavya has passed from
ranged in imitation of natural objects, we have a type of word play one extreme (Dat;l<;lin's view that it is a kind of recreation of the poet
most commonly known by tbe name bandha (Agni PuraJ;la, Mam- and his audience) to the other, becoming more and more a central
mata); examples are: kha¢ga ('sword'), cakra ('wheel'), dhanu issue opposing the poet to his audience (the critics).· The development
('bow'), padma ('lotJls'), musala ('pestle'), sara ('arrow'), sakti of the tantric religious systems may have accentuated this divorce,
l
for the magical undertone, especially of the pictorial verses, is Our incompassible sufferings are from fear of you alone !") (4) The
apparent. form is:
aoulomaviloma, 'with the grain, ignoring the grain': (I) a type of word ABC D E F G H
play in which the syllables of a second half verse or second verse BIJKLMNG
repeat in a leapfrogging sequence those of the first (half) verse. CJOPQRMF
(2) R 5.22-23. (3) samaraiJamahitopii yiistaniimaripiitii ... sarama- D K PST Q L E
Qahimatoyapiistamiint1ritiipii ... (Rudraia: "Those who destroy the (5) Reading as a helix, that is, downwards on the first column,
enemies of the Gods and cause to fall the enemies of those whose upwards on the eighth, then downwards on the second and upwards
glory is decayed by having departed, the sufferings of his enemies, on the seventh, and so on, gives exactly the same sequence of syllables
being arrogance, were assuaged by applications of water borne from as reading from left to right in the normal way. Compare sarvato-
snow to a lover"). (4) The form is: A Ba Ca Da Ea Fa Ga Ha Ja / bhadra, where the verse can be read backwards and forwards as well.
A Ca Ba Da Fa Ea Ga Ja Ha. (5) Cf pratilomiinuloma; the word kiirakagii4ha, 'concealment of the subject': (I) a grammatical riddle in
viloma also means 'against the''grain', but the connotation of the which the subject at first reading is concealed by a false salfldhi, but
pre-verb vi- is simply 'irrespective of' rather than 'contrary to' as which another reading (dividing the words differently) reveals.
conveyed by prati-. Lorna means 'hai(; the idea conveyed is that of (2) R 5.26 (30). (3) pibato viiri taviisyiilfl sariti sariiveQa piit/tau kena
stroking hair in the way it naturally lies, or the inverse. (Rudraia; piititau has no subject, but by reading sariiveQa 'with a
ambuja, 'lotus': (I) same aspadma. (2) AP 343.46. dish' as sariiv eQa, 'arrows, 0 antelope', the subject is supplied;
arthacitra, 'word play of sense': (I) another term for alalflkiira. (2) M 70. "While drinking water in this stream with a dish, by whom have been
(5) Mammata is following Anandayar~hana, who thinks that fignres shot at you?"). (4) Read the example under kriyiigi1(1ha on "Why did
of speech which do not evoke any rasa are mere word play, distin- the raise her bilt(razorbill) raise her bill?" (Oliver Onions; deformed
guished from riddles and cadence (sabdacitra) only in that they involve for our purpose here). (5) Rudraia lists six games (krf(1a) of which
the meanings of the words instead of their outward form (sabda). this is one; cf kriyiigi1(1ha.
They lack the poetic charm which alone derives from an appropriately kriyiigii4ba, 'concealment of the verb': (I) a grammatical puzzle in
evoked rasa. Mammaia mistakes this rhetorical remark for a classi- which the verb at first reading is concealed by salfldhi. (2) R 5.26
fication of citra and reproduces it in that context. (30). (3) viiri siSiralfl ramaQYo ratikhediid apuru$asyeva (Rudrata;
ardhabhrama, 'half-rotation': (I) a type of word play in which a verse, ramaQYo, 'ladies' requires a verb; by reading apuru$asyeva, 'as though
each of whose foUr piidas is written on a separate line, can be read of a non-man' as apur U$asy eva, 'drank only at dawn', it is supplied:
either in the normal way or as a helix, from outer verticals inwards. "The ladies, exhausted from passion, the cool water as though of ,a
(2) D 3.80 (81), AP 343.39 (text reads ardhiibhyiim in error), R 5.3 non-man"). (4) "Why did the razorbill razorbill?" "So the sea-
(18). (3): urchin could sea-urchin" (Oliver Onions). (5) See kiirakagi1(1ha.
mii no bha va ta vii nf kalfl kri4ii, 'play': (I) puzzles or conundrums. (2) R 5.24. (5) A cover term
no da yii ya na mii ni nf for six games: miitracyuta, binducyuta, prahelikii, kiirakagi1(1ha,
bha ya da me yii mii mii vii kriyiigi1(1ha, and prasnottara. Rudrata distinguishes these six from
va ya me no ma yii na tao citra, which are syllable arrangements and legitimate fignres (cj:
DaJ:\4in pratilomanuloma), by calling them "merely playful"; that is, they
("0 Liebesgott, vor dem wir uns verneigen! Dein Heer, die Grollende, serve no function of embellishment and are not poetic. But Rudrata,
.triigt den Sieg davon; wir mogen ein Vergehen begangen haben oder following DaJ:\qin, treats of them presumably because they please
nicht, so empfinden wir doch aus Furcht eine unermessliche Pein" and divert the same sophisticated audience for which the poetry
(Biihtlingk). Or: "0 God of Love! your beloved, phalanx-like, is was intended. The six games are wider in scope than our conun-
,certainly not for our/misfortune! May we not be deemed sinners! drums, which term could usefully translate the third type, prahelikii;
;,' t
types one and two depend on altering the written verse in a system- not preserve non-wisdom, why do they not notice your heavenly
atic way, types four and five on false smpdhi, and six is a question grace, replete with many desires? [They do not observe that] your
which answers itself. glory is not auspicious".) (4) The form is:
khatlga, 'sword': (I) a verse or pair of verses whose syllables can be A B B C B D C E
arranged, in terms of certain repetitions, in the visual form of a B C D E C E E F
sword. (2) R 5.2 (6, 7), M 121. (3) mlirarisakrarlim6bhamukhair
(5) The same syllable sequence is obtained by reading the left vertical
lislirarmphasli / slirarabdhastavli nityall' tadartihara~ak$amli / mlitli
pair from top to bottom, then the second vertical pair, and so on.
natlinlill' sall'ghattab sriylill' biidhitasall'bhramli / mlinyatha simli
gupta, 'hidden': (I) probably the same as (klirakakriyli) gur;lha. (2) AP
rlimli~lill' sail' me disylid umadijli (Rudrata: "May Uma, the first
343.22 (26). (5) As always with the Agni Purli~a, no examples are
born, show me favor-she who is praised most excellently and with the
given, but the context suggests that Rudrata's two krir;lli are meant.
violence of a cloudburst by Siva, Indra, Rama, and GaJ;l8sa, and
gomiitrika, 'cow piss': (I) a verse the syllables of whose constituent
who is able to remove their su!j"erings, mother of the devoted and
plidas, when placed on separate lines, can be read either by zig-zag-
collection of bounties, who cancels error, and who serves as the
ging from one line to the other, or in the regular way. (2) D 3.78-79,
honorable model of women"). (4) T(1e reader is referred to the appen-
AP 343.36-38. (3):
dix of Rudrata's text, where he wil~/)inH the "picture" which this
verse defines. (5) Such picture verses, generally referred to as bandha ma da no ma di rli k$i ~Ii ma pli ligli stro ja ye da yam
('ligature', 'bond'), are first mentioned in the Agni Purli~a and con- ma de no ya di tat k$i ~a ma na ligli ylin ja iiII' da de
stitute probably the most original and indeed the most curious DaJ;l\lin
contribution of that text to poetics. The tantric symbolism of these ("Should the love-power of drunken-eyed women, armed with side-
verse arrangements is evident, but their actual function is not so. long glances, conquer me-if this my sin should finally be destroyed,
Some late writers, like Magha, employ them, but it is clear that they I would give thanks to the Love God".) (4) The form is:
have no other purpose than to demonstrate the virtuosity of the
ABC D E F G H
author. One chapter (the nineteenth) of the SiSuplilavadha contains
AI CJ EKGL
a great number of these devices, and one may wonder if there is
not some relation between the virtuosity so demonstrated and the (5) The same syllable sequence can be obtained by reading lower
concurrently rendered climax of the poem: the fight between first vertical (A), upper second vertical (B), lower third vertical (C),
Klwa and Sisup~la. and so on. This amounts to requiring that every other syllable be
gajapadapiitha, 'elephant-gait-version': (I) a verse which, when each of the same as the corresponding syllable in the next plida. The Agni
its four plidas is placed on a separate line, can be read either by vertical Purli~a gives three other names for this type of limited verse:
pairs of syllables from left to right, or in the normal way. This dhenu ('cow'), aivapada 'horse track'), and jdlabandha ('lattice').
horizontal movement of two syllables at once is likened to the gait The appropriateness of the more common name is evident.
of the elephant, whose two legs are always in unison. (2) R 5.2 cakra, 'wheel': (I) a series of verses which can, in terms of certain signi-
(16). (3): ficant repeated syllables, be arranged in the visual form of a wheel.
ye nli nli dhi nli vii dhi rli (2) AP 343.47-54, R 5.2 (6-13). (3) See RUdrata's examples for
nli dhi vii rli dhi rli rli jan khar;lga, musala, dhanu, sara, sala, sakti, and hala, in that order.
kill' nli nli sail' nli kall' sail' te (5) The first half verse of each sloka begins with the same syllable
nli sali kan te'sall' te te jab (mli), and this constitutes the "hub". The first half verse itself
Rudrata is the spoke and the second half verse the part of the felloe to the
("Those of your courtiers, 0 King, who preserve the force of right of the spoke, up to the next spoke. The syllable at the junction
various epithets, are powerful, who eradicate obstacles and who do of the spoke and the felloe is thus part of three half verses and is
consequently the same in all three: last syllable of the preceding I 5
verse, last syllable of the first half verse, and first syllable of the second 2 6 8
half verse following. In Rudrata's example, eight verses are given, 4 10
constituting a wheel of eight spokes. 3 II 7 9
cakrllbjaka, 'wheel-lotus': (I) presumably some combination of cakra (5) This amounts to the famous puzzle of moving the knight so
and padma. (2) AP 343.55. (5) No examples and no similar type that it touches every square only once. I am indebted to V. Raghavan
in the other texts. for suggesting the nature of the solution. It is beyond my powers
cyuta, 'fallen': (I) a group of conundrums which operate by dropping to complete it.
significant parts of the written Sanskrit sentence, such as vowel dal;tIJa, 'stick': (I) probably the same as kha4ga. (2) AP 343.37,55. (5)
indicators, nasal vowel marks (anusviira), final aspiration (visarga), No example.
and perhaps consonants ("r" in c1nsters). (2) AP 343.22, 28. (4) datta, 'given': (I) probably a group of conundrums which function by
"There's a little old fellow and,.he has a little paint-pot, / And a adding certain significant parts of the written Sanskrit sentence, as
paucity of brushes is something:that he ain't got, / And when he vowel indictors, nasal vowel marks (anusviira), final aspiration
sees a road sign, the road sign he betters, / And expresses of himself (visarga), and perhaps consonants. (2) AP 343.22, 29. (4) "But the
by eliminating letters. / Thus 'ThrQ~gh Road' / Becomes 'Rough old fellow feels a slight dissatisfaction / With the uninspiring process
Road' / And 'Curves Dangerous' / Is transformed to 'Curves Anger of pure subtraction. / The evidence would indicate he's taken as his
Us ...'" (Morris Bishop). (5) No Sanskrit examples are given, but in mission / The improvement of the road signs by the process of
part cyuta is evidently the same as Rudrala's miitracyuta and addition. / Thus 'Traffic Light Ahead' / Becomes 'Traffic Slight
binducyuta. The idea is that by dropping these discriminating ele- Ahead' / And 'Gas and Oi!' / Is improved to 'Gasp and Boil .. .'''
ments, another meaning is obtained. The possibility of this game, (Morris Bishop)., (5) No Sanskrit examples are given, but the context
of course, depends on the fact that short "a" is inherent in all permits a comparison with cyuta and leads to the inference that
syllables and is "what is left" when superscripts are dropped. datta is the reverse of this. Like cyuta, the games depend on the
cyutadatta, 'dropped-added': (I) apparently a combination of cyuta and fact that the short vowel "a" is inherent in every syllable, and that
datta; perhaps certain discriminating elements are replaced by others. graphically other vowels and vowel aspects are superscripts to that
(2) AP 343.22, 30. (5) No example is given. Cf cyuta, datta. simple vowel. The second type, "consonantal" datta, presents mOre
turagapada, 'horse path': (I) a verse whose syllables, when arranged by of a problem, but may refer to adding parts of ligatures, as "r"
piidas on separate'lines, can be read either in the manner of the which is an obvious superscript.
moves of a knight at chess or in the regular way. (2) R 5.2 (15). (3): du~kara, 'difficult to accomplish': (I) a general name for various types of
picture verses and geometric verses. (2) D 3.78, 83, AP 342.20,
se nii Ii Ii Ii nii nii Ii
343.32. (5) In general, dU$kara is distinguished from puzzles and
If nii nii nii nii If Ii Ii
conundrums, which Daw;lin includes in prahelikii and the Agni
nii Ii nii Ii Ie nii If nii
Purii/Ja calls citra. DU$kara then refers to those extensions of yamaka
If If Ii nii nii nii nii Ii
in which the principle of repetition is not linear, or in which the
Rudrala
limitation on occurrence applies only to certain letters (e.g., one
("I praise the army whose leader is mighty in play, which is devoted vowel or consonant) or to certain places in the verse (picture verses).
-I, who am not acquainted with untruth, whose men are mounted These two types are clearly delimited by DaI;lc;lin (reference cited),
in carts and keep together in various rows, who does not perpetrate who does not recognize any pictorial verses. (His gomutrika may
meaningless deeds for his dependents, who has generals who assume provide the key to the explanation of the origin of these latter: for
the leadership of happy men, who has men of several sorts and no DaI;lc;lin, the zig-zag is clearly a geometrical verse with a graphic
fools". (4) The form is': name; it may have encouraged others, more literal minded, to
,
explore further the field of graphic representation.) The Agni bha forms the center of the lotus. The two syllables following or
puraVa apparently follows Dal)qin's usage of the term, but it makes preceding bha constitute the "petals". The "center" recurs after
an explicit distinction between three types of du~kara, only the first every two "petals". One begins with bha, reads out along the first
aud third of which have clear parallels in Dal)qin (verses employing petal and back along the second to the center, then out along the
only limited vowels or consonants and picture verses). The second third, back along the four:!h, and so on, until one reaches the last
type (vikalpa) may refer to geometrical verses, for the palindrome petal, which should be the inverse of the first (here bhasale and Ie
is referred to, yet sarvalobhadra is included in the third type (picture sabha) and lead back to the center. In the present example, the petals
verses or bandha). at the end of each pada and the beginning of the next are also inver-
dhanu, 'bow': (1) a verse whose syllables can, in terms of certain significant sions.
repetitions, be arranged in the visual form of a bow. (2) R 5.2 (9). pratilomanuloma, 'against the grain, with the grain': (1) a type of word
(3) mam abhida saravya mUIsadaivdrukprada ca dhi/; / dhira pavitra play in which the syllables of a second half verse repeat in exact
sarplrasat Irasf~!ha matar arama ,JRudrata: "0 mother, save me inverse order those of the first half verse. (2) AP 343.34-35, R 5.3
from fear and layoff! you who'}clispense confidence, are a refuge, (17). (3) veddpanne sa sakle racilanijarugucchedayalne'ramere
a giver of health always and uniquely enjoyable, wise, steadfast and devdsakle'mudak~o baladamanayadas lodadurgdsavase / sevasargad
holy"). (5) The first half verse is the;r~B()w", the second, the"string". udaslo dayanamadalavak~odamukle savade reme raIne'yadacche
The syllables joining at each end are dhi and ma (second of the first gurujanitaciraklesasanne'padave (Rudrata: "A certain person, whose
half and last ofthe second; the Indian bow generally has an extension eyes know no pleasures, who gives directions for countermanding
at the top above the junction with the string). For metrical reasons, strength and who has ceased to desire serving o:!hers, delights in
Rudrata also refers to dhanu as baVdsa~a (same meaning). this virtuous man, accomplished in the Vedas, agreeable, who strikes
niyama, 'limit': (I) a verse whose phonemic content is limited to certain down evil men and in whom is ingrained the struggle to eradicate
vowels, consonants, or points of articulation. (2) D 3.83 ff., AP his own suffering, who is devoted to the Gods and inherently capable
343.33-34. (3) srfdipti hrfkfrlf dhinftf gf/;prfti / edhele dve dve Ie ye of storming:!he bastions of sickness, who is free by having crushed :!he
neme devese [only two vowels]; nunarrz nunntini niinena niinanenananiini droplets of pride in giving, garrulous, spotless, accepting a fall
nq/:t / niinenii nanu niinimenaineniiniinino nini/;l [one consonant]; aga from grace and devoted only to the trials born of attendance upon
garp gaiigakakakagahakaghakakakaha / ahahaiiga khagaiikagakaii- his master"). (4) The form is A Ba Ca Da / Da Ca Ba A. (5) Note
gakhagakakaka [only gntterals]. All these examples are from Dal)qin: that the pattern, as usual, is that of syllables (consonant plus vowel)
"They are not tw(',::nverlords who prosper there, they are prosperity rather than that of phonemes. See also anulomaviloma. This is
and beanty, shame and fame, wisdom and polity, celebrity and not exactly a palindrome, since :!he meaning of the reverse reading
pleasure"; the last two examples are unclear). (5) One well-known is not the same; cf "Madam, I'm Adam" and "Able was I ere I saw
example from literature of this virtuosity is the seventh chapter of Elba" (James Joyce).
The Ten Princes (also by Dal)<}in) where no labials at all are employed, prasna (prasnllttara), 'question' (or 'question-answer'): (1) a conundrum
on the pretext that the narrator has wounded his lips in love-making. in which the same word answers several questions, but is used as a
See (5) under du~kara, of which this is the first type. pun and is taken in a different sense for each question. (2) AP
padma, 'lotus': (1) a verse whose syllables can, in terms of certain signi- 343.22-24, R 5.26 (31-32). (3) udyan divasakaro'sau kirp kurule
ficant repetitions, be arranged in the visual form of a lotus. (2) kalhaya me mrgaydsu / kalhaydnindraya lalha kirp karavaVi kvavita-
R 5.21, M 121. (3) bhasale pralibhasara rasdbhaldhaldvibha / kama/; / ahivavakamaladaldrUiJiva mavu phurattiva keva / javijjai
bhavi/dlma subha vade devdbha vala Ie sabha (Mammata: "0 essence laruvfavassa niddha bhava aharel)a (Rudrata; the third question is
of glory! your council is indeed brilliant, beautified by the eight of course in Prakrit. Ahareva is the answer to all three: 'day' (ahar)
moods, of unbeatable beauty, in which is revealed the ultimate soul and 'night' (eva), 'stupid' (ahare) 'make noise' ('na, sarpdhi for ava),
of justice, clever in dispute, and similar to God"). (5) The syllable 'by her lower lip' (adhareva: "dh" becomes "h" in most Prakrits):
1
"What does the sun make when he rises? Tell me quickly, spy it borne". By dropping the "i" in kila, we get kalalrasya lora/Jopanlam
out! Say, stupid, what should I do if I want to be loud? How do or "For women, the environs of the city's gates are unapproachable
you tell when a girl is angry?"). (4) "What is that which will make and their sight cannot be borne"). (5) Cf binducyula and cyula.
you catch cold-cure the cold-and pay the doctor's bills?" (Robert By dropping the vowel discriminator, a short "a" is obtained, since
Merry; answer: a draft). this vowel is considered inherent in the syllable sign itself.
bandha, 'delimitation': (I) the generic term for those verses which can be moraja, 'drum': (I) a verse whose syllables can be read either in a criss-
arranged, in terms of certain significant repeated syllables, in the cross form similar to the lacing of an Indian drum (mrdaiigam), or
visual form of natural objects, as swords, wheels, axes, etc. (2) in the regular way. (2) AP 343.59, R 5.3 (19), M 121. (3):
AP 343.33 (35-65), M 121. (3) ,(4) See sara, cakra, muraja, etc. sa ra Iii ba ha Iii ra mba
(5) For both Rudrala and Mammala, pictorial verses represent la ra Iii Ii ba Iii ra vii
citra par excellence; the older name of the Agni Purii/Ja is retained vii ra Iii ba ha Iii ma nda
only as a part of the name of e~Sl1 type, as kharjgabandha. In the ka ra Iii ba ha Iii ma Iii
Agni Purii/Ja, moreover, bandhG'is one of three types of dU$kara Rudrala, Mammala
and is distinguished from citra, this last being a general name for ("The autumn is full of the sounds of undulating armies of bees,
conundrums, puzzles, and the like),'¥ost probably this type of thick and long; dense with geese; where kings are quick and iimala
verse with obvious magical connotanonsgrew out of the older fruits are plentiful".) (5) The first and last lines can be read also on
geometrically arranged verses (palindromes, etc.), which are prom- the four-syllable diagonals up and down, beginning and ending
inent in DaJ,lgin. The bridge may have been the geometric gomillrika with the same syllables as the lines. The two internal lines must be
('cow piss')-in DaJ,lgin simply a vivid name for a verse which can taken in halves, bnt the same principle applies.
be read in a zig-zag fashion. The Agni Purii/Ja significantly groups mnsala, 'pestle':, (1) a verse whose syllables can be arranged, in terms
gomutrika in bandha verses. of certain significant repetitions, in the visual form of a pestle. (2)
The only instance I know in English of a verse that is what it R 5.2 (8). (3) miiyiivinaJTl mahiihiivii rasiiyiitaJTl lasadbhujii / jiilali/ii-
means is: "Yet this I Prophesie; Thou shalt be seen, / (Tho' with yathiisiiraviicaJTl mahi$am iivadhi1;z (Rudrala: "You, 0 mother, of
some short Parenthesis between:) / High on the Throne of Wit" great blandishments and gleaming arms, in whom joy is fulfilled,
(John Dryden). you have slain the buffalo demon, hiding in deceit, puffed up with
binducyuta, 'dropping the anuswira': (I) a type of word play in which pride, whose words did not correspond to the truth"). (4) See the
one phrase, by dfbpping a nasal phoneme, is transformed into appendix to Rudrala for the picture that this forms. (5) No mortar,
another phrase with another meaning. (2) R 5.25 (28). (3) kiinto oddly enough.
nayanfinandi batendu1;z khe na bhavati sadii (Rudrata: "The lovdy ratbapada, 'cart path': (1) a verse wherein the two even or the two odd
young moon, delightful to see, is not always in the sky". By dropping piidas (but not both) are palindromes, thus producing the appearance
a nasal, we get "bale du1;zkhena" or "The lovely moon, delightful to of a cart track. (2) R 5.2 (14). (3):
see, young girl, is always accompanied by sadness"). (5) See cyula. itik$itii suraiS cakre
Rudrala gives examples for only two of the Agni Purii/Ja's four types: yii yamiimamamiiyayii
this one and miitracyula. mahi$aJTl piitu vo gauri
mlitracyuta, 'dropping the vowel sign': (I) a type of word play in which siiyatiisisitiiyasii
one phrase, by dropping the graphic syllabic modification indicating Rudrala
a vowel phoneme, is transformed into another phrase with another ("Thus observed by the Gods, may Gauri, who without guile sent
meaning. (2) R 5.25 (28). (3) niyatam agamyam adrsyaJTl bhavali the buffalo demon to the nether world, Gaud, who has slain those
kile trasyato ra/Jopiintam (Rudrala: "In truth, for the fearful the demons who have destroyed property with their long arrows-may
environs of battle are"unapproachable and their sight canuot be she protect you I") (4) The form of the second and fourth lines is:
ABC D DeB A and E F G H H G F E. (5) Two other padas is diety to the world's high rulers, she who is obedient to Siva and
are gaja and turaga. fulfilled witb all success, she who is praised by all"). (4) See the
vikalpa, 'alternation': (1) a kind of duskara. (2) AP 343.33, 34. (5) No appendix to Rudrata for the picture that this forms. (5) The first
example is given and there are no subdivisions; this may refer to half Sloka constitutes the shaft; six syllables suffice for the three
geometrical verses-those which can be read by rearranging the prongs by reading forwards and backwards, each time adding the
syllables in a regular pattern (as palindrome). See duskara. The final syllable of the first half.
text reads "vikalpa!; prlitilomytinulomyiid evtibhidhfyate I prlitilomyti- samasyii, 'union': (I) a verbal game which consists in discovering the
nulomyal"(! ca sabdentirthena jliyate I anekadhtivrttavan;wvinylisal!; words of one verse which have been hidden systematically in a
Silpakalpanli" (343.33-34; 'Vikalpa gets its name from the backwards much larger verse. (2) AP 343.23, 31. (5) No examples are given,
and forwards arrangement of syllables; the arrangement functions but the puzzle is well known, at least as far as the letters of a word
on both the levels of word and sense and is a technical construction are concerned, by the name "acrostic"; for example: "Dread monster,
of phoneme sequences repeated 1)1,0re than once'). ruthless foe I Ever travelling to and fro I And causing tears of grief to
vyiibrtartba, 'whose meaning is spoketi";(l) same as ekacchanna prahelikli. flow, I The good, the loved, and those that be I Hale and strong,
(2) R 5.25 (29). (5) See prahelikli. The name vylihrttirtha probably mnst yield to thee" (Robert Blackwell).
intends that the paradox is made expliqit in the riddle, and concerns sarvatobbadra, 'auspicious in all ways': (I) a verse, having the same
the nature of the thing rather than words (s",6 spastapracchannfirtha). number of lines as syllables, which can be read backwards and
sakti, 'lance': (I) a verse whose syllables can be arranged, in terms of forwards both vertically and horizontally. (2) D 3.80 (82), AP 343.41,
certain significant repetitions, in the visual form of a lance. (2) R 5.3 (20), M 121. (3) slimliylimlimliyli mlisli mlirlinliylinlirlimli I
R 5.2 (12). (3) mlihislikhye rm;ze'nyli ?'U sli nu nlineyam atra hi I yiiniiviiriiriiviiniiyii maya rlima miiriiytima (DalJ-\lin; this verse is. also
himtitafiklid ivtimul"(! ca kal"(! kampinam upaplutam (Rudrata: "Was deemed to make .sense when read backwards: by putting these two
it she or another in the battie with the buffalo demon? Was it he, verses together on eight lines of one plida each, the same double
shuddering, who was consumed as though by the enemy of the verse can be read backwards or forwards along the horizontals, or
snow?"). (4) See the appendix to Rudrata for the picture that this backwards or forwards along the verticals: "This lovely young lady,
forms. an extension of the fever of Love, a union of devices for inducing
sabdacitra, 'word play of words': (I) citra, properly speaking. (2) M 70. love, a snare made of the tinkling of her anklets, whose beauty is
(5) See arthacitra. sorcery, is destined quickly to be the death of me, along with the
sara, 'arrow': (I) a verse whose syllables can be arranged, in terms of moon"). (5) Cf ardhabhrama, which is conceived as a half verse which
certain significant repetitions, in the visual form of an arrow. (2) can be so arranged.
R 5.2 (10). (3) mlinanliparusal"(!lokadevfl"(! sadrasa sannama I manasli spa~tapraccbannartba, 'whose hidden meaning becomes clear': (I) same
slidaral"(! gatvli sarvadli dlisyam afiga tlim (Rudrata: "0 truly devoted, as ubhayacchanna prahelikli. (2) R 5.25 (29). (5) See prahelikli and
approach respectfully and honor the world Goddess with your mind vylihrttirtha.
and every effort from which anger has been driven out by service"). bala, 'plough': (I) a verse whose syllables can be arranged, in terms of
(4) See the appendix to Rudrata for the picture that this forms. (5) certain significant repetitions, in the visual form of a plough. (2)
The first piida is the shaft, the second is the point, and the third and R 5.2 (13). (3) mlitafigfinafigavidhintimunfi piidal"(! tam udyatam I
fourth are the feathers and bonds. tafigayitvli Sirasy asya niplitytihanti ral"(!hasli(Rudrata: "Gaur!, lifting
siila, 'spike': (I) a verse whose syllables can be arranged, in terms of her foot and bringing it down on his head in the manner of a proud
certain siguificant repetitions, in the visual form of a spike. (2) elephaut, slew him violently"). (4) See the appendix to Rudrata for
R 5.2 (11). (3) mli muso rlijasa svtisul"(!l lokakutesadevatlim I tlil"(! the picture that this forms.
Sivlivlisitlil"(! siddhytidhylisitlil"(! hi stutlil"(! stuhf (Rudrata: "0 violent
one, do not delight in.Your own life: praise the Goddess-she who
L
chaya tadgtIIJa
chaya, 'shadow': (1) clever imitation of other styles or dialects. (2) tadgUl)a, 'having that thing's attribute': (1) a figure in which one thing is
AP 342.21-25. (5) This is the first sabddlafllkara of the Agni PurlilJa; said to assume the quality or property of another thing, from
four styles are enumerated: the vernacular (lokokti), scholarly jargon which thereby it is made difficult to distinguish. (2) R 9.22-25. (3)
(chekokti), children's speech (arbhakokti), and the talk of drunks navadhautadhavalavasanas candrikaya sandraya tirogamita/;l / rama-
(mat/okti). nabhavanany asaiikafll sarpanty abhisarlka!) sapadi (Rudra,a: "Hidden
by the thick moonlight, their garments white and newly washed,
chekanuprasa the women approach fearlessly the homes of their lovers"). (4) "Half
chekauuprasa, 'clever alliteration': (1) same as cheka, a type of anuprasa. a mile away across the young corn you saw her white sweater at
(2) U 1.3 (5). (5) Chekdnuprasa is considered by Udbha,a to be an the cliff's edge, and it seemed part of the whiteness of the screaming
alafllkara separate from anuprasa strictly speaking. seabirds, of the whiteness of the awful glimpses of chalk where the
turf suddenly ended in air, of the crawling whiteness of the waves
jlia. far below" (Oliver Onions). (5) Rudra,a considers two types: one
jati, 'genus': (1) same as svabhavokti. R 7.30 (31-33). in which the indistinguishables in fact share the property which
makes them indistinguishable, and the other in which they do not
tattva but where the property of one imposes itself upon that of the other.
tattva, 'reality': (1) an arthaSle~a in which puns, in appearance descriptive This latter resembles pihita and seems to differ from it only in defini-
"djectival qualifications of the subject, involve a second meaning as tion: here the pre-eminent quality lends itself to the other subject;
predicate nouns which mernphorize the subject. (2) R 10.20 (21). there, the pre-eminent quality hides the other.
(3) nayane hi taralatara sutanu kapolau'ca candrakantau te / adharo'pi Tadgu!!a differs from bhrantlmat only as to the poetic end of the
padmaragas tribhuvanaratnafll tato vadanam (Rudra,a; the parts of confusion. Here, presumably, the end is not to compare, but to
the girl's face are described by adjectives which are also names of portray the quality in a certain way. See note (5) to safllbhavyama-
jewels which compliment that particular feature: "For her eyes are ndrtha atisayoktl: such subtle distinctions are necessarily subjective
glancing [two pearls of great price], her cheeks are beautiful as the and may not be entirely clear from the examples alone. See also
moon [moonstones], her lower lip has the color of the lotus [is a atadgwJa.
ruby], and thus her face is the jewel of the three worlds"). (4)
'''Before you had those timber toes, / Your love I did allow, / But tolyayogita
then, you know, you stand upon / Another footing now!'" (Thomas tolyayogita, 'equal joining': (1) a figure in which several subjects sharing
Hood; spoken by a lady whose soldier-lover has returned from the a property or mode of action, though in unequal degrees, are re-
wars minus both his legs: the pun on "footing" suggests that the lady presented as equivalently endowed; the lesser subject is thus magni-
would prefer a lover with a complete set of limbs. He "stands on fied. (2) B 3.26 (27), D 2.330 (331-32), V 4.3.26, U 5.7, M 158. (3)
another footing" in the direct sense because conditions have changed, seso himagiris tvafll ca mahanto gurava!) sthira!) / yad alaiighitama-
but that "other footing" refers also to his wooden legs and heightens ryadM calantim bibhrtha k~itim (Bhiimaha: "The primeval serpent,
the force of the description). (5) The second meaning of this pun the Himalaya and you, 0 King, are weighty "nd firm; you three,
transforms a simple description into the figure rupaka. The figure surpassing all limitation, support the unstable world"). (4) " ... he
differs from avayava sle~a in that the pun is not merely on the had the harmlessness of the serpent and the wisdom of the dove"
qualification, but also on the status of the qualification as a gram- (Samuel Butler). (5) Tulyayogita functions as a comparison, but
matical adjective. The implicit rupaka of this type of sle~a, moreover, the common property is predicated of the subject and object jointly.
distinguishes it from avayava, where the pun suggests at most a Da!!4in also gives a type of upama based upon the conjunction of
flattering comparison. evident unequals. This figure can be subdivided as to its purpose
7
192 GLOSSARY
GLOSSARY 193
(nindii, stuti) and in relation to the grammar of its subject (prastiiva-
priikaral)ika, 'relating to the subject of the utterance': (1) same as
bhiij).
prastiivabhiij. (2) M 158C.
aprastavabhaj, 'not relating to the subject of the utterance': (I) a type of stnti, 'praise': (1) a type of tulyayogitii whose purpose is praise or apprecia-
tulyayogitii in which the concatenated terms are obliquely related
tion. (2) D 2.330 (331). (3) yamal; kubero varuQal; sahasriik$o
to the intentional subject of the utterance. (2) V 5.7. (3) tvadanga- bhaviin api / bibhraty ananyavi$ayiil[l lokapiila iti srutim (Dal)Qin:
miirdaval[l dra$(ul; kasya citte na bhiisate / miilatiSasabhrllekhiikadali-
"The God of Death, the God of Wealth, the Lord Vi~l)u, Indra
niil[l ka(horatii (Vdbhala; the subject is the softness of Vma's
himself, and you, 0 King, bear the unmistakable appellation "World-
body; the concatenated terms share the opposite property and stand
Protector"). (4) " ... inquisitive with the inquisitiveness of a despot
as objects of comparison: "Who would not think the malati flower, and worried as with the responsibilities of a god" (G. K. Chesterton).
the crescent moon, or the plantain tree harsh and rough when he
(5) Cf nindii.
had seen the softness of your body?"). (4) "The soundproof walls
shut out all noise from the street, and, in the hushed atmosphere
dipaka
common to art galleries, cathe'ilrals, and banks, Max's melodious dipaka, 'enlightener': (I) a construction wherein several parallel phrases
drawl sounded less out of place ..." (Margery Allingham). (5) In
are each completed by a single (unrepeated) word or phrase; zeugma.
aprastiivabhiij, the concatenated tepllsare the topical subjects of
(2) NS 16.40, 53-55, B 2.25-29, D 2.97-115, V 4.3.18-19, V 1.14, R
the utterance. The term appearsiri Mammala as apriikaraQika 7.64-71, M 156-57. (3) sariil[lsi hal[lsail; kusumais ca vrk$iil; mattair
(with the same meaning).
dvirephalS ca saroruhiiQi / gO$(hibhlr udyiinavaniini caiva tasmlnn
apriikaral}ika, 'not relating to the subject': (1) same as aprastiivabhiij. (2)
asunyiini sadii kriyante (Bharata: "In this city, the ponds are filled
M 158C.
with swans, the trees with flowers, the lotuses with drunken bees,
nioda, 'blame: (1) a type of tulyayogitiiwnich has blame or depreciation
and the pleasure-groves with elite parties"). (4) "All things uncomely
for its purpose. (2) D 2.330 (332). (3) sangatiini mrgiik$iQiil[l
and broken, all things worn out and old, / The cry of a child by the
tarjidvilasitiini ca / k$aQadvayal[l na ti$(hanti ghaniirabdhiiny api
roadway, the creak of a lumbering cart, / The heavy steps of the
svayam (Dal)Qin: "Neither affairs with young ladies nor the fleeting
ploughman, splashing the wintry mould, / Are wronging your image
bolts of lightning last for more than a few moments-though begun that blossoms a rose in the deeps of my heart" (W. B. Yeats), (5)
profoundly [begun in the clouds],,). (4) "Death lays his icy hand on
Zeugma is one of the universal devices of any stylized literary mode
kings: / Sceptre and Crown / Must tumble down, / And in the dust and is one of the four original figures of speech recoguized by
be equal made hYVith the poor crooked scythe and spade" (James
Bharata. The name dipaka (from dip-, 'shine'), which has been
Shirley). (5) Cf stuti tulyayogitii.
translated as 'enlightener' or 'illuminator', is a more vivid formula-
prastavabhaj, 'relating to the subject of the utterance': (1) a type of
tion of the subjective effect of this alal[lkiira than is the static zeugma
tulyayogitii in which the concatenated terms function as the intentional
('yoke'), which describes only the grammatical appearance or form
subject of the utterance. (2) V 5.7. (3) piiQrjuk$iimal[l vadanal[l
of the figure. The word which ties together the various phrases by
hrdayal[l sarasal[l taviilasal[l ca vapul; / iivedayati [sic] nitiintal[l
being at once a grammatical part of them all illuminates the entire
k$etriyarogal[l sakhi hrdantal; (Mammala: "Your face, pale and
phrase, or at least those parts of it which require that word in order
wan, your soulful heart and indolent form betray an incurable to be understood. By multiplying the phrases dependent on the
disease in the soul"). (4) "The streets near the station were full of
zeugma, the effect of illumination in increased. The effect may be
the smell of beer and coffee and decaying fruit and a shirt-sleeved compared to the Latin or German sentence in which the English
populace moved through them with the intimate abandon of
speaker waits breathlessly for the verb. The figure zeugma has been
boarders going down the passage to the bathroom" (Edith Wharton).
classified in two ways by the Indian theorists: as to the place of the
(5) Prastiivabhiij is to be distinguished from aprastiivabhiij. This term
common word in the total construction, and by the grammatical
appears in Mammala..as priikaraQika (with the same meaning).
role which the common word plays in the construction. The two
l
modes are not exclusive, and several authors employ both. First (68, 71). (3) diiriid utka~thante dayitiiniil(l sarrmidhau tu lajjante /
of all, the shared word may occur at the beginning (iidi), in the middle trasyanti vepamiiniil; sayane navapari~ayii vadhval; (Rudrata: "They
(madhya), or at the end (anta) of the total construction. These words long when their lovers are far, are shy when they are present, in
are usually interpreted to mean first, interior, or fourth quarters of bed are trembling and afraid-the newly-wed women"). (4) "The
the verse and not absolute first or last position in the verse (see, new moon behind her head, an old hehnet upon it, a diadem of
madhya dipaka). It is interesting in this connection to compare the accidental dewdrops round her brow, would have been adjuncts
renaissance classification of zeugma into prozeugma, mesozeugma, sufficient to strike the note of Artemis, Athena, Or Hera" (Thomas
and hypozeugma (Taylor, p. 132-33). All the writers except Bharata Hardy). (5) The examples also show kiiraka dipaka and kriyii. See
and Mammata reproduce this extrinsic triad, and it may represent tidi, madhya.
the oldest view on the figure. Dal).<)in, however, proposes a fourfold lidi, 'initial': (1) a type of zeugma in which the grammatical element
division by part of speech, in line with his several other uses of the shared by the several phrases occurs at the beginning of the entire
same discrimination (ef. svabhiiv,IJ1!:ti, vyatireka, viSe$fJkti): the word construction. (2) B 2.25 (27), D 2.102 (98-101), V 4.3.19, U 1.14,
shared by the several phrases may be either an adjective (gu~a), a R 7.65 (66,69). (3) nidriipaharati jiigaram upasamayati madanadaha-
verb (kriyii), a generic noun Uiiti), or an proper name (dravya). nasal(ltiipam / janayati kiintiisal(lgamasukhal(l ea ko'nyas tato
Dal).gin does not abandon the thre~(9Id division, so his treatment bandhub (Rudrata: "Sleep steals wakefulness away, calms the burn-
may be said to produce a twelvefold zeugma. This classification by ing passions of love, excites the pleasure of meeting the beloved;
grammatical role is unknown only in the two earliest writers, Bharata what else can be compared to it?"). (4) "Mrs. Pascoe stood at the
and Bhamaha. Since the encyclopaedist Mammata uses it ex- gate looking after them; stood at the gate until the trap was round
clusively, we may presume that the ,older threefold division was the corner; stood at the gate, looking now to the right, now to the
no longer felt to be adequately diagnostic. However, the later left; then went back to her cottage" (Virginia Woolf). (5) Both
writers simplify Dal).<)in's four grammatical parts of speech into examples also illustrate kiiraka dipaka (or dravya).
two-kriyii, 'verb' and kiiraka or kartr, 'noun' (see kriyii dipaka)-and eklirtha, 'integral': (1) a type of zeugma in which the tenor of the several
Vamana accepts only kriyii as legitimate. conjoined phrases is complimentary. (2) D 2.112 (Ill). (3) haraty
It should be remarked that the word "zeugma" is more commonly iibhogam iisiiniil(l grh~iiti jyoti$iil(l ga~am / tidatte eiidya me prii~iin
applied in English rhetoric to a defect of construction whereby a asau jaladhariivali (Dal).gin: "The garland of rain clouds fills up the
single word is related to two (or more) in such a way that the expanse of the sky, sequesters the flock of stars, and steals away
construction is not the same for the two (for example: "She came in my hopes"). (4) "A coyote sings more sweetly to me than any bird.
a flood of tears and a bath chair", where "in" is used both modally He pushes the horizon back with his voice. He makes a gift of
and locatively). This is a special case of the more general fignre, space. He says that something is still hidden. He reports escape.
but in usage the two must not be confounded, as no defect is intended He acknowledges himself. He celebrates survival" (Jessamyn West).
in our use of zeugma. (5) Compare viruddhiirtha dipaka, where the tenor of the conjoined
Oddly enough, the Agni Purii~a, which represents an independent phrases is contradictory or contrary, and also Sie$a dipaka, where the
siil(lkhya-oriented poetic tradition, ignores the figure dipaka. This is phrases are neither contrary nor complimentary, but merely punned.
doubly curious, as that text in no way minimizes verbal figures-as The Sanskrit example also illustrates anta dipaka and jiiti dipaka, the
opposed to fignres founded on meaning (tropes)-and in view of English, iidi and jiiti.
the fact that dipaka is one of the four fignres known to Bharata kiiraka, 'nominal': (1) a type of zeugma in which the word common
(with upamii, riipaka, and yamaka). to the several phrases is a noun, usually the subject of the entire
anta, 'final': (I) a type of zeugma in which the grammatical element construction. (2) R 7.64 (69-71), M 156. (3) sral(lsayati giitram
shared by the several phrases occurs at the end of the entire construc- akhilal(l glapayati eeto nikiimam anuriigab / janam asulabhal(l prati
tion. (2) B 2.25 (29)/D 2.102 (104-105), V 4.3.19, U 1.14, R 7.65 sakhe prii~iin api mafik$u mU$~iiti (Rudrata: "Passion exhausts the
7
body and makes the mind languid, but friend, when the loved one audience high nonsensical words; / Augusta Gregory seated at her
is unattainable, it quickly steals one's life away"). (4) "No profane great ormolu table ..." (W. B. Yeats). (5) Both examples also
hand shall dare, for me, to curtail my Chaucer, to Bowdlerize my illustrate adi dipaka. Adjectival dipaka is noted only by DalJ.4in
Shakespeare, or mutilate my Milton" (Anon., quoted in Burton and probably was not felt to be different from verbal (kriya) dJpaka
Stevenson). (5) This item covers two of Daw;lin's four types: jati by later writers, inasmuch as the verb "to be" can be supplied in all
and dravya. The Sanskrit example also illustrates madhya dipaka, such cases.
the English, adi. Also called kartr ('agenf). jiiti, 'generic': (1) a type of zeugma in which the word common to the
kriyii, 'verbal': (1) a type of zeugma in which the word common to the several phrases is a generic noun. (2) D 2.97 (98, 103, 105). (3)
several phrases is a verb. (2) D 2.97 (99, 104), V 4.3.18, U 1.14, pavano dak$iQal;z parQaf(l jfrlJOf(I harati vfrudham / sa evlivanatlifigfnaf(l
R 7.64 (66-68), M 156. (3) kanta dadati madanaf(l madanal;z saf(ltapam manabhafigaya kalpate (DalJ.4in: "The southern wind wafts away
asamam anupasamam / saf(ltapo maraQam aho tathapi saraQaf(l the withered leaf of plants, calms the anger of modest women").
nrQaf(l salva (Rudrala: "The b.doved woman imparts longing; (4) "A book, like a person, has its fortunes with one; is lucky or
longing, unquenchable and inc6l:llparable passion; passion, death. unlucky in the precise moment of its falling in our way, and often
She is thus the only refuge of mer"). (4) "Not poets alone, nor by some happy accident counts with us for something more than its
~rtists, nor that superior order of nll%<i which arrogates to itsdf all independent value" (Walter Pater). (5) Both examples also illustrate
refinement, feel this, but dogs and all men" (Theodore Dreiser). adi dipaka. Cf dravya, where a proper (specific) noun supplies the
(5) DalJ.4in recoguizes kriya dipaka as one of four types (see jati, unity of phrase.
gUQa, dravya), Vamana as the only type, and the other authors, as dravya, 'material': (1) a type of zeugma in which the word common
one of two types (see karaka). l'hi~ classification by the gram- to the several phrases is a proper name (or specific referent). (2)
matical function of the common word (or phrase) is not known in D 2.97 (101). (3) vi$Quna vikramasthena danavanaf(l vibhiltayal;z /
the oldest texts (Bharata and Bhiimaha), but DalJ.4in produces the kvlipi nital;z kuto'py asann anita daivatarddhayal;z (Dal).4in: "Some-
standard fourfold division here as in other figures (svabhaviikti, where the wealth and fortune of the Danavas were taken by Vi~l).u
vyatireka, vlSe$iikti). It becomes simplified later by the coalescing of victorious, from somewhere the success and prosperity of the Gods
jati and dravya into karaka and the dropping of gUQa dipaka. were brought"). (4) "Old Professor Huxtable, performing with the
Vamana's ignorance of other varieties is curious, but is probably method of a clock his change of dress, let himself down into his
due to his programmatic attempt to reduce all the figures to kinds of chair; filled his pipe; chose his paper; crossed his feet; and extracated
simile. A zeugma.dn which the shared word is a noun does not fit his glasses" (Virginia Woolf). (5) Both examples also illustrate tidi
as well into the frame of comparison as does the verbal zeugma, dipaka. Cf jati, where a generic term occupies the common slot.
since the figure then recounts only different aspects of one subject madhya, 'mid': (I) a type of zeugma in which the grammatical element
rather than the same aspect of two different subjects. The Sanskrit shared by the various phrases occurs in the middle of the entire
example also shows adi dipaka (the verb occurs not first, but in the construction. (2) B 2.25 (28), D 2.102 (103-104), V 4.3.19, U 1.14,
first quarter stanza); the English shows madhya dfpaka. R 7.65 (67, 70). (3) sraf(lsayati gatram akhilaf(l glapayati eeto
gu..t a, 'adjectival': (I) a type of zeugma in which the word common to nikamam anuragal;z / janam asulabhaf(l prati sakhe praQan api mafik$u
the several phrases is an adjective of description. (2) D 2.97 (100). mU$Qati (Rudrata: for the translation, see karaka). (4) "Her
(3) syamaltil;z pravr$eQyiibhir dlSo jfmiltapafiktibhil;z / bhuvas ea suku- presence brought memories of such things as Bourbon roses, rubies
marabhir navastidvaiarajibhil;z (DalJ.4in: "The sky is dark with great and tropical midnights; her moods recalled lotus-eaters and the
ranks of rain clouds, the earth with sweet shoots of new grass"). march in 'Athalie', her motions, the ebb and flow of the sea, her
(4) "Beautiful lofty things: O'Leary's noble head" / My father upon voice, the viola" (Thomas Hardy). (5) The "middle" of the construc-
the Abbey stage, before him a raging crowd / ... Standish O'Grady tion is usually interpreted to mean the second or third quarter of a
supporting himself between the tables / Speaking to a drunken verse (ef Rudrata's example for tidikriytidipaka, 7.66). The English
example runs contrary to this convention in that the word "recalled", are simply additional modes of expressing relation (usually similarity)
while standing third in its phrase, occnrs in the first of the phrases and can therefore reinforce the zeugma. The point may be that the
nnited by the zeugma. The Sanskrit example also illnstrates karaka zeugma is entirely a formal device and may adjoin either legitimately
dipaka, the English, kriya dipaka. See tidi, anta. consequential notions (mala) or those whose similarity is entirely
roalii, 'garland': (I) a type of zeugma in which the related phrases not verbal (Sli~ta).
only share a common word, but express a sequence of ideas in snch
a way that the following phrase recalls or refers to the former. (2) du~kara
(2) D 2.108 (107), M 157. (3) suklab svetilrci~o vrddhyai pak$ab dllllkara, 'difficult to accomplish': (I) a fignre defined and treated under
paiicasarasya sab / sa ca ragasya rago'pi yiina1'[l ratyutsavasriyab citra ala1'[lkara.
(DaJ;lgin: "The waxing phase makes for the prosperity of the white-
rayed moon, the moon, of the Love God, he, of passion, passion, for d!"'itanta
youths' happiness in festival ?flove"). (4)" ... while [the Wise dr~tanta, 'example': (I) the adjunction of a second situation which bears
Youth] remained tranquil on his solid unambitious ground, fitting upon the same point as the first and where the purpose is entirely
his morality to the laws, his consci'ince to his morality, his comfort one of illustration. (2) U 6.8, R 8.94 (95-96), M 155. (3) ki1'[lciltra
to his conscience" (George Meredit~) .. (5) Both examples also show bahunfiktena vraja bhartaram apnuhi / udanvantam anasadya maha-
tidi dipaka, in the sense noted under madhya (5). Various figures nadyab kim asate (Udbhata: "What's the point of talking further?
illustrate this enchainement of ideas: notably upama, riipaka, and Go out and get yonrself a husband! What fate will befall the great
nidarsana. See also the fignres kartItlamala and ekilvali, to which rivers if they do not fall into the ocean?"). (4) "Have you not in
mala dipaka seems merely the added ~pplication of a zengma. a Chimney seen / A sullen faggot, wet and green, / How coyly it
viruddhartba, 'disparate': (I) a type of zeugma in which the tenor of receives the heat/ And at both ends does fume and sweat? ISo fares
the several conjoined phrases is contrary or contradictory. (2) it with the harmless Maid / When·first upon her Back she's laid; /
D 2.110 (109). (3) avalepam anaiigasya vardhayanti balahakab / But the kind experienced Dame / Cracks, and rejoices in the flame"
karsayanti tu gharmasya marutfiddhataslkarab (DaJ;lgin: "The rain (John Wilmot, Earl of Rochester). (5) The relationship is here between
clouds increase the arrogance of the Love God, but diminish the two specific situations, and the purpose of the rapprochement is
summer's heat-their showers blown about by the wind"). (4) "Bnt clarification. That is why a rigorous parallelism of element and
in sooth Mr. Slope was pursuing Mrs. Bold in obedience to his better aspect is required. InprativastiJpama alarpkara, one Common property
instincts, and the·.. signora in obedience to his worser" (Anthony is shared; the terms themselves need not be comparable. Note in
Trollope). (5) See ekartha dlpaka, in which the partial phrases are Wilmot's example the duplication which borders on double-entendre:
complimentary, that is, express compatible ideas. "sullen ... coyly ... heat ... fume", etc. Likewise, the intention ofthe
sli~ta, 'punned': (I) a type of zeugma in which the related phrases not speaker is not necessarily substantiation (where a doubt might arise),
only share a common word, but have appended puns expressing and in this dr~tdnta differs from arthdntaranyasa, even though there
similarity. (2) D 2.114 (113). (3) hrdyagandhavahas tuiigas tamala- is a general tendency to consider the latter a relation between two
syamalatvi~ab / divi bhramantijlmiita bhuvi caite mataiigajab (DaJ;lgin: remarks-a specific and its corresponding universal-which is more
"Carrying pleasant odors, lofty, hides as dark as the tamala flower, an explanation of the process of explanation than a condition of the
the clouds roam in the sky, here on earth, elephants"). (4) "As lines relation between two terms which do clarify one another (c/.
so loves oblique may well / Themselves at every Angle greet: / But DaJ;lgin's example for; virodhavat arthdntaranyasa). Both are illustra-
ours so truly Parallel, / Though infinite can never meet" (Andrew tions, but the word "illustration" is equivocal. All these figures
Marvell). (5) This should be compared with mala dipaka, where the (especially vakyilrtha upama) differ from simile in that the comparative
relation between the various phrases is based upon a real implication particle is lacking; but aside from this, all can be and usually are
of meanings. The puris have nothing to do with the zeugma, but described in the same terms (subject, object, common property or
aspect). Rudrata carries this principle of explanation to the extreme sauce / Or stand a man a cheese?" (G. K. Chesterton). (5) The
of excluding all considerations of intention on the part of the speaker classification is refnted by Rndrata (8.86C), who would consider
-a purely structural analysis-but there are so many figures to this a variation on samuccaya ala/?1ktira. See also the remarks under
account for that this apparent simplification really serves only to dr~tfinta vyatireka.
confuse the many legitimate subtleties of analysis contained in siidharmya, 'similitude': (1) a type of dmfinta in which the terms and
DaI,H;lin, for example. The example may be thought of as introduced aspect of snbject and examples are in balanced concord. (2) M 155.
by the particle "so". (3) tvayi dr#a eva tasyti nirviitt mano manobhavajvalitam / tiloke hi
avivak~ita, 'not the intended subject': (I) a type of dr~tfinta in which the himfi/?1sor vikasati kusuma/?1 kumudvatyti/z (Mammata; the example
subject term or phrase follows the object or example. (2) R 8.94 is the same as that offered by Rndrata for vlvak$ita dr~tfinta). (4) "So
(96). (3) loka/?1 lolitakisalayavi~avanaviito'pi maiik~u mohayati / shuts the marigold her leaves / At the departure of the sun; / So
Uipayatitarti/?1 tasyti hrdaya/?1 tvadgamanavtirtfipi (Rudrata: "The from the honeysuckle sheaves / The bee goes when the day is done; /
forest wind, heavy with the frallJ:;l,nce of swaying buds, intoxicates So sits the tnrtle when she is but one / And so all woe, as I since she
everyone; the news of your comin'g quickens the pain in her heart"). is gone" (William Browne). (5) This is, of course, dmfinta itself,
(4) "Do you know these flashes of the absolute and unalterable to be nnderstood as a subtype only in the sense that Mammata
rightness of a thing? One ofthem bliJi~~dSaul of Tarsus on the road recognizes an antithetical example, too (cf vaidharmya).
to Damascus; something of the same kind blinded me for the whole
length of Lower Regent Street" (Oliver Onions). (5) Cf vivak$ita. nidarSanii
vivak~ita, 'intended subject': (1) a type of dr~tfinta in which the term or nidarsanii (I) (neuter in Dal)<;Iin and Vamana), 'pointing to': (I) a fignre
situation intended as subject by the speaker precedes the term or in which a particular situation is translated into a general truth, and
situation intended as example or object. (2) R 8.94 (95). (3) tvayi a moral is drawn which is based upon the mode of action and the
dr#a eva tasyti nirvtiti mano manobhavajvalitam / aloke hi sitfi/?1sor ultimate tendency of that situation. (2) B 3.32 (33), D 2.348 (349-50),
vikasati kumuda/?1 kumudvatyii/z (Rudrata: "Her heart enflames with V 4.3.20, M 150. (3) aya/?1 mandadyutir bhiisvtin asta/?1 prati yiytisati /
love as soon as he appears; at the sight of the moon, the lotus udaya/z patantiyiiti srfmato bodhayan nartin (Bhamaha: "The dull
blooms"). (4) "But she was the bossiest human I'd ever seen, and red sun nears the western term, telling the wise that greatness is
my father indicated the same, but following his style in such matters, but the precedent of decline"). (4) "Poor HALL caught his death
he conldn't say sC>o direct but referred her case to a play by a man standing under a spout, / Expecting till midnight when NAN would
named Shakespeafe, saying she needed taming" (Robert Lewis come out, / But fatal his patience, as cruel the Dame, / And curst
Taylor). (5) This figure is a good example of Rudrata's purely formal was the Weather that quench'd the man's flame. / 'Who e'er thou art,
classification (see note on dNtfinta). that read'st these moral lines, / Make love at home, and go to bed
vaidharmya, 'difference': (I) a type of dr~tfinta in which the phrase serving betimes'" (Matthew Prior). (5) This figure differs from arthfintara-
as example (object) involves terms and aspect antithetical to the nyiisa in that the general truth is here expressed as the very meaning
phrase standing as subject. (2) M 155. (3) tavfihave siihasakarma- of the particular situation, not as another and more valid formula-
sarmaQa/z kara/?1 krptiQfintikam tininf~ata/z / bhatti/z pare~ti/?1 vlSartiru- tion of it. Some writers (Dal)<;Iin, Vamana) define the figure as a
tii/?1 agur dadhaty avtite sthiratii/?1 hi pti/?1sava/z (Mammata: "You of relation of two situations through a similar consequence: moral
the violent deed! at your challenge the enemy's soldiers-their instruction in terms of the final cause. The second situation is seen
sword-girt arms about to strike-perish utterly! So motes of dust not as extrinsic to the first, maintaining a relation of similitude to it,
are steady as long as the wind does not blow"). (4) "The righteous but it is, as it were, a universalization of the same idea. This view-
minds of innkeepers / Induce them now and then / To crack a bottle point gives a rationale for the transition to the second type, described
with a friend / Or treat unmoneyed men, / But who hath seen the first by Mammata, which, in the modern writers (Candrfiloka),
Grocer / Treat housemaids to his teas / Or crack a bottle of fish- snpplants the other.
asat, 'unauspicious': (1) a type of nidarsanii in which the instruction in the notion of illustration anyway. The figure serves as the negative
given is baleful. (2) D 2.348 (350). (3) atyuccapad/idhyiisab patanii- of both the figures nidarianii (I) and dr#anta, depending on whether
yery arthasiilinal'(! samsat / iipiilJt/u patati patral'(! taror idal'(! bandha- illustration or instruction is intended. Cf. also vidarsanii.
nagrantheb (Vamana: "The withered leaf falls from its once firm mala, 'garland': (I) a type of nidarsanii in which several situations are
stem on the tree, warning the attentive that the attainment of an expressed as equivalent to the sitnation standing as subject of the
exalted position is but a pretext for a greater fall"). (4) "When ntterance. (2) M 149C. (3) dorbhyiil'(! titfr~ati taraiigavatfbhujafigam
the leaves in autumn wither / With a tawny tanned face / Warped and adatum icchati kare harilJafikabimbam / merul'(! lilafighayi~ati dhruvam
wrinkled up together, / The year's late beauty to disgrace; / There e~a deva yas te gUlJiin gaditum udyamam adadhiiti (Magha, quoted by
thy life's glass may'st thou find thee: / Green now, grey now, gone Mammala: "He who arrogates to himself the task of extolling your
anon, / Leaving, worldling, of thine own / Neither fruit nor leaf virtnes, 0 King, is attempting to swim across the limitless ocean, is
behind thee" (Joshua Sylvester). (5) Cf. sat. trying to grasp the moon in his hand or to climb the primeval
sat, 'auspicious': (I) a type of nidariq~ii in which the instruction given is mountain"). (4) "I'd love to waltz with you. I'd love to have my
auspicious. (2) D 2.348 (349). (3) udayann e~a savitii padme~v tonsils out, I'd love to be in a midnight fire at sea" (Dorothy Parker).
arpayati sriyam / vibhiivayitum rdlthfniil'(! phalal'(! suhrdanugraham (5) This figure is merely a repetition of nidarsanii II.
(DaJ.lQin: "The rising sun has wrought;peauty in the lotus, conveying
the results of success, pleasing to friimds"). (4) "He thus became parikara
immensely Rich, / And built the Splendid Mansion which / Is called parikara, 'entourage': (I) a figure in which the adjectival qualifications
/ 'The Cedars, / Muswell Hill'. / Where he resides in Aflluence still / or epithets of a thing are multiplied with a view to re-enforcing the
To show what Everybody might / Be~ome by / SIMPLY DOING distinctiveness of that thing. (2) R 7.72 (73-76), M 183. (3) upacita-
RIGHT" (Hilaire Belloc). (5) Cf. asat. parilJamaramyal'(! sviidu sugandhi svayal'(! kare patitam / phalam
nidariiana (II): (I) negative illustration; a figure in which the illustrative utsrjya tadanfl'(! tiimyasi mugdhe mudhediinfm (Rudrata; the excellence
example demonstrates in the negative the point originally made in of the "fruit" abandoned is thus emphasized: "Abandoning this
the negative. (2) M 149. (3) kva siiryaprabhavo val'(!sab kva dilpavi- fruit, which has ripened in its own time and, sweet smelling, has
~ayii matib / titfr~ur dustaral'(! mohiid ut/upenasmi siigaram (Kalidasa, fallen of itself into your hand, you now regret, 0 lovely-how
quoted by Mammala; the poet thus indicates his modesty before uselessly!"). (4) "This wimpled, whining, purblind, wayward boy; /
the task he has set himself: telling the true history of the Riighava: This senior-junior, giant-dwarf, Dan Cupid; / Regent oflove-rimes,
"How can my feeble skill cope with a race born of the sun? I am lord of folded arms, / Th'anointed sovereign of sighs and groans, /
about to cross the fearsome ocean in a rowboat"). (4) "I've heard it Liege of all loiterers and malcontents, / Dread prince of plackets, king
said my father was a bang-up poker player. But there wasn't much of codpieces, / Sole imperator and great general / Oftrotting paritors:
chance of his winning, not with those chaps. Mostly, they were -0 my little heart!- / And I to be a corporal of his field, / And wear
serious, hard-working professional men-thieves, forgers, cntthroats, his colours like a tumbler's hoop!" (Shakespeare). (5) Rudrata
small-time river pirates and a backslid preacher or two-as interesting gives four examples, each illustrating one of the four genera of
spoken a group as you would care to meet, bnt they conld no more meaning:jiiti, kriyii, gUlJa, and dravya. The example cited is dravya;
have gambled honest than they would have been comfortable in the English example, a potpourri.
church" (Robert Lewis Taylor). (5) According to Mammala, this
illustration through two negatives or opposites suggests a simile. pariVj"tli
Indeed, the positive understanding derived from the figure is a pariVj"tli, 'exchange': (I) a figure expressing non-literally an exchange of
simile: "crossing the sea in a rowboat is like describing the Riighava"; ideas or things; "give and take". (2) B 3.40 (41), D 2.355 (356),
"those who gamble dishonestly resemble those who are uncomfort- V 4.3.16, U 5.16, R 7.77 (78), M 172. (3) sastraprahiiral'(! dadatii
able in church". Yet the point seems rather truistical and implicit bhlijena tava bhiibhujiim / ciriirjital'(! hrtal'(! te~iil'(! YaBab kumudapiilJ-
l
204 GLOSSARY
GLOSSARY 205
duram (Daw}in: "Striking blows with your sword, 0 King, your arm parisa!pkhya
has seized the long possessed and lotus-pale glory of this earth's parisa!pkhyii, 'delimitation': (I) an alaJ!lkiira identical with niyamavat
princes"). (4) '''By whose direction found'st thou out this placeT sle$a. (2) R 7.79, M 185. (5) The name most generally means
'By love, that first did prompt me to enquire. He lent me counsel, 'enumeration', but the logicians use the term in a special sense:
and I lent him eyes'" (Shakespeare). (5) The idea that one action 'exhaustive enumeration'; hence the application here, where a
entails both an acqnisition and a loss is central to all the varieties of series of ideas are limited to special senses through an enumeration
parivrtti mentioned by our authors. The differentiating criteria are based upon mention of those limitations.
extrinsic to the notion of exchange and concern only the things
paryiiya
exchanged; they may be similar or dissimilar (Vamana); if dissimilar,
better for worse or worse for better (Mammata, Udbhata); the ex- paryiiya (1), 'synonym': (1) same as aprastutaprasaJ!lsii II. (2) R 7..42
change may be anspicious or inauspicious (Udbhata), literal or (43). (5) This term evidently snppletes the otherwise absent
figurative (Rudrata). Only Bh~waha, the earliest of the writers, figure aprastutaprasaJ!lsa in Rudrata. The definition alone could be
diverges in any way from this sterile mechanism by asserting that inter.rreted as the figure paryiiyiJkta, also absent in Rudrata. It is
the exchange must be seconded by dr.awing a moral (arthilntaranyiisa, the inverse of bhiiva II.
q.v.), as: ''pradiiya vittam arthibhya!Jsq.yasbdhanam Mita / saliiJ!l viSva- paryiiya (II): (I) same as viSe$a II. (2) R 7.44 (45-46), M 180-81. (5) A
janfniiniim idam askhalitaJ!l vratam" ('GiviIigwealth to all who ask, he single thing is represented in several contexts, or several things in
obtains a treasure of glory: such is the inescapable duty of the just'). one context. The unique thing is generally a state of soul, such as
nyiina, 'deficient': (I) a type of parivrtti in which the item exchanged is happiness or valor, and the poetic force of the figure is presumably a
inferior in quality or station to the .item acquired. (2) U 5.16, function of a figurative denial of the law of the excluded middle.
M Inc. (3) netriJragavalabhriimyan mandartidrisirascyutai!J / ratnair There is no obvious relation to the figure paryiiyiJkta or to the other
iipurya dugdhfibdhiJ!l ya!J samiidatta kaustubham (Udbhata; Vi~l).u variety ofparyiiya given by Rudrata. Mammata accepts bothparyiiya
is referred to: "He filled up the sea of milk with jewels fallen from in sense two and paryiiyiJkta, establishing them as separate figures.
the primeval mountain top where he wandered in the Snake King's
paryiiyokta
caves; then he took from the sea a magic jewel of inestimable price").
(4) "Seeing my flesh must die so soon, / And want a head to dine paryiiyokta, 'periphrasis': (I) a figure in which a speaker conveys his
next noon,- / Ju.st at the stroke, when my veins start and spread, / intention without reference to the evident motive which prompts
Set on my soul atn,verlasting head" (Sir Walter Raleigh; in expecta- his utterance; oblique reference. (2) B 3.8-9, D 2.295-97, U 4.6,
tion of his execution). AP 345.18, M 175. (3) dasaty asau sahakiirasya manjarfm / tam
visi~ta, 'qualified': (I) a type of parivrtti in which the item exchanged is
ahaJ!l viirayi$yiimi yuviibhyiiJ!l svairam iisyatiim (Dal).<:lin: "The
superior in quality or station to the item acquired. (2) U 5.16, cuckoo is eating the mango blooms; I'll go shoo him off. You two
M Inc. (3) latiis tv adhvanyiiniim ahaha drsam iidiiya sahasii dadaty sit down here in peace"). (4) '''I should like that very much. Where
iidhivyiidhibhramiruditamohavyatikaram (Mammata; the wanderers shall we go l' I reflected a moment and answered, 'I hardly like to
are reminded of their distant loves: "The lovely creepers steal the suggest a public bar, but I notice the Eagle is close by, and though
sight of wanderers and give back pain, suffering, loss, sobbing, and it is but a primitive place with a small bar and very hard chairs, it
confusion"). (4) "Even such is Time, that takes in trust / Our youth, is a free house. The beer is said to be drinkable'. 'The only difficulty
our joys, all we have, / And pays us but with age and dust" (Sir is that I am forbidden by my doctor to drink beer'. 'I understand
Walter Raleigh). that the Eagle frequently has whisky, rum, and gin, as well as beer'.
sarna, 'equal': (I) a type of parivrtti in which the item exchanged and the 'I was hoping that we might find more congenial surronndings at
item acquired are similar or of equal value. (2) U 5.16, V 4.3.16, your studio'. 'I'm afraid my studio is in process of cleaning. We
M Inc. (3) (4) See parivrtti. should not be comfortable there. Why not come and try the lemonade
l
at the Eagle?''' (Joyce Cary; neither speaker has any money). cancellation as far as the onlooker is concerned. Pihita could be
(5) The figure might be called "pretext" (both examples illustrate this mentioned as a special kind of iidhikya atisayokti: there the exaggera-
kind of oblique reference), but the term would be too limited for tion of the force of the quality also minimizes another quality.
the Sanskrit cases, some of which would make good illustrations for It differs from atiSayokti in that the qualities in pihita are not
Anandavardhana's dhvani. The specific alleging of a pretext is the contraries, but may be any two not normally concomitant.
figure ida. Bhamaha's example from the Ratndharm;la shows a
periphrasis without the alleging of a pretext: "grhdv adhvasu va ponaruktibhlisa
ndnnarp bhunjmahe yadadhftina/z / na bhunjate dvijas ..." ('We do not ponaruktibhlisa, 'appearance of redundancy': (I) a figure in which two
eat food, either at home or while travelling, which learned Brahmins homonyms are used in the same sentence in different senses. (2)
have not tasted'). This is uttered by Kr~l}a in order to avoid being U 1.3, M 122-24. (3) tanuvapur ajaghanyo'sau karikunjararudhira kta-
given poisoned food. Similarly, the example from Dal}gin is spoken kharanakhara/z / tejodhama maha/z prthumanasam indro hariji$1;lu/z
by a go-between who has arral\ged the rendez-vous and now takes (Ma=aia; tanu-vapur is not, as one might be led to believe,
her leave. All these cases share the common trait of makiug an 'body-body', but 'slight-bodied': "The lion, accustomed to conquer,
oblique reference without that reference being based in any way slender bodied, first among beasts, the nails of his paws red with
upon simile or its elements. Tb¢"~gllre samasokti also involves the blood of lordly elephants, a repository of splendor, majesty
oblique reference, but to an object which is understood as the subject itself, the Indra of the ambitious"). (4) " ... for if I was a light of
of a comparison and by means of a recitation of properties presum- literature at all it was of the very lightest kind" (Samuel Butler).
ably common to both the implicit and explicit subject. Aprastuta- (5) Compare avrtti, where the repetition is not apparent, but real.
prasarpsa reposes on other kinds of relation (such as cause-effect), For Ma=aia, this is the only alarpkara which involves both
but that relation is commonly evident in the examples. Paryayokta, sabda and artha.
however, depends upon nothing but context and connotation for its
comprehension, and it need not serve even a descriptive (let alone pUrva
comparative) end. It would seem that all cases of suggestion not piirva (I), 'previous': (I) a figure in which the subject of comparison is
otherwise classifiable should be referred to this head. Mammaia said to precede in the order of creation or time the object to which
gives paryayokta as well as paryaya II, establishing the two as differ- it is compared. (2) R 8.97 (98). (3) kale jaladakuldkuladasadiSi
ent figures. purvarp viyoginfvadanam / galadaviralasalilabhararp pascad upajayate
gaganam (Rudraia; the face of the woman separated from her lover
pihita was created before the sky: "In the season when the ten directions of
pihita, 'hidden': (I) a figure in which a quality or attribute is pictured as the sky are obscured by legions of clouds, the face of the separated
withstanding, and predominant over another quality which in the wife appears first; only then does the sky release its load of incessant,
normai state of affairs would he the stronger. (2) R 9.50 (51). (3) flowing rain"). (4) "Be you not proud of that rich hair / Which
priyatamaviyogajanita krsata katham iva taveyam ange$u / lasadin- wantous with the love-sick air; / Whereas that ruby which you wear, /
dukalakomalakantikalape$u lak$yeta (Rudraia; the thinness of her Sunk from the tip of your soft ear, / Will last to be a precious stone /
aspect is obscured by her moon-like glamour: "The thinness which When all your world of beauty's gone" (Robert Herrick; the beauty
you suffer in separation from your lover is not easily perceived, of the ruby will outlast the beauty of her hair). (5) There are a
for your limbs are effulgent with beauty gentle as the glimmer of confusing number of figures and subtypes which involve in some
the waning moon"). (4) "He that looks still on your eyes, / Though way or other tampering with the normal time sequence. In the
the winter have begun / To benumb our arteries, / Shall not want present case, since we are dealing with an implicit comparison, an
the summer sun" (William Browne). (5) Cf tadgu1;la. Unlike assumption of the object's natural primordinateness is legitimate
sambhiivyamanartha,.·there is no transference of quality here, only because, for the purposes of the comparison, it possesses reality in a
2
higher degree (that aspect of reality which is relevant-the common subject with which they are implicitly compared. All of Mamma,a's
property). By inverting this assumption, we obtain an effect some- examples show an affectation of inferiority for or on the part of the
what like vyatireka. Usually, however, the temporal inversion serves object of comparison. Rudra,a, however, though he gives the same
as a modality for exaggerating a quality of presumed effect (ktirya- example in one case, says that the inferiority attaches to the subject of
ktira/Japaurvaparyaviparyaya atiSay8kti), or it is simply one of the comparison and thus amounts to an ironic affirmation of that sub-
ways in which the causal process is distorted, for whatever effect ject's comparability. He interprets the example already given as a
(ktiryanantaraja hetu and purva II). taunt cast at the girl who is unable to bear the sight of the lotuses.
piirva (II): (I) same as ktiryanantaraja hetu (2) R 9.3 (4). (5) See purva I. Compare the following example: "The Model Boy of my time-we
Expressed as an inference, this figure is also noted by Rudra,a never had but the one-was perfect: perfect in manners, perfect in
under anumiina. dress, perfect in conduct, perfect in filial piety, perfect in exterior
godliness; but at bottom he was a prig; and as for the contents of
prativastilpamli
his skull, they could have changed place with the contents of a pie, and
prativastopamli, 'counterpart simil~": (I) same as prativastu upamti. nobodywould havebeen the worse offfor it but the pie" (Mark Twain).
(2) V 4.3.2, U 1.22-23, M 154. (5) Prativastupamti involves the repeti-
tion of the common property; ther~~~ed be no parallelism of terms pratyanika
within the two situations. At any' rate,' this figure differs from pratyanika, 'counter-attack': (I) a figure in which the object of comparison
dmanta in that the emphasis is placed upon the repetition and not is represented as taking revenge for a set-back initially suffered at
on the parallelism. Cf also ubhayanytisa. ,II' !;if'"' (I,L,> " D, I,I~) the hands of the subject. (2) R 8.92 (93), M 196. (3) yadi tava tayti
jigf$oS tadvadanam ahari ktintisarvasvam / mama tatra kim tipatita'fl
pratipa
tapasi sita'flso yad eva'fl mtim (Rudra,a: "The beauty of the cool-
pratipa,'against the grain': (1) a simile in which an affected pity or blame rayed moon, contesting my beloved's glance, has been claimed away;
is directed at the subject of comparison in the presence of the object, how does it happen then, 0 moon, that the sight of you consumes
or vice versa. (2) R 8.76 (77-78), M 201. (3) garvam asa'flvtihyam me?"). (4) "Arise, fair sun, and kill the envious moon, / Who is
ima'fllocanayugalena vahasi ki'fl bhadre / santidrstini diS! dlSi sarabsu already sick and pale with grief / That thou her maid art far more
nanu nf/ana/lntini (Rudra,a, Mamma,a; interpreted differently, see fair than she" (Shakespeare). (5) This is a vyatireka with the tables
below: "How can your eyes bear such insupportable arrogance? turned. The term on whom the revenge is wreaked is ordinarily a
There are hundreds of blue lotuses in all the ponds"). (4) "Cupid neutral, but may also be the subject of comparison. The English
and my Campaspe played / At cards for kisses-Cupid paid: / example is perhaps wide of the mark in that the object of comparison
He stakes his quiver, bow and arrows, / His mother's doves, and team itself is not only set back initially (by the girl to whom the remark is
of sparrows; / Loses them too; then down he throws / The coral of directed) but is also finally dishonored (by the sun); but the intent is
his lip, the rose / Growing on's cheek (but none knows how); / With the same as that of the Sanskrit: the speaker is disturbed by the
these, the crystal of his brow, / And then the dimple of his chin: / suggestive beauty of the pale moon. Cf pratfpa, where the object
All these did my Campaspe win. / At last he set her both hiseyes, / is determined as resentful, but where no element of riposte is present.
She won, and Cupid blind did rise. / 0 Love! has she done this to
thee? / What shall, alas, become of meT' (John Lyly: the speaker prasasti
pities himself as he watches his rival, Cupid). (5) This figure seems prailasti, 'flattery': (1) skill at employing words capable of melting the
to be a minor variation on vyatlreka in which the outright distinction resistance of others. (2) AP 345.3-4. (5) Prasasti may be divided
between the two terms compared is qualified or mediated by an into prem8kti ('speaking kindnesses') and stuti ('praise'). Ktinti,
expression of affected pity or blame. In the two examples given the next sabdarthtilamktira, is described as the use of such flattery in
above, the lotuses am!- Cupid are depicted as exciting the envy ofthe appropriate circumstances.
1
GLOSSARY 211
210 GLOSSARY
prasna question in which the key to the solution is hidden, usnally by a

grammatical device. (2) D 3.105 (122). (3) kena kal;z saha sarrzbhilya
prasna, 'question': (I) a figure wherein a question or remark suggests its
sarvakitrye"u sannidhim Ilabdhvit bhojanakitle tu yadi dr${o nirasyate
answer or reply. (2) R 7.93 (95). (3) kirrz svargiid adhikasukharrz
(Dal)<;lin; the answer is "the hair" and is given by understanding kena
bandhusuhrtpalJlJitail;z samarrz lak~mil;z I sauritjyam adurbhik~arrz
as the instrumental not of the interrogative, but of the noun ka
satkitvyarasamrtdsvitdal;z (Rudrata; poetry is preferable to salvation:
('head'); it is considered improper to show one's hair during eating:
"Is the nectar-like taste of true poetry-a prosperous empire which
"What with which coexisting in all their actions, and having come
knows no famine and the good fortune of relations, friends, and
together during meal time, is, nevertheless, as soon as seen, pnt
teachers alike-more agreeable than salvation?"). (4) "Was this the
aside?"). (4) "What kind of cat is most valued in Snnday-school?"
face that launch'd a thousand ships, I And burnt the topless towers of
(Robert Merry; answer: a catechism). (5) The paradox here is
Ilium?" (Christopher Marlowe). (5) The rhetorical question. Rudra-
entirely concealed because neither the answer nor a paradoxical
ta calls this also uttara (g.v.), but since it is the reverse of the first
reference which wonld suggest the natnre of the solution is given
type, we give it here. Prasna differs from parisarrzkhyit in that the
explicitly in the statement; in fact, the first reading does not suggest
answer alone is intended, not the nature of the concept.
that a paradox is even intended. In the examples, the key is given
praheliki> by a linguistic interpretation of one of the words of the statement
prahelikli, 'riddle': (I) a puzzle, riddle, conundrum; a phrase, statement, (kena from ka; catechism as a kind of cat). Cf vaiicita and paru~a.
or question constructed deliberately so that its meaning shall be This and the following type (ekacchanna) represent a different kind
misconstrued, but in some way intimating a solution to the difficulty of classification in that they necessarily involve the question form.
thus created. (2) B 2.19, D 3.96-124, AP 343.22, 25-26, R 5.25 (29). Most Sanskrit riddles are not questions, unlike the English ones.
(3) katham api na drsyate'sitv anvak~arrz harati vasanitnl (Rudrata; The majority of the prahelikit concern the mode of conceahnent
answer: viiyul;z; "He is not at all visible though he seizes most (riddle-ness), whereas these two concern the mode of solution (given
obviously their clothing" ; answer: the wind). (4) "What is that which a question).
is often brought to table, often cut, but never eaten?" (Robert Merry; ekacchanna, 'partly concealed': (I) a conundrum in the form of a question
answer: a pack of cards). (5) Prahelikit is first mentioned by iu which the key to the solution is partly given by a descriptive
Bhamaha as an illegitimate extension of yamaka ('cadence'); serving qualification. (2) D 3.104 (121). (3) na sprsaty ityudharrz jittu na
no poetic purpO$I', this topic was apparently soon adopted into the stri1;litrrz stanama1;lt/alam I amanu~yasya kasydpi hasto'yarrz na kUdpha-
of
growing rag bag citrakitvya. Dal)<;lin, who gives the most extensive lal;z (Dal).<;lin; intended is the gandharva-[amanu~ya] hasta, a name for
the era1;lt/a tree: "He touches no weapon and not even the breast of
treatment (enumerating sixteen types), also avers that such puzzles
serve only as recreation for scholars or critics and perhaps can be used woman; the hand of this umnasculine thing is nevertheless provided
to demonstrate the prowess of one writer over another_a sort of with fruits"). (4) "Who prolongs his work to as great a length as
verbal jujitsu. The Agni Purit1;la and Rudrata both mention only possible, and still completes it in time?" (Robert Merry; answer:
two types of riddle: one in which the answer is already contained the rope-maker). (5) The name "partly concealed" refers to the fact
in the riddle phrase by a different reading of words (spa$(apracchan- that a part of the truth must be given in order for the paradox to be
ndrtha), and the other, the most frequently met variety, in which an understood. In the Sanskrit examples, the fruit (of the tree) is
apparent paradox is proposed (vyithrta). Both types can be found in regarded as giving just enough clarity for the paradox to function.
Dal)<;lin, the first as ubhayacchanna, the second as ekacchanna. The In the English, the word "length" fulfills the same function, for it
example given above illustrates the second type. Since neither the candidly refers to the rope, too. This and the preceding type repre-
names or the types found in Dal)<;lin are met with elsewhere, the sent a different level of classification and are opposed to one another
sixteen varieties will be given here. in the sense that ubhayacchanna involves only an apparent paradox.
ubhayacchanna, 'both concealed': (I) a conundrum in the form of a Compare viSe~{jkti alarrzkitra, virodha, and virodhi1bhitsa.
niimantarita, 'of another name': (I) a conundrum whose solution is dve~f satrub kar1;las tasya gurub pita siiryas tasya piidaib kira1;laib hatab
effected by understanding that the statement in fact implies a name santapitab" and "himtipaho vahnib tasyamitrani ..lalani te~a'fl dharair
and not the subject apparently intended. (2) D 3.102 (116). (3) ..laladharaib meghaib vyaptam"; the example is written in what
adau ra..lety adhfrak,'i parthivab ko'pi gfyate I sanatanas ca naivasau amounts to a code; translation would not clarify anything). (4)
raja napi saniitanab (Dal)<;lin; answer: the tree rajatana, i.e., raja "When does a temperance lecturer say a grammar lesson?" (Robert
accompanied by [sa] absence of rna] non- [a] posterity [tana]. This Merry; answer: when he declines a drink). (5) "Drink" as a verb
tree is neither a king nor eternal [sanatanab]: "There is a certain refers to "declines" in one sense, as a potion, in another. Strings
earth-lord, called a 'king' at first, who is eternal; but he is neither a such as the Sanskrit offers are unobtainable in English. This conun-
king nor eternal"). (4) "What word is that to which if you add a drum is identical with a later do~a, neyarthatva.
syllable yon will make it shorter?" (Robert Merry; answer: the word paru~a, 'hard': (I) a conundrum whose solution is given by applying an
"short"). (5) In effect, the connndrum is here the obfuscation of a apparent or false etymology (which is not justified by any usage)
name. It differs from paru~a prahelika in that the statement of the to a word in the statement. (2) D 3.100 (113). (3) surab suralaye
conundrum conceals the name',jtself, which is then put in quotes, svairarrz bhramanti dasanarci~<;ii / majjanta iva matttis te saure sarasi
rather than simply concealing anothfll possible interpretation (usually sa'flprati (Dal)<;lin; by taking surab 'gods' as sura asti ye~a'fl te surab,
etymological) of the name.',;. the meaning 'drunkards' is obtained. This satisfies the paradox of
nibbrta, 'hidden': (I) a conundrum whose'solution is hidden by a sequence the 'gods' being intoxicated: "The Gods wander freely in heaven
of descriptive qualifications, each of which involves a parallelism of showing their teeth, like drunken elephants in your celestial tank).
attribute between the hidden subject and the apparent meaning of (4) "What vessel is that which is always asking leave to move?"
the statement. (2) D 3.102 (117). (3) hrtadravya'fl nara'fl tyaktva (Robert Merry; answer: can-I-ster).
dhanavanta'fl vra..lanti kab I nanabhafigisamakr#aloka veSya na prakalpita, 'arranged': (I) a conundrum whose solution is given by under-
durdharab (Dal)<;lin; here the prostitutes are to be taken as "rivers", standing the context in which the statement is made, and does not
the penniless man as "mined mountains", the rich man as ~'the sea" depend on any power of words to convey several meanings. (2)
(as the repository of jewels), the coquetry as "ripples", and so on. D 3.101 (115). (3) gira skhalantya namre1;la Sirasa dfnaya drsa I
Instead of reading "what prostitute is not difficult to support?" ti$fhantam api sotkampa'fl vrddhe ma'fl nanukampase (Dal)<;lin; it
the phrase now reads "what rivers are not to be bathed in [vesya]?" would appear that this is addressed to an old lady, and therefore
The translation is.: "Which prostitutes are not difficult to put up with, seems out of place; the solution is given by takiug vrddhe as a name
to whom men are,attracted by various artifices and who abandon a for Lak~mi: "You have no pity on me, aged lady, though I stand
man when they have taken his money in favor of one who has here agitated, with affiicted visage, bent head, and faltering voice").
money?"). (4) "What is that which, supposing its greatest breadth (4) "'Now then: five crows were sitting in a tree .... A man came by
to be four inches, length nine inches, and depth three inches, con- with a gun. He shot one of them. How many were left in the tree?'
tains a solid foot?" (Robert Merry; answer: a shoe). (5) This 'That is no problem', said Sofie. 'There were four crows left, of
conundrum differs from samanariipa only grammatically: the latter course'. 'Yes, if they were such dumb crows as you .... Now, Hans,
should involve a similarity of form (nominal comparability), the how many were left?' 'None', answered Hans, thoughtfully. 'Right-
former a similarity of qualification (adjectival comparability). a!. There were none left .... But say, Hans, what do you think
parihiirikii, 'avoiding': (I) a conundrum whose solution is effected by became of the others?' ' ... I suppose they flew away'" (0. E. Rol-
interpreting a series of words, in secondary senses, in such a way vaag). (5) Vrddha is not a pun, for Lak~ml bears that epithet in
that each succeeding one refers to the preceding secondary sense. approximately the sense of 'thefully developed one'. The conundrum
(2) D 3.104 (120). (3) vijitatmabhavadve~igurupiidahato ..lanab I plays only on the legitimate connotations of the one word. Similarly,
himapahfimitradharair vyapta'fl vyomabhinandati (Dal)<;lin: "vina Rolvaag seems to be referring to a single crow, whereas in fact his
[inst.] garudena jita indras tasyatmabhavab putrab arjunas tasya question concerns the species crow and its social behavior. There
is no pun in the strict sense (compare vaiicita prahelika); the puzzler but not lexically unjustifiable, ~ense. (2) D 3.98 (109). (3) kubjam
simply phrases his statement in such a way that the listener is led to asevamanasya yatha te vardhate ratil; / naivalfl nirvisato narfr
consider the wrong context for the statement. amarastrfvit/ambinfl; (Dal).4in; kubja ('humpback') should be taken
pramu~ita, 'distracted': (1) a conundrum in which the solution is hidden in the secondary sense of kanyakubja (the city), that is, Kanauj):
by a series of extremely difficult, archaic, or irregular words. (2) "Your passion grows as you consort with the hunchback woman;
D 3.99 (111). (3) khdtayal; kani kale te sphiitayal; spharhavalgaval; / you have no use for women who outdo the wives of the Gods").
candre sak$ad bhavanty atra vayavo mama dharilJal; (Dal).4in: "Young (4) "Who was the first that bore arms?" (Robert Merry; answer:
lady! [kani] your words [air-goers], full of sense, are sweet to my Adam; arrived at by taking "arms" in the sense of "upper extremi-
desire in this your lovely [moon-like] condition; my life [winds] is now ties"). (5) In these two examples, the obvious context suggests that
secure"). (5) The best English equivalent for this puzzle is the rebus, kubja be taken in the sense of 'female hunchback', and that "arms"
a sequence of pictures and words whose puns, synonyms, and spatial be taken as "firearms". The writer uses this evident primary sense
arrangement are the key to comprehending the meaning. Compare to deceive us.
this one from Robert Merry which involves only diagrams: "Mr. vyutkranta, 'out of order': (1) a conundrum whose solution is obtained
-wood being at the . of king of terrors, 10 mills for his quakers, by rearranging the words of the statement. (2) D 3.99 (110). (3)
and who, which and what. They ~~?r for Dr. Juvenile Humanity, dalJt/e cumbati padminya halflsal; karkasakalJ!ake / mukhalfl valgura-
Iwho I to Dr. Hay preservers, and little" devil behold scarlet his
valfl kurvalfls tUIJt/endfigani gha!!ayan (Dal).4in; the proper sense is
given by reading "karkasakalJle dalJt/e padminya afigani gha!layan
assistance; but B 4 he arrived, the not legally good changed color, valguravalfl kurvan halflsas tUIJt/ena (padminyal;) mukhalfl cumbati":
taker "Rubbing the members of the lotus on its stalk rough with spines,
and the was ct. for" (Mr. Dashwpoq, being at the point of death,
the swan kisses the face [of the lotus] with his beak, making a soft
sent for his friends and relatives. They sent for Dr. Childs, who murmuring"). (4) "Was he short taken" (James Joyce; an example of
inclosed a few lines to Dr. Barnes and imp-lo-red his assistance. the classical "anastrophe"). (5) This is a sort of anagram of words
But before he arrived, the invalid died, and the undertaker was sent instead of letters.
for). salpkirl).a, 'mixed': (I) a riddle containing more than one of the riddles
Bohtlingk expresses indignation at this sort of thing, calling it too listed under prahelika. (2) D 3.105 (123-24). (3) sahaya sagaja sena
difficult for man or beast: "Ein solches Ratsel kann nur ein Inder sabhaleyalfl na cej jita / amatriko'yalfl milt/hal; syiid ak$arajiiai ca
losen and wenn e~uns die Losung mittheilt, fragen wir, wie konnte nal; sutal; (Dal).4in; a mixture of namdntarita (sahaya and sagaja
DalJt/in ein Ratse! aufgeben, das ein normal gebildetes aehim nie taken as 'consisting of ha, ya, ga, and ja') and vaficita (sena in the
und nimmer losen wird?" Such scholarly impatience is too often unusual sense of sa-ina); but would this not more properly be inter-
met with-a regrettable ethno-centrism. Puzzles of this sort are preted as pramu$ita? "If that army, with horse, elephant, and foot
common in all literate cultures, especially among the un- or under- not be conquered, then our son, though he know the ineffable
educated; but when an Indian is obscure, the Western critic deems [ak$ara], is indeed unlettered and stupid"; or, "If the alphabet,
it his specific vice and never considers the purpose of the obscurity with its 'h, y, g, j, i, n, bh, t' be not learnt, then our son, though
orits nature. Would Bohtlingk condemn all light verse? Comparative he know letters, is indeed ... "). (4) "In what ship, and in what
studies, such as the present one, may in some measure dispel this capacity, do young ladies like to engage?" (Robert Merry: answer:
unwarranted prejudice which, in its way, is quite flattering to the in court ship, as marry-ners; the first illustrates namdntarita, the
Sanskrit language, for it would seem to imply that anything writteu second, paru"a).
in Sanskrit is ipso facto serious and great. saJPkbyata, 'counted': (1) a conundrum whose solution is given by
vaiicita, 'deceived': (1) a conundrum whose solution is obtained by taking interpreting qualities in another way than that intended by the
one of the words in th.e statement of the conundrum in a secondary, statement. (2) D 3.101 (114). (3) nasikyamadhya paritas caturvarlJa-
vibhil$itti I asti kticit purl yasytim a~lavaYlJdhvayti nrpti/z (Dm;H;lin: so morphemicized) is a common word for the lips (adhar-a is the
"There is a certain city, adorned with the four castes, in the midst of lower one); likewise, prakr$/akda is to be taken as pra-viila by the
the Nasikyas, whose kings are called 'eight fold"'; or: "There is a same process of substitution, and this is the name of a creeper:
certain city with a nasal in the middle, surrounded by four phonemes, "surpassing the praviila creeper": "Something of yours, famed for
whose kings bear a title of eight phonemes"; the answer is Kane!, having conquered excellent hair, and with the name ofnon-earth, now
capital of the Pallaval). (4) "What has four eyes and can't see?" makes me awaken to desire"). (4) "Father plugs an abbreviation"
(Trad.; answer: Mississippi). (Robert Merry; this is so decoded as the name of a river: the "Pa-
samiigata, 'conjoined': (1) a conundrum whose solution is already taps-co" in Baltimore). (5) Compare pramu$ita, where the etymologi-
contained in the statement of the conundrum and is revealed by a cal analyses are in theory legitimate (though our English example
different reading of the constituent words (sarrzdhi). (2) D 3.98 (108). shows some of this type).
(3) na maya gorasdbhijnarrz ceta/z kasmat prakupyasi I asthiinaruditair salpmii4ba, 'confused': (I) a conundrum whose solution consists in prop-
ebhir a/am iilokitek~aQe (Dal)<,lin; .the answer is obtained by reading erly interpreting the intentional force of the statement, that is, in
na me ago-rasdbhijnarrz, etc.: "I'did not mark my mind with cow grasping fully its syntactical relationships. (2) D 3.103 (119). (3)
milk; why are you angry? Quit t!:lese inappropriate sobbings, my sayanlye paravrtya sayitau kaminau krudhii I tathaiva sayitau ragat
love of sidelong glances"; or: "My~nd is not distinguished by a svairarrz mukham acumbatam (Dal)<,lin; by taking tathaiva not as "in
taste for sin ..."). (4) "What is that which is invisible, but never out the same position" but as "turning over again", the statement is no
of sight?" (Robert Merry; answer: by reading "in visible", the letters longer paradoxical: "In the bed the two recumbent lovers turn
"i" or "8"). over from anger; likewise recumbent they kiss each other's faces in
samanariipa, 'of the same appearance': (1) \i conundrum whose solution passion"). (4) "How can five persons divide five eggs, so that each
is given by interpreting several related words of the statement in man shall receive one, and still one remain in the dish?" (Robert
appropriate secondary meanings. (2) D 3.100 (112). (3) atrodyane Merry; answer: one takes the dish with the egg). (5) This type is
maya dr$/a vallari pancapallava I pallave pallave tamra yasyarrz similar to praka/pita, but here the context in which the phrase is
kusumamaiijarf (Da1)gin; the "creeper" is her arm, the "shoots" spoken does not provide the key; rather the reverse: the ability of
her fingers, and the "bud" her red fingernail: "I saw in the garden a the phrase to correctly represent the occurrence is at issue. One
creeper with five shoots, and on each shoot a scarlet flower bud"). egg can remain in the dish when it is realized that this does not
(4) "Why is it profitable to keep fowl?" (Robert Merry; answer: for preclude the dish itself being appropriated. As in the Sanskrit
every grain they give a peck). (5) This type appears to be the same example, the confusing word is "still", for the mind is, as it were,
as vancita, but with the added qualification that more than one word compelled to conceive of an entirely unchanged first condition: that
be taken in a secondary sense. The relation of the secondary senses the egg not only remains in the dish, but that the dish is still. on the
then suggests the solution to the conundrum; as neither "grain" table. The mind is thus carried beyond the actual descriptive content
nor "peck" by itself is sufficient to enlighten the reader, their conjunc- of the phrase, where only one aspect of the original condition is
tion alone suggests the secondary sense (relating to grain as a col- unchanged, and falls into the syntactical blunder of overextending
lective) in which they both are to be taken. the prodosis in the apodosis. As in praka/pita, however, no power
samiinasabda, 'composed of the same words': (I) a conundrum whose of words to convey two meanings is here employed.
solution is effected by substituting synonyms for identifiable mor-
phemic elements of less than word length. (2) D 3.103 (118). (3) preyas
jitaprakmakddkhyo yas tavdbhumisdhvaya/z I sa mam adya prabhu- preyas (I), 'more agreeable': (I) the expression of affection in an extra-
totkarrz karoti ka/abhii~iQi (DaJ;l<,lin; the girl's lips are meant. Consider ordinary way. (2) B 3.5, D 2.275 (276). (3) adya ya mama govinda
'having the same name' (sdhvaya/z) as 'non-earth' (a-bhami). A jiita tvayi grhdgate I ka/enai~a bhavet pritis tavaivdgamanat puna/z
synonym for bhumi is dhara: substituting, we get a-dhara, which (not (Bhamaha, DaJ;l<,lin; spoken by Vidura: "The joy which I feel at
218 GLOSSARY
GLOSSARY 219
your coming today, Govinda, will return only when you come again !"). iijarisanathakaram I pasyantya bhavati muhur nitaraffl malina
(4) "Dear Mrs. A., I Hooray, hooray, I At last you are deflowered. I mukhacchiiya (Rudraia; the girl's troubled look [visible effect],
On this as every other day I I love you. -Noel Coward" (quoted by with its cause (the flower in the youth's hand], suggest her emotion
Wolcott Gibbs; telegram sent to Gertrude Lawrence on the occasion (despair], since the cause is seen to be a secret signal that the rendez-
of her marriage). (5) See rasavat, ilrjasvi. vOus must be postponed: "The girl's face is troubled as she looks
preyas (II): (1) that quality of a work of art by which descriptive situations upon the village youth with a new garland of hibiscus in his hand").
elicit and sustain in every way appropriately the basic mood (rasa) (4) " ... we had a small game, I And Ah Sin took a hand: I It was
ofthe work. (2) U 4.2. (3) iyaffl ca sutavallabhyan nirviSe~a sprhiivatiI Euchre. The same I He did not understand; I But he smiled as he
ullapayitum arabdhii krtvi!maffl krotja iilmana/z (Udbhaia; Piirvati sat by the table, I With a smile that was child-like and bland. I ... I
is fondling a young fawn: "Paying no heed to the difference and made But the hands that were played I By that heathen Chinee, I And the
loving through tenderness for all offspring, she began to hum and points that he made, I Were quite frightful to see, - I Till at last he
took it to her breast"). (4) "There will be a rusty gun on the wall, put down a right bower, I Which the same Nye had dealt unto me.
sweetheart, I The rifle grooves curling with flakes of rust. I A spider I Then I looked up at Nye, I And he gazed upon me; I And he rose
will make a silver string next in the darkest, warmest corner of it. I with a sign, I And said, 'Can this be? I We are ruined by Chinese
The trigger and the range-finder, J~jy,too will be .rusty.rf And cheap labour', I And he went for that heathen Chinee" (Bret Harte:
no hands will polish the gun, and itwilLhang on the wall. I Fore- Nye's Sigh (visible effect], with its cause [right bower in wrong hand],
finger and thumbs will point absently and casually toward it. I It suggest his emotion [thirst for revenge], since the cause is seen to
will be spoken among half-forgotten, wished-to-be-forgotten things. I be an indication of dishonest play). (5) This figure is testimony
They will tell the spider: Go on, you're doing good work" (Carl to the efforts of the stricter poeticians to include suggestion [dhvani]
Sandburg; the title of this poem is "A. B. F." and its mood is santa). within the realm of figure as traditionally conceived. Bhiiva is
(5) Udbhaia incorporates several elements of the rasa theory into more limited in scope than rasavat alafflkara, aiming only at suggest-
the traditional corpus of alafflkara. His pretext is the figure rasavat, ing a specific, temporally limited emotion, rather than a mood
which from the time of Bhamaha could be determined in any [rasa] which would be a general characteristic of the work itself.
passage in which a rasa was evident or pre-eminent. The two figures It is a kind of periphrasis of the soul; but since we know from the
closely allied to rasavat, namely ilrjasvi and preyas, which originally Dhvanyaloka that the soul can only be obliquely referred to, bhava
meant only 'arrogance' and 'compliance' and so contrasted with is hard to differentiate from the notion of suggestion itself. The
rasavat (as reposing upon the ego and not upon bhiivas common to figure differs from aprastutaprasafflsii both in that the intimated
all and especially the audience), are reinterpreted as special cases of snbject is there capable of representation, and in that the means of
rasavat: excessive demonstration of any rasa, and the present adapta- suggestion are similitudes of subject and explicit object. See
tion of situation and mood. We need not go into the precise and paryayokta.
sometimes subtle analysis of situation (vibhiiva, anubhiiva, etc.); bhiiva (II): (1) a figure in which a literal truth is expressed for the purpose
suffice it to say that the present figure can be explained (and is by of conveying a hidden intention. (2) R 7.40 (41). (3) ekakini yad
later writers) as a composition whose situational elements are consist- abala tarUl)i tathfiham asmin grhe grhapatis ca gato videSam I kiffl
ent and evocative of the proper final mood. yiicase tad iha vasam iyaffl varaki svasrilr mamandhabadhirii nanu
miit}ha pantha (Rudraia; the girl is inviting the wayfarer to bed:
bhiiva
"I am alone and weak and innocent, and my husband has left this
bhiiva (1), 'emotion': (I) a figure wherein the visible effect of an emotional house for a far country; why do you ask refuge here? Don't you
state, together with its apparently unrelated cause, suggests the nature realize that my mother-in-law is about, deaf and blind? Stupid
of that emotional state, which, in turn, explains the relevance of the traveller!"). (4) '''Good night. If I get to talkin' and tossin', or
cause. (2) R 7.38 (39): (3) griimataruljal]1 taruljya navavaiijulama- what not, you'll understand you're to-' 'Yes, I'll wake you'. 'No
l
r!
don't yu', for God~s sake!' 'Not?' 'Don't yu' touch me'. 'What'll pratyanfka, Rudrala decrees that the two things confounded are
I do?' 'Roll away quick to your side. It don't last but a minute .... subject and object of an implied simile; Mammala is more imprecise.
Oh, just don't let your arm or your laig touch me if I go to jumpin' Of course, any terms capable of being so confused must be similar,
around. I'm dreamin' of Indians when I do that. And if anything so the question is really one of whether the aspect of similitude is
touches me then, I'm liable to grab my knife right in my sleep'" the predominant feature or not-the motive, as it were. As Rudrala's
(Owen Wister: the Virginian wishes to avoid sharing a bed with the example shows, this need not be the case, for there the alleged con-
drummer). (5) Cf paryiiyfJkta, where the hidden intention is confusion of sacrificial smoke aud clouds is subordinate to the flattery
veyed by a remark with no apparent relevance. This figure, like of the king, which is the obvious motive.
vyiijfJkti, conveys a type of irony, but does not involve speaking
the opposite of one's real intent. mata
mata, 'deemed': (I) a figure in which one thing, conventionally well
bhiivika known and functioning as the subject of comparison, is taken to be
hhiivika, 'expressive': (I) the cohererfb~ of the entire work in a clear and another thing (the object) by a specially qualified observer. (2)
realistic unity. (2) B 3.53-54, D 2.3~1-66, U 6.6. (3) (4) No examples R 8.69 (70-71). (3) madiriimadabharapiilalam alikulanfliilakiilidha-
are offered by Bhamaha or Dal)gl:ng (5). This curious alalpkiira, mmillam / taruvfmukhamitiyadidarpkathayati lokal;z samasto'yam /
defined as a quality [guva] of the enti;e work, perhaps represents the manye'ham indur e~al;z sphulam udaye'ruvarucil;z sthitail;z pasciit /
extreme interpretation of the extent of the figure of speech. Here is udayagirau chadmaparair niSiitamobhir grhita iva (Rudrala: "What
clearer than usual the etymological sense of alalpkiira: a 'making the common herd deem to be a maiden's face, flushed with the first
adequate' of the work of art. Bhiivika is perceived in such aspects ecstasies of drink and framed in hair whose br~ids are dark as a
as the relevance of the various parts of the story to one another, the cloud of bees, I know to be the ruddy-glowing risen moon, attacked
clarification of difficult contexts by an emphasis on a chain of events, by the black vapors of night hidden like secrets behind the eastern
the suitability of the story to be represented in the form chosen, mountain"). (4) "The fairness of that lady that I see / Yond in
clarity of language, and so on. Dal)gin explains that this figure is a the garden roamen to and fro, / Is cause of all my crying and my
function of the poet's intention or desire (abhipriiya) and can be seen woe. / I noot wher she be woman or goddess; / But Venus is it,
as a competent rendering of that unity in the work. For a speculative soothly, as I guess" (Chaucer). (5) Like thefigurespratfpa,pratyanfka,
treatment of the ~gure, see the Introduction, pp. 50ff. and bhriintimat, this figure may be thought of as an implicit simile,
on the principle that what is confusable is comparable. But the
hhriintimat intention of the speaker mayor may not be to compare: in the second
bhriintimat, 'confused': (I) a figure in which one thing, usually the object example, the point of the rapprochement lies in the striking antithesis
of comparison, is mistaken for another, usually the subject of compa- rather than in the similitude of the two things. As a good example
rison. (2) R 8.87 (88), M 200. (3) piilayati tvayi vasudhiirp vividhMhva- of how those writers go astray who classify only by formal criteria,
radhumamiilinfl;z kakubhal;z / pasyanti duyante ghanasamayiisafikayii the Sanskrit example, which is a simile, reads also 'what looks like a
harpsiil;z (Rudrala: "While you, 0 King, protect the earth, the moun- girl's face to the unwashed is the moon to me'.
tain peaks are blackened by the smoke of so many sacrifices that
the geese, looking on, mistake them for the rain clouds and are sad"). miIIta
(4) " ... her eyes in heaven / Would through the airy region stream miIita, 'fused': (I) a figure wherein two qualities or aspects of the same
so bright / That birds would sing and think it were not night" thing are said to be indistinguishable, one imposing itself on the
(Shakespeare). (5) No element of doubt is admitted by those defining other. (2) R 7.106 (107-108), M 197. (3) madiriimadabharapiilalaka-
this term; confusion is complete to the point of mistake. In this polatalalocane~u vadane~u
/ kopo manasvinfniim na lak~yate kiimibhil;z
the figure differs from·:iarpsaya and from rupaka. As in pratfpa and prabhavan (Rudrala: "The anger caused by teasing lovers cannot be
l
GLOSSARY 223
222 GLOSSARY
seen on the faces of the spirited women whose cheeks are flushed and yamaka
whose eyes are bloodshot from devotion to spiritous liquor"). yamaka, 'doubled' or 'restraint': (I) a figure in which a part of a verse,
(4) "The hippopotamus's day / Is passed in sleep; at night he hunts; specified either as to length or position or both, is repeated within
/ God works in a mysterious way- / The Church can sleep and feed the confines of the same verse, usually in such a way that the meaning
at once" (T. S. Eliot). (5) If this figure is to be distinguished from of the two readings is different; word play (one of the meanings
ordinary aliSayokti, the difference is most probably that the confusion usually given to paronomasia). (2) NS 16.59-86, B 2.9-20 (definition,
ofthe two states through a property is to be understood literally and 17), D 3.1-72, V 4.1.1-7, AP 343.12-17, R 3.1-59, M 117-18. (3) na
not as exaggeration. If so, the figure would be au asserted salflsaya: Ie dhfr dhfra bhoge~u ramal}fye~u salflgalii / munfn api haranly ele
it is not that the redness of her cheeks due to wine imposes itself ramal}f ye~u salflgalii (Bhamaha; second repeats fourth piida: "0
figmatively ou the reduess of passion; one really can't tell from the steadfast, your consciousness is not acquainted with delightful
redness alone what causes it. Milila differs from pihila in that the pleasures; they seduce even the sages with whom a beautiful woman
states confused are similar, not"i\isparate. is involved"). (4) From an anonymous poem, entitled "London, sad
London", written during the early part of the Civil War:
mudr;i What wants thee, that thou art in this sad taking?
mudra, 'seal': (I) the ability of the poet!iJ express his intentions clearly. A King.
(2) AP 342.26. (5) This is the secondsabdiilalflkiira of the Agni What made him first remove hence his residing?
Purii1;la and can also be called sayyii ('bed'). Presumably, what is Siding.
meant is the old idea of siihilya as the unity of word and meaning, Did any here deny him satisfaction?
the expression of just the right idea in just the right way. In the Faction.
Sarasvatfka1;l!hiibhara1;la (2.125), the term is described as the able Tell me whereon this strength of Faction lies.
renderiug of the context of an idea. On lies.
What did'st thou do when the King left Parliament?
yathasaqJkhya Lament.
yathasaqJkhya, 'each to each': (I) a figure consisting of ordered sequences What terms would'st give to gain his company?
of terms, such as nouns and adjectives or subjects and objects of Any.
comparison, so arranged that item one of the first sequence matches But how would'st serve him, with thy best eudeavour?
item one of thd"second, item two of the first matches item two of Ever.
the second, and so on. (2) B 2.89 (90), D 2.273 (274), V 4.3.17, (5) Yamaka, one ofthe four original alalflkiiras (with upamii, rupaka,
U 3.2, AP 346.21, R 7.34 (36-37), M 164. (3) dhruvalfl Ie corilii aud dipaka), resembles a kind of paronomasia which goes by that
lanvi smiti!k~a1;lamukhadyulih ! sniitum ambhah pravi~!iiyiih kumu- somewhat inexact name "word play" in English. But because of
dolpalapaiikajaih(DalJCJin: "As you entered the water to bathe, you its highly developed and formal character in Sanskrit, I have chosen
certainly stole the beauty of your smile, eyes, and face from the red a more appropriate rendering: "cadence". The etymology of the
lotus, the blue lotus, and the white lotus"). (4) "The Piazza, with word can be traced either directly to the root yam- ('restrain') or
its three great attractions-the Palazzo Pubblico, the Collegiate to the derived form yama- (which can mean 'twin') from the same
Church, and the Caffe Garibaldi: the intellect, the soul, and the root. The application of either is obvious. Yamaka is a pun spelled
body-had never looked more charming" (E. M. Forster). (5) out. Except for the earliest writer, Bharata, it is specifically stated
Da(l<,liu gives as alternate names for this figure krama and salflkhyiina; that the meanings of the repeated portions must be different, and
Vilmana uses only krama. In the Agni Purii1;la, yalhiisalflkhya this involves either splitting the words differently (different morpheme
is considered a gU1;la rather than an alalflkiira! boundaries) or taking each word as a double-entendre. Either way,
a kind of pun is recalled (see sle~a): in the former, bhinnapada, in the
b
224 GLOSSARY
GLOSSARY 225
latter, abhinnapada (different or identical words). The term "parono-
Rudrala's only in detail and in the fact that he proposes little special
masia" can be used loosely either of word play or ofpunning (double-
terminology to cover the multitude oftypes. Rudrata gives a technical
entendre): when the two meanings of an identical sequence of words
name for each variety, only a very few of which seem to have been
are obtained simultaneously, we have sle$a or pun; when they are
traditional (see samudga yamaka). Both writers distinguish yamakas
obtained sequentially, we have yamaka or 'cadence'.
whose scope is the entire piida (quarter verse) from those whose
In English poetry, the figure yamaka is generally restricted to
scope is only a fraction of a piida (samastapiidaja, piidalkadesaja).
light verse and doggerel: "But from her grave in Mary-bone / They've
In the former category are included half sloka and whole sloka
come and boned your Mary" (Thomas Hood; referring to body-
yamakas (samudgaka, mahiiyamaka). (See also mukha, sal'fldal'flsa,
snatchers; a parivrlti yamaka). Occasionally, it serves a satirical
iivrti, garbha, sal'flda$taka, puccha, pafikti, parivrlti, and yugmaka
purpose, as in Joyce Cary's" watercolour slaughtercolour .
yamakas). The latter variety is, of conrse, infinite, and both writers
mortarcolour ... scortacolour tortacolour thoughtacolour ",
classify as to where and how much of the piida is involved (iidimad-
a samastapiida yamaka based on the movie industry's overuse of the
hyanta yamakas, etc.) and also as to how many piidas exhihit yama-
suffix "~color" ("technicolor,))vistacolor", etc.). Nowadays, in
kas, and how many times the yamaka itself is repeated. Many of
America at any rate, yamakas are f(lund most frequently in advertis-
these varieties have no name. Rudrata, the supreme technician,
ingjargon, where it is apparently beti~jed that they awaken curiosity:
divides "partial" yamaka into those whose scope is the half piida
"For news you can depend on, depeird onethe Chicago Daily News".
and those whose scope is a quarter or a third of a piida (see antadika,
This is also a parivrtti yamaka.
valelra, iidimadhya, etc.). All writers profess to be incapable. of
The figure yamaka is closely related to, and probably the progenitor
dealing with yamaka in its entirety.
of, several other figures, notably liiJanupriisa and the various kinds
Mter the triumph of the dhvani theory, yamaka comes to be con-
of citra. The former involves repetition of contiguous words (like
sidered the type par excellence of citrakiivya, the lowest of the three
Bharata's yamakas), and the latter depend on principles of repetition
varieties of poetry, which embodies nothing of poetic value and
other than the obvious linear one (such as zig-zag, palindrome,
displays mere verbal virtuosity. (See citra.) Yamaka and citra are,
hop-scotch, etc.). The figure has been minutely subdivided, especially
however, distinguished from one another very sharply by the
by Bharata, Dal).gin, and Rudrala, but all the distinctions relate
tradition. Cf the consistent yamakas of Raghuval'flsa 9th canto.
only to the scope and place of the repetition in the verse (first piida,
ak~ara, 'syllable': (I) a type of yamaka in which the repeated elements
beginning offirstpiida, first half offirstpiida, etc.). For this reason,
are syllables which occur either once, at the beginning of each piida,
I have not attempted to give an English example for each variety.
or in such a way that the entire piida or verse is composed of doubles.
English verses employ yamakas in no such consistent fashion (all
(2) V 4..1.2. (3) niiniikiire/Ja kiintiibhrur iiriidhitamanobhuvii / viviktena
would be classified as samuccaya yamakas by the precious), and
viliisena tatak$a hrdayal'fl nr/Jiim (Vamana: "The eyebrows of a
most of the English yamakas are not found in verse, anyhow. All
lovely girl strike into the heart of a man with varied coquetry,
the infinite varieties reduce to the same uniform notion: repetition
each of their shapes delightful to the Love God"). vividhadhavavanii
of word spans with different meanings.
niigagargharghaniiniivivitatagagniiniimamajjajjaniinii (Vamana; un-
Udbhata alone of the early writers does not mention yamaka,
clear in meaning). (5) Most yamakas are repetitions defined in piidas
though h~ devotes much thought to an elaborate classification of
or parts of piidas, rather than in single syllables, but compare piidlidi
liitanupriisa. The other writers differ largely as to the degree to I yamaka, where only the location of the repetition is specified.
which the analysis is carried. Bhamaha proposes only five types,
anta, 'end': (I) see piidanta.
Vamana a half-dozen, and Mammala, though admitting the infinity
antiidika, 'final-initial': (I) a type of yamaka in which the repeated elements
of possible types, illustrates only five. Bharata, however, describes
are the last half of the first piida and the first half of the second. (2)
ten varieties, which is rather surprising considering that he finds only
R 3.23 (24). (3) niiri/Jiim alasal'fl nabhi lasanniibhi kadambakam /
four types of upamii. ...Dal).gin's elaborate classification differs from
paramastram anafigasya kasya no ramayen mana/:! (Rudrata: "Whose
l
GLOSSARY 227
226 GLOSSARY
BzzB CxxC DxxD. (5) Type (a) is not illustrated; it is the inverse of
heart would not be delighted by the army ofyoung women, langorous, antiidika.
trepid, with gay navels-indeed the great weapon ofthe Love God?"). amre~ta, 'reiterated': (I) a type of yamaka in which the word at the end
(4) The form is: xA Ax xx xx. (5) Cf vyasta, samasta. of eachpada is repeated. (2) NS 16.79 (80), AP 343.16. (3) vijrmbhi-
ardhapariVj1ti, 'alternation by halves': (I) a type of yamaka consisting of tam nihsvasitam muhur muhu!; katharrz vidheyasmaravarrz pade pade /
a samasta plus an tidyanta yamaka. (2) R 3.34 (35). (3) sasara ya;hti ~a te dh~anam idarrz puna!; punar dhruvarrz gatiite rajani vina
sakarrz darpeva karrzdarpelJQ sasarasa / sarannavana bibhrava niivi- vina (Bharata: "Again and again yawning and sighing; why is your
bhrava sararrz nava (Rudrala: "The autumn now appears, replete with remembrance fixed on these several situations? Just as your medita-
ducks and the proud God of Love, her new cart bearing grass to tion returns again and again, so indeed the night passes without her,
the accompaniment of the chirpings of birds"). (4) The form is: without her"). (5) This yamaka of Bharata is peculiar in referring
AB BA CD DC. (5) The samasta yamaka accounts for the internal to the repetition of words; in fact, the later definitions of yamaka
repetition (BB, DD), the tidyanta for the enveloping repetition (A..A specify that the two readings obtained by repetition must have a
c..C). ',' different word base, and that the scope of the repetition is usually the
avyapeta, 'uninterrupted': (I) a type of yamaka in which the repeated pada or a fractional part thereof(that is, must be entirely independent
sequences are contiguous. (2) D 3,1(4-18), AP 343.12. (3) ramavi of the semantic content of the utterance). Bharata is less strict on
ramaniya me pa{aliipa{aliirrzsuka !v'q,ruvivqruvibhiitasaurabha saura- this point; amre(!ita yamaka resembles la{iinuprasa, except that the
bhiis;adam (Dal).<;lin: "My beloved is lovely as the western sky repetition of words is confined to the end of the pada.
illuminated by the setting sun, her gown flecked with pink and sweet avali, 'necklace': (I) a type of yamaka showing varied types of repetition
smelling"). (4) The form, for this example only, is: AAx BBx CCx within the confines of single padas. (2) B 2.9 (14). (3) sitiisitiik~irrz
DDx. (5) Cf vyapeta yamaka. supayodhariidhararrz susarrzmadarrz vyaktamadarrz lalamadiirrz / ghana-
adi, 'beginning': (I) see ptidMi. ghana nilaghana ghaniilakarrz priyam imam utsukayanti yanti ca
adimadhya, 'initial-mid': (I) a type of yamaka in which the repeated (Bhamaha: "The great dark heaps of clouds come to and cause to
elements are the first and second third of each ptida. (2) R 3.52 pine my love, thick locked, with eyes both light and dark, her body
(53). (3) sa rave sara1Jena nrpo balitavalitiirijana!; / padam apa damat with such lovely breasts and lips, by whom passion is manifested,
svamater ucitarrz rucitarrz ca nijam (Rudrala: "The King, whose giver of ornament"). (4) The form, for this example only, is: AAxxBB
enemies were enveloped by his strength, attained that station in xCxCxC DDxDDx xxxxEE. (5) This type of random repetition
battle by means.. of his vehicle and through his self-restraint which shows the close relation between alliteration (anuprasa) and cadence
was appropriate"]n his own view and pleasant"). (4) The form is: (yamaka). Later writers tend to extend the scope of the repetition
AAx BBx CCx DDx. (5) Compare tidyanta, type (b), and madhyiinta. to larger parts of the verse and thus lessen the possibility of such
Only Rudrala divides the pada into thirds for purposes of defining free play.
the scope of yamaka. avrti, 'covering': (I) a type of yamaka in which the repeated elements
adyanta, 'initial-final': (I) a type of yamaka in which the repeated are the first and fourthptidas. (2) R 3.3 (6), M 118C. (3) mudiirata(!i
elements are: (a) the first half of the preceding ptida and the last samariijiriijita!; pravrddhateja!; prathamo dhanu~matam / bhavan
half of the following ptida, (b) the first and last third of each ptida, bibhartlha nagas ca medinim udarata(!isamarajirajita!; (Rudrala; text
(c) the first and last quarter of each ptida, or (d) the first and last and commentator agree in taking "beautiful ..." as a nominative
half of eachpada. (2) R 3.32, 3.50 (54),3.44(46), M 118 (365). (3) masculine, agreeing with "mountain", though the sense would seem
dina danavi~tidlna sariipaditabhisara / sena tena parase na rave better served by interpreting it as an accusative feminine, with
purrzjiviterave (Rudrata; type (c) is illustrated: "Oh man, the army, "earth". No metrical change would be occasioned. "With pleasure
afllicted, whose leader was desperate and in whom the wound crushing your enemies, unconquered on the field of battle, of mature
of fear was produced by showers of arrows, was defeated by him glory, first among archers, you, 0 Kiug, support here the world as
in a battle which exciled the lives of men"). (4) The form is: AxxA
I
t
228 GLOSSARY
GLOSSARY 229
does the Himalaya, beautiful with even rows of lofty ta¢i trees").
ptida. (2) R 3.30 (31). (3) sabhtijanalJl samaniya sa maniyab sphulann
(4) The form is: A x x A. (5) Compare mukha, garbha, etc.
api / sphulalJl na pihitalJl cakre hitalJl cakre sabhtijanam (Rudra!a:
ekfintaraplida, 'ptidas with one (ptida) intervening': (1) a type of yamaka
"He is haughty who, though brilliant, gatheriug his courtiers, does
iu which the repeated elements are corresponding parts of non-
good iu the kingdom, not obviously, but covertly, evidenciug pleas-
adjacent padas. (2) V 4.1.2. (3) udvejayati bhatani yasya rajiiab
ure"). (4) The form is: AB BC CD DA. (5) In effect, this is a com-
kusasanam / siltlhlisanaviyuktasya tasya k$ipralJl kustisanam (Yamana:
biuation of all the kinds of antddika yamaka listed iu R 3.23-30.
"The evil government of a king who afflicts mankind will quickly
Cf. valJlsa, samasta, vyasta, madhya.
be transformed into residence among the kusa grass for him, when
cakravlila, 'circle': (1) a type of yamaka in which the last part of
his lion-throne is lost"). (4) The form is: xx xA xx xA. (5) The scope
each ptida is the same as the first part of the following ptida. (2)
of the repetition is not specified; the example shows half padas.
NS 16.72 (74), AP 343.16 (alternate reading). (3) sailtis [talais;
Naturally, the repetition could occur at the beginniug or iu the
alternate reading], tathti satrubhir ahatahata / hatas ca bhuyas tv
middle of non-adjacent ptidas as well.
anupulJlkhagaib khagaib / khagaiS ca sarvair yudhi salJlcitiiS citas /
kliiici, 'Conjeeveram': (I) a type of yiWlaka in which the repeated elements
citddhirit¢ha nihatas talais talaib (Bharata: "Struck again and again
are located severally at the beginning and end of each pada, or, in
by the enemy arrows, true to their shafts, collected and heaped up
the manner ofa combination of madhya yamaka and adyanta yamaka,
by birds who grasp at the death of the stricken"). (5) The example
are the first and last quarters and sMond .and third quarters of each
shows a triple yamaka in each pada, but the definition does not make
pada. (2) NS 16.66 (67), AP 343.15, R 3:44 (47). (3) yamalJl yamalJl
this obligatory. If the reading taiaib is accepted, then this type is the
candravatinalJl dravatinalJl / vyaktdvyakta sarajaninalJl rajaninam
same as the preceding except that the scope of the repetition is
(Bharata: "The going, going of the goldeu rivers; appear aud dis-
not specified (the interior of each ptida is not involved).
appear the nights, like butter"). ya manitdnitdyama lokddhlra dhird-
caturvyavasita, 'determined by fours': (I) a type of yamaka in which all
loka / sendsannasanna sena sdralJl hatvdha tva saram (Rudra!a:
fonr padas are the same. (2) NS 16.81 (82), AP 343.17. (3) varavanam
"Your army, supported by haughty women, greatly expanded,
ayam eva kalo varavanamayam eva kalab / varavanam ayam eva kalo
expelliug the sufferings of mankind, terrible to see, is ready and near.
va ravanam ayam eva kaiab (Bharata: "This is the season of varava
Having felled the enemy, your army thus reports to you"). (4)
flowers, the time when elephants have no diseases, when death
The forms are: AAxBB CCxDD, etc. and ABBA CDDC EFFE
stalks his enemies and suggestion is of battles"). (5) Note that
GHHG. (5) See madhya and tidyanta yamaka. The name kanci
minor variations in salJldhi do not vitiate the identity of the yamaka.
probably refers tq the city, but may be intended only in the sense of
'girdle'. ... Each pada, though phonemically identical, has a different morphemic
analysis; the first and third, which appear the same morphemically,
garbha, 'womb': (I) a type of yamaka in which the repeated elements are
are assigned to different homonyms: varava (a 'flower' and 'enemy').
the second and third ptidas of the verse. (2) R 3.7 (8). (3) yo rajyam
This is the same as pafikti yamaka.
asadya bhavaty acintab samud ratdrambharatab sadaiva / samudra-
du~kara, 'difficult': (1) a yamaka involving greater limitation on occurrence
taralJl bharatab sa daivapramavam arabhya payasy udtase (Rudra!a:
and scope than is usual. (2) D 3.38 ff. (3) (4) See, for example,
"The king who, having attained empire, becomes careless, iudulgent,
mahayamaka. See also under citra.
and spends his time in making love is, as it were, attempting to
paiikti, 'series': (1) same as caturvyavasita. (2) R 3.10 (12).
cross the ocean by swimming and, by the will of fate, finds himself
parivrtti, 'exchange': (I) a type of yamaka in which the fourth pada
abandoned in the water"). (4) The form is: x A A x. (5) Cf. avrti
repeats the first and the third repeats the second; this is, in effect,
yamaka.
a combination of avril and garbha yamakas. (2) R 3.13 (14). (3)
cakraka, 'circular': (I) a type of yamaka in which the last half of each
muda ratasau ramal}i yata yalJl smarasy ado'lalJl kurutena vo¢hti /
ptida is repeated by the first half of the following ptida, and in which
smarasyado'lalJlkurute'navo¢htim udaratasau ramaviyatayam (Rudra-
the first half of the firs~ptida is repeated by the last half of the fourth
fa: "The girl whom you have married is devoted to you from pleasure
[and not from hope of gain]. You think on this too much; it is padiidi (1), 'beginning of the piida': (1) a type of yamaka in which each
appropriate in matters of the heart: excess of love always ornaments pada begins with the same word. (2) NS 16.77 (78). (3) vi$Qu!; srjati
a proud woman"). (4) The form is: A B B A. (5) Cf yugmaka bhUtani vi$Qu!; sar[lharate praja!; / vi$Qu!; prasute traiiokyar[l vi$(lur
yamaka. lokiidhidaivatam (Bharata: "Visllu creates all things; VislJU destroys
padamadhya, 'middle of the piida': (1) a type of yamaka in which a men; VisllU evolves the three worlds; VisllU is the all high God!").
repetition occurs in the middle of one, or each piida, or in which (5) Like iimrel}.ita yamaka, this early type violates the rule requiring a
one or both of the middle (second and third) piidas contains the different morphemic contentfor eachrepetition. Comparelii{tinupriisa.
repetition. (2) B 2.9 (12), D 3.1-2 (5-6), V 4.1.2, AP 343.15. (3) padiidi (II): (1) a type of yamaka in which a repetition occurs at the
mcghanadena har[lsanar[l madano madanodina / nunnamanar[l mana!; beginning of one, or of each piida, or in which the first piida contains
strfOam saha ratya vigahate (DaIl4in; here the yamaka occurs in the repetition. (2) B 2.9-10 (11), D 3.1-2 (4), V 4.1.2, AP 343.15.
the second pada: "Love, together with his wife, Passion, enters the (3) mtinena miinena sakhi pra(layo bhut priye jane / khavl}.ita kaQlham
anger-freed minds of women by means of the thunder, which also asli$ya tam eva kuru satrapam (DalJ4in: "Friend, don't show affection
drives out the pride of the swans"). (5) The scope of the repetition for your lover by such anger! Though betrayed, you must embrace
is not prescribed: compare madhJ!a yamaka of Rudra(a. Bharata him aud make him ashamed"). (5) See piidamadhya. Vamana's
recognizes piidiidi and piidtinta xwpakas, but not piidamadhya. example shows each pada beginning with a different yamaka (note
The equivocation iu the meaning of"middle" is shared by the two the difference from padtidi I, where the same word, not repeated,
other terms. Rudra(a attempts to specify the scope of all repetitions, begins each piida). The scope of the repetition is not specified.
but the earlier writers are sometimes satisfied by indicating merely padiiuta (I), 'end of the piida': (1) a type of yamaka in which each piida
the place of the repetition-here the middle of the piida, or the middle ends with the same word. (2) NS 16.63 (64). (3) dinak$ayiit sar[lhrta-
piida. raimima(ll}.alar[l divlva lagnar[l tapanfyamaQl}.alam / vibMti tamrar[l divi
padayor adimadhyiintayamakani, 'yamakas involving two piidas': (1) same suryama(ll}.alar[l yathii taru(lya!; stanabhiiramaQl}.alam (Bharata: "The
as padtidi, padamadhya, and padtinta yamakas, except that the scope burnished sun seems fixed in the western heaven at the close of day,
of the repetition is two adjacent jJadas, rather than one pada alone. its orb of rays restrained. The copper-colored sun disk shines in
(2) V 4.1.2. (3) bhramara drumapu$paQi bhrama ratyai piban madhu/ the sky like a young girl's heavy breast"). (5) See pad/idi I.
ka kundakusume prfti!; kakur[l dattva virau$i kim (Viimana: "Bee, padiinta (II): (1) a type of yamaka in which a repetition occurs at the end
go roam from flower to tree-flower for pleasure drinking honey; of one, or of each pada, or in which the first pada contains the repeti-
what joy is therejn the jasmine bloom? Why do you make such a tion. (2) B 2.9-10 (12), D 3.1-2 (7), V 4.1.2, AP 343.15. (3) ara(lyar[l
noise, murmuring?"). (4) The form, for this example only, is: kaiScid akrantar[l kaiscit sadma divtiukasam / padatirathanagii-
Axxx Axxx Bxxx Bxxx. (5) For Vamana, a piidtidi yamaka has only svarahitair ahitais tava (DaIl4in: "Some of your enemies, shorn of
the form AAxx BBxx CCxx DDxx; hence this variation in which the soldiers, chariots, elephant, and horse, have retired to the forest,
word pada appears in the dual. some to the seats of the Gods"). (5) See piidiidi II.
padasamudgaka, 'piida-casket': (1) a type of yamaka where the repeated padiibbyasa, 'repetition of the piida': (1) same as samastapiida yamaka.
elements are the first and second half of the same piida. (2) R 3.36 (2) B 2.9 (13), D 3.53 (57-66). (5) Bhiimaha gives an example
(37-39). (3) rasasara rasdsara vida raQavidaraQa / bhavatdrambhava- illustrating Rudra(a's sar[lda${aka yamaka (second and fourth piidas
tdrar[l mahfyatam ahfyata (Rudra(a: "0 essence of the earth! 0 identical). Dall4in illustrates piida repetition in all possible loci,
shower of moods! 0 exterminator in battle! By you, wise and enter- including triple repetitions.
prising, the enemy, sent to earth, has been slain"). (4) The form is: padiiikadesaja, 'relating to parts (only) of piidas': (1) a generic term for
AA BB CC DD. (5) Rudra(a gives two other examples, in which all those kinds of repetition whose scope is less than pada length.
not all piidas show repetition (AA xx BB xx; xx AA xx BB). Compare (2) R 3.2 (20-55). (5) The opposed term is samastapiidaja ('referring
samudga yamaka. to the entire piida'). This division classifies all yamakas in the most
general way, and each alternative is itself minutely subdivided. madhya, 'middle': (I) a type of yamaka in which the repeated elements
Partial ptida yamakas are either half piMa, one-third ptida, or one- are either the last and first halves of the second and third padas,
fourth piMa in length. For examples, see antadika, tidimadhya, or the second and third quarters of each ptida. (2) R 3.27 (28),
vaktra yamakas. 3.44 (45). (3) samastabhuvanavyapiyasasas tarasehate / raseha te
puccha, 'tail': (I) a type of yamaka where the repeated elements are the priyarrz karturrz pra~air api mahipate (Rudrata: "The earth desires
third and fourth ptidas. (2) R 3.10 (11). (3) uttungamtitangakuldkule quickly to do you favor, even with its life, 0 great King! Your glory
yo vyaje$/a satrun samare saddiva / sa stiram tiniya maMri cakram penetrates the whole world"). (4) The form is: xx xA Ax xx. (5)
sastira mani yamahdricakram (Rudrala: "The insolent King, slayer The other madhya, whose scope is only the quarter ptida instead of
of Death, approached the circle of the enemy carrying his best wide- the half ptida, would have the form xAAx xBBx xCCx xDDx. The
spoked discus; he triumphed in the battle over his enemies confused literal appropriateness of the name is revealed by a cursory examina-
with herds of lofty elephants"). (4) The form is: x x A A. (5) For tion of the schemata. Compare ptidamadhya yamaka, where the
Dal)gin, this is an unnamed sub!ype of samudga yamaka (D 3.63). scope is not so exactly determined.
Cf. mukha yamaka. ., ' madhyauta, 'mid-final': (I) a type ofyamaka in which the repeated elements
pratiloma, 'against the grain': (I) same "as pratilomdnuloma citra; palin- are the second and last thirds of each ptida. (2) R 3.52 (55). (3)
drome. (2) D 3.73 (74-77). (5) Tlii~isthe last yamaka treated by asatam ahi/o yudhi sarataya rataya / sa tayoruruce ruruce paramebha-
Dal)gin before going on to dU$kara(iFomutrika, etc.). On the differ- vate bhavate (Rudrata: "0 widely renowned, this person, in battle
ence between citra and yamaka see citra. the nemesis of evil men, is pleased with you, possessor of fine ele-
prahelika, 'conundrum': (I) a bad yamaka. (2) B 2.19. (5) Bhiimaha phants, because of your pithiness, and out of pleasure"). (4) The
probably is referring to repetitive verses in which the principle of form is: xAA xBB xCC xDD. (5) The example has no yamaka in the
repetition is not linear, as gomutrika, 'muraja, turagapada, and the first pada. Compare tidimadhya and tidyanta yamakas.
like. These are not 'conundrums' properly speaking, and the use of mahayamaka (I), 'great yamaka': (I) a type of yamaka consisting of
"prahelika" is misleading. For a discussion of the difference between four identical ptidas, each of which is itself a yamaka of half-ptida
these extensions of yamaka, see citra, prahelika. scope. (2) D 3.70 (71). (3) samanayasa manaya samanaydsamdnayti /
bhaiiga, 'analysis': (I) juncture. (2) V 4.1.3 (4-6). (5) A category in the samtinayti samtinayti samana yti samanaya (Dal)gin: "0 unequalled!
analysis of yamaka; accordiug to Vamana, the yamaka is successful o uniformly active! With this universal arrogance, join me! 0
if the repeated elements of the verse show different word junctures haughty! Arrogance which is beautiful and decisive!"). (4) The
for each reading.>He gives three illustrations: (a) srfikhala, 'chain'; form is: AA AA AA AA.
where the juncture occurs between different (successive) syllables for mahayamaka (II): (I) same as slokdbhyasa yamaka. (2) R 3.16 (18-19).
each reading, that is, not between the same syllable for both readings. mala (I), 'garland': (I) a type of yamaka in which each half ptida is itself
For example: kali-kama-dhug and kalika-madhu. (b) parivartaka, a complete yamaka; it consists, that is, of repeated quarter padas.
'exchange'; where the juncture varies only by one consonant, attach- (2) R 3.40 (43). (3) bhitdbhita sanndsanna senti sendgatydgatya /
ing that consonant by one reading to the preceding word and, by the dhirddhirdha tva hatvti sarrztrtisarrz trayasvayasva (Rudrata: "0
other, to the following. For example: -dhug-arhitam and -madhu- steadfast! 0 expeller of misery ! The opposing army with its leader,
garhi/am. (c) cunza, 'mixture'; where the juncture by one reading drawn up in front and fearful, miserable and near, having advanced
breaks up a consonant cluster which is, by the other reading, within a because it had no other choice, thus informs you: 'Having reduced
word. For example: -unmukta-sukti-minarrz- and -unmukta-suk- us, please save us from fear!' Your coming is their only remaining
timinarrz-. Yamakas which do not involve these charming junctures hope"). (4) The form is: AABB CCDD EEFF GGHH. (5) In
are, in fact, dull and uninspired in that both readings repose upon effect, this is a combination of vaktra and sikhti yamakas.
the same words, distinguishable only as puns. Nevertheless, certain milla (II): (I) a type of yamaka in which one consonant is repeated, and
puns also show junctures of this sort. the syllabic vowel is varied. (2) NS 16.83 (84). (3) hali bali hali
"'- 1 _
234 GLOSSARY
GLOSSARY 235
malf khelf malf salf jalf / khalo balo balo malo musalf tv abhiraksatu
vikrlinta, 'overstepped': (I) a type of yamaka in which the second and
(Bharata: the translation is approximate; "May Baladeva pr~tect
fourth padas are the same. (2) NS 16.70 (71), AP 343.16. (3) sa
you: with a plow, strong, from Rala, garlanded, shaking, having a
piirval'{l vara/Jo bhiitva dviSriiga iva parvatal,z / abhavad dantavaikalyiid
different garland, a sal flower, and water; cruel, strong, Bala, a
viSriiga iva parvatal,z (Bharata: "That elephant was formerly like a
forest").
two-peaked mountain, but now, for the loss of Ws tusks, is like a
mukha, 'face': (I) a type of yamaka in which the repeated elements are
peakless mountain"). (4) The form is: x A x A. (5) Bharata, as usual,
the first and second piidas. (2) R 3.3 (4). (3) cakral'{l dahataral'{l
allows entire words to be repeated. Compare sal'{lda${aka yamaka.
cakranda hatiiram / khat;lgena tavajau rajann arinarf (Rudra!a: "0
vyapeta, 'interrnpted': (I) a type of yamaka in wWch the repeated se-
King, the wives of your enemies, struck by your sword, quickly
quences are not contiguous. (2) D 3.1, 19 (20-32), AP 343.12. (3)
scourging the mass of your enemies in battle, moan"). (4) The form
karo'titamro rama/Jal'{l tantrftat;lanavibhramam / karoti ser$ye [or
is: A Ax x. (5) Compare puccha, sal'{ldal'{lsa, avrti, garbha, and
ser$yal'{l (D. T. Tatacharya)] kante ca srava/Jotpalatat;lanam (Dal).<;lin:
sal'{lda${aka yamakas for other types of whole pada repetitions.
"The red-Iac'd hands of the beloved coquettishly strum the lute;
yugmaka, 'pair': (I) a type of yamaKa in which the second piida repeats
and when her lover makes her angry, they disarrange the flowers at
the first, and the fourth the third. (2) R 3.13 (15), M 118 (361). (3)
her ear"). (4) The form, for this example only, is: Axx xxx Axx xxx.
vinayam enD nayatd sukhiidina~i11.9. yamenonayata sukhiidina /
(5) Dal).<;lin gives thirteen examples without introducing special
mahiijano'dfyata manasad aral'{l mahiijtlnodfyatamanasadaram (Rud-
terminology. They illustrate various possible loci of the interrupted
rata: "This noble person, suffering no blemish, alone, yet destroying
sequences and could be classified in the same way as uninterrupted
the arrogance of his enemies, extirpating those who disrupt festivals,
yamakas (see piidMi, piidamadhya, paddnta).
is quickly carried away by Death, defying the doctors, who has
vyapetavyapeta, 'interrupted-uninterrupted': (I) a type of yamaka in
approached, hungry for life, the great reaper, consumer of
which a contiguous repeated sequence is itself repeated in a non-
happiness"). (4) The form is: A A B B. (5) In effect, this is acombina-
contiguous place. (2) D 3.33 (34-36), AP 343.12. (3) kalal'{l kiilam
tion of mukha and puccha yamakas. Compare parivrtti, which is a
analak$yataratarakam fk$itum / taratdramyarasitam kalam kalama-
combination of garbha and avrti (A B B A).
haghanam (Dal).<;lin: "What woman is able to look ~t the ireat black
valJlsa, 'flute': (I) a type of yamaka in which the first half of each succeed-
rain clouds in their season, hiding the myriads of stars and, death-
ing pada repeats the second half of the preceding piida. (2) R 3.27
like and fearsome, resounding in the great distances"). (5) Dal).CJin
(29). (3) grf$me/Ja mahimdnfto himanitoyasobhital,z / yaso'bhital,z
gives two other examples illustrating different loci for this non-
parvatasya parviJ:,tasya hi tan mahat (Rudrata: "The grandeur of
contiguous repetition ofcontiguous repetitions. See vyapeta yamaka.
the mountain, heautified by the melting snow, has been wrought by
vyasta, 'separated': (I) a type of yamaka in which the repeated elements
the summer heat, and its glory is all about, for its festival is of great
are the second half of the third piida and the first half of the fourth
extent"). (4) The form is: xA AB BC Cx. (5) This is a combination
piida. (2) R 3.23 (25). (3) pasyanti pathikal,z k6masikhidhiimaSikhiim
of madhya and samasta yamakas. A cakraka yamaka completes the
iva / imal'{l padmdlaydlfnal'{l laydlfnal'{l makavalfm (Rudrata: "The
circle by having the last half of the fourth pada repeat the first half
passersby observe a great column of bees, thickly entwined, above
pada.
the lotus pond, like a tongue of smoke from the fire of Love").
vaktra, 'mouth', 'origin': (I) a type of yamaka in which the first half
(4) The form is: xx xx xA Ax. (5) The name probably signifies only
pada of each pada is a yamaka consisting of repeated quarter padas.
that this is half of a samasta (complete) yamaka. The same pattern
(2) R 3.40 (41). (3) ghanaghanabhinilanam astham asthaya siiSvatfm /
in the first two piidas is called antddika.
ca/{icaltipi kamale linalfnam ikavalf (Rudra!a: "Moving and motion-
sikhli, 'tuft': (I) a type of yamaka in which the last half of eachpiida is a
less on the lotus adheres a wreath of bees, dark as the rain cloud,
yamaka consisting of repeated quarter padas. (2) R 3.40 (42).
perpetually in place"). (4) The form is: AAxx BBxx CCxx DDxx.
(3) yasal'{l citte mano'mano nilrfr bhiiyo'ral'{l ta ranta / saraprema
(5) Cf sikhii and mala yamakas.
sanndsanna jayetaivdnanta nanta (Rudrata: "May the virtuous man,
L l
236 GLOSSARY
GLOSSARY 237
the able lover, obedient and always agreeable, be quickly victorious soul of fury because of my unfaithfulness; her leaving did not
over women, who are so numerous and so near and in whose minds make me suffer too much"). (4) The form, for this example only,
is immeasurable pride"). (4) The form is: xxAA xxBB xxCC xxDD. is: xxA AxB BxC Cxx. (5) The scope of the repetition is unspecified;
(5) See vaktra and mala yamakas. otherwise, this yamaka resembles va/flsa yamaka.
salpda~taka, 'pincers': (I) same as vikranta yamaka. (2) R 3.7 (9). (5)
slokabhyasa, 'repetition of the sloka': (I) a yamaka in which the repeated
element is the entire verse. (2) D 3.67 (68-69). (3) vinayakena bhavata The earlier version of Bharata allows a certain amount of word repeti-
vrtt6pacitabahuna / svamitr6ddhilriQiibhfta prthviyam atuliisrita / tion; Rudrata, of course, proscribes it. Mammala offers an example
vinayakena bhavata vrttapacitabahuna / svamitrOddhtiriQa bhUa (lI8, 364) which the commentator calls a sa/flda${aka yamaka, but
prthvi yamatuliisrita (DaI;l<;lin: "This incomparable earth, confident, it shows repetition only of the last half of the second and fourth
is devoted to you who remove obstacles, whose powerful arms are padas (xx xA xx xA). The figure is mentioned in B 2.10, but is not
round, and who upholds his friends. This earth, like death, has taken illustrated.
refuge and is afraid of your prese,ut enemy who is leaderless, whose samasta, 'entire': (I) a yamaka in which the first half of the second and
arms are engaged in laying waste, and who seized both property and fourth pildas repeat the last half of the first and third, respectively.
friends"). (5) This is the same as ma/zilyamaka II. (2) R 3.23 (26). (3) pU$yan vili1sa/fl nariQa/fl sanniiriQa/fl kulalqayam /
salJIdalpsa, 'tongs': (I) a type of yamakailt:wfuch the repeated elements a kalpa/fl vasudhilsara sudhtisara jagaj jaya (Rudrala: "0 essence of
are the first and third pildas. (2) R 3.3 (5)." (3) sannaribharaQamayam the earth! 0 shower of nectar! May you rule the earth till the end
aradhya vidhusekharam / sanniiribharaQo'mayas tatas tva/fl prthivi/fl of the age, encouraging the coquetry of women and promoting
jaya (Rudrata: "Having pleased Siva, moon on his brow, who resorts the familial rnin of your crushed enemies!"). (4) The form is: xA
to Uma, the support of chaste women, Y9u will certainly conquer the Ax xB Bx. (5) In effect, this is a combination of antiidika and vyasta
earth, for the elephants of your enemies have been lost, and you
yamakas.
are free from disease"). (4) The form is: A x A x. (5) See sa/flda- samastapada (1), 'allpildas': (I) same aspildiinta 1. (2) B 2.9 (15).
{ltaka. samastapada (II): (I) a type of yamaka in which the same repetition
salpda~ta (I), 'pinched': (I) a type of yamaka in which the word at the occurs at the end of each pilda. (2) V 4.1.2. (3) natannatabhrugati-
beginning of each pada is repeated. (2) NS 16.75 (76), AP 343.16 baddhalasya/fl vilokya tanvi/fl saSipeSaliisyam / manab kim uttamyasi
(alternate reading). (3) pasya pasya raQam asya me gUQan yena yena caiicaliisya/fl krn smariijiia yadi pU$kala syam (Vamana; first two
vasaga/fl karoti miim / yena yena hi mamiiiti darsanam tena tena pildas in third person, third in second, and fourth in first: "Looking
vasaga/fl karoti miifn (Bharata; should undoubtedly be ~mended to at this slender girl whose face is gentle as the moon, where the dance
ramaQasya me: "Look, look at the virtues of my lover, by which he is formed by the rising and the falling of her brow, why do you lose
makes me do his will! For by them I have my view of him, and by heart? The fickle authority of Love should be recognized in her,
them he makes me do his will!"). (5) This is the opposite of amredita if I am any judge"). (4) The form, for this example only, is: xxxA
yamaka and is one of Bharata's peculiar yamakas which m;kes xxxA xxxA xxxA. (5) This differs from samastapilda I only in not
reference to units of meaning, rather than to sequences of phonemes referring to words. It differs frompildanta (of Vamana) in that there
of necessarily different meaning. a different yamaka occurs at the end of each pada (not the same
salpda~ta (II): (1) a type of yamaka in which the first part of the succeed-
word in all pildas).
ing pada repeats the last part of the preceding pada for the three samastaplidaja, 'referring to whole pildas': (I) a generic category for
pilda junctures within the verse. (2) D 3.51 (52). (3) up6ljharagiipy those yamakas whose scope is not less than an entire pada. (2)
abala madena sa / madenasa manyurasena yojita / na yojitiitmanam R 3.2 (4-19). (5) Samastapadaja is opposed to padiiikadesaja yamaka ;
anaiigatapita/fl / gatiipi tapaya mamiisa neyate (DaI;l<;lin: "Though for illustrations, see mukha, paiikti, samudgaka, mahayamaka, etc.
she had been made am?rous with drink, the young woman would It is the same as paddbhyasa yamaka.
not join her love-sick 'self to me, as she was inspired by the very samuccaya, 'collection': (I) a yamaka which is composed of several
!
!
l
GLOSSARY 239
238 GLOSSARY
randomly related yamakas. (2) M 118. (5) No example is given. to words, meanings, sentences, intentions, contexts, and entire
samudga, 'round box or casket': (1) a type of yamaka in which the entire compositions.
half sloka is repeated. (2) NS 16.68 (69), B 2.10, D 3.53 (54-56), rasavat
AP 343.16 (the text reads sa1[lsarga), R 3.16 (17). (3) naniima loko
rasavat, 'expressing a mood': (1) a figure in which is clearly expressed a
vidam iinavena mahi na diritramud iiradhfram / na ntimalo'kovidamii-
mood or rasa-usually sriigiira, the amorous. (2) B 3.6, D 2.275
navenam ahfnaciiritram udiiradhfram (Rudra!a: "The people, festive
(280-92), U 4.3-4, M 66 (123C.). (3) mrteti pretya sa1[lgantu1[l yayii
and not without spotlessness, honor with praises the wise man who
me mara1;la1[l matam / stii$tivantf mayii labdhii katham atrtiiva janmani
does not delight at the salvation of his enemies but afflicts their
(Dal).c;1in; sriigiira rasa: "She whom I thought had gone beyond to
consciences, and whose master is the arrogance of the stupid, whose
death, who made me want to follow her, did it happen that I won her
behavior is integral, who is noble and steadfast"). (4) The form is:
to me in this present life, my Viisavadattii?"). (4) "Everywhere
A/A. (5) Samudga shows to best advantage the requirement of all
the vastness and terror of the immense night which is roused and
yamakas that the two readil)l$s involve different meanings and
stirred for a brief while by the day, but which returns, and will
different word separations. In'repeating the entire half Sloka, this
remain at last eternal, holding everything in its silence and its living
type demonstrates its close afflnity with sle$a, where it would be
gloom" (D. H. Lawrence; perhaps siinta rasa). (5) This figure be-
expected that the two meanings;,'ej11erge from a single reading.
comes crucial for the tenants of the dhvani theory, who want to es-
Samudga(ka) is the only type of ydl11aktr(aside from the threefold
tablish the autonomous expression of rasa vis-it-vis the figures of
distinction into lidi, madhya, and anta) whose name is consistently
speech. Should there be a figure which itself is the expression of a
and universally used. Compare sa1[lda$!a, also found in many texts,
rasa, the contrary would a fortiori be proven, and the rasa would be
but varying widely in acceptation.
subordinated to the general notion of the figure. The outcome of
the argument allows rasavat as the general term for those figures
yavadarthata
which contain a touch of rasa, but where the rasa is not the major
yavadarthata, 'correspondence to the needful': (1) absence of either end of the poet employing that figure. Rasaas the proper end is
superfluity or inadequacy in either word or content. (2) AP 345.6. pure dhvani and not related to any figure (Dhvanyiiloka 2.5).
(5) This is the fifth sabdtirthtila1[lkiira of the Agni Purii1;la. See
aucitya and abhivyakti. In principle, there appears to be little differ- riipaka
ence between t~is term and the sabddlarpktira "mudrti."; however,
riipaka, 'having the form of': (I) metaphorical identification. A figure
there may be irifimded here simply a reference to prolixity and its
in which the subject of comparison is identified with its object by a
contrary defect, terseness, and not to the adequacy of the word to the
specific process of grammatical subordination. (2) NS 16.56-58,
sense, as such.
B 2.21-24, D 2.66-96, V 4.3.6, U 1.11-13, AP 344.22-23 (the definitions
yukti of both Bhiimaha and Dal).c;1in are repeated), R 8.38-56, M 139-45.
yukti, 'junction': (I) a figurative usage. (2) AP 342.29-30. (5) This is (3) tat/idvalayakak$yii1;lii1[l baliikiimiilabhiiri1;liim / payomucii1[l dhvanir
the fourth sabdtirthtila1[lkiira; it is defined literally as the joining of a dhfro dunoti mama tii1[l priyiim (Bhiimaha; the lightning is charac-
word and a meaning which appear to be unrelated one to the other terized as a bracelet, the cranes as a garland: "The roaring of the
("ayuktayor iva mitho viicyaviicakayor dvayob / yojaniiyai kalpamiinii great clouds, wearing a bracelet of lightning and a garland of cranes,
yuktir uktii manf$ibhib"). The examples given in the Sarasvatfka1;l!hti- frightens my love"). (4) "The flute of morning stilled in noon- /
bhara1;la (2.98ff.) suggest that this term may signify, like Dal).c;1in's noon the implacable bassoon- / now twilight seeks the thrill of
gu1;la "samiidhi", the use of a word in a secondary sense-the function moon, / washed with a wild and thin / despair of violin" (e. e.
called in mfmii1[lsii "rilljhi" (cf Mamma!a, chap. 2, kii. 18). Like cummings). (5) Rupaka, one of the four original ala1[lkiiras, is
Kuntaka's vakrokti,,,,the scope of this figuration is sixfold: relating considered by all writers to be a development of upamii and is, in
.
principle, a simile or comparison. While in upama the two terms (her face is the moon). The identification is so evident here as not
(subject and object of comparison, or upameya and upamana) are to require explanation; the difference between upama and rilpaka is
literally compared, usually through the use of a comparative particle also best perceived in this case. The grammatical subordination
such as "'like" Or "as", in rilpaka that comparison is expressed as is that of the imposition of the object on the subject. A subjective
an identification of the two. No longer is her face "like" the moon, genitive is often employed in English to express an identification;
it is the moon. We use the word identification in the root sense: although our language permits compounding, the use of this device
the "making identical" of what is different. By virtue of this identi- is restricted, compared to Sanskrit at any rate, and prepositional
fication, the behavior and properties of the moon (or object) are phrases having the object of comparison in the syntactically free
ipso facto transferred to the face (or subject), and propositions which position are generally nsed instead (the face of time, rather than the
are literally true of the moon are now understood as applying, in time-face). The irreversibility of this construction is even clearer
the poet's intention, to the face exclnsively (the moon is brilliant; than in the case of direct compounding: careful consideration may
her face-moon is brilliant). ()f course, this transfer of property be required to distinguish the upama "lotus-eye" from the rilpaka
constitutes the aim of the poe't' who nses rilpaka, as well as allied "eye-lotus", but the rilpaka "the lotus of her eye" simply cannot be
figures, such as utprek~a; but the, manner and the technique of the turned into a simile "the eye ofheriotus". For one reason, the genitive
transfer (metaphor) differ for each;"fcthe figures. This formal differ- is no longer subjective. A comparative idea must somehow be
ence constitutes the distinctive, o~""ssential feature of each figure introduced into the genitive (as, "her eye of lotus hue") where the
and naturally preoccupies the writers on the subject. notion of the common property is made explicit ("of lotus hue" is
By "identification" is meant the specific characterization of one "lotus-hued").
thing (the subject of comparison) Cf~ another (the object). Both Since rilpaka is an identification of two things, the classifications
terms must be mentioned specifically (thus distinguishing rilpaka of this figure have generally followed the line of specifying the degree
from samas6kti), and the relation between them must be immediate of identification or the kind of (non-) parallelism involved in the
and substantial rather than through an aspect or a property, as in fusion. The notion of "degree" implies and is always discussed in
utprek~a or upama. The proper grammatical form through which terms of a standard metaphorical type, usually referred to as
this substantial identification is expressed is ideally the compound samasta-[vastu]vi~aya or complete metaphor, wherein not only the
noun, with the object of comparison following (as, face-moon; see two terms themselves (the major terms) are identified, but several
samastarilpaka)., Siuce the object alone is grammatically free, the aspects or parts of each major term are likewise identified with
syntax of the sentence relates to it exclusively; from this total parallel aspects of the other major term, resnlting in a total hnage.
subordination-morphological as well as syntactio-of the subject A metaphor in which only some of the subordinate aspects of the
(face-), the suggestion of identification or fusion derives. It is not two major terms are identified-in which, in other words, some of
the compounding of the terms which defines the rilpaka, but rather the aspects associated with the subject of comparison are not meta-
specifically the snbordination of the snhject to the morphologically phorically identified-is considered a partial metaphor (ekadesavi-
free object. This is shown most directly by the interpretation of varti). DaJ;l<;lin, in turn, enumerates several different types of
inverse compounds (where the object is grammatically subordinated partialness as the non-metaphorized term or terms is or are the subject
to the subject, as moon-face) as upamas (similes) showing ellipsis of comparison itself (major term, avayavi), the subordinate aspects
of the common property (tertium). (Cj. R 8.21 ff. For exceptions, of the subject term (avayava), only some of the subordinate aspects
see samasta rilpaka.) Two other varieties of grammatical subordina- (vi~ama), or, finally, the major and some of the subordinate aspects
tion must be allowed as rilpakas, since they accomplish the same (ektifiga). The other terms in all of these types, which are understood
expressive end: simple predication and the use ofa subjective genetive. from a comparison with the complete metaphor already described,
Both DaJ;l<;lin and Rudraia define an uncompounded (asamastaril- are, in fact, metaphorical identifications. The elements of the hnage
paka) metaphor where the object is simply predicated of the subject are implicit. DaJ;l<;lin also considers two types of avayava rilpaka,
i
for the subsidiary aspect of the subject of comparison may be the object ofcomparison of the first metaphor may become the subject
identified with aspects of the object which subtend a very different of comparison of the following, and so on, giving a chain of meta-
relation to each other than do the aspects of the subject (ayukta phors (rasanti); lastly, the object of comparison of one metaphor
rupaka); for example, in terms of the standard total image of the may itself imply a second, completely independent, metaphorical
girl's face (subject) and the lotus pond (object), the smile may be identification which, as it were, grows out of the first (para'!1parita,
identified with the moonlight and the eyes with the "lotuses". Now, or "continuous" metaphor). Mammata considers this last a separate
if the lotuses are that type which bloom only during the day, they type, not a subtype of niravayava rupaka. Otherwise, his classifica-
will be related to the moonlight in a quite different way than the tion is a simplified version of Rudrata's.
eyes are to the smile of the girl. This approaches what we mean by Dandin as is his wont, completes the discussion of rupaka by
mixed metaphor, but more often the latter is a kind of utprek~ti. consid~ri;g the implications of other figures for this figure. Among
Rudrata, admitting the same complete metaphor in his descriptive the rupakas so qualified are viruddha (the figure virodha), hetu, sli~ta
model, classifies it in a somewhat different way. Instead of allowing (the figure sle"a), upamti, vyatireka, tik~epa, and rupaka itself. This
certain aspects of the total image to be treated (almost at random) last is a three-member metaphor differing from the types of complex
in terms of the subject only and outside the metaphor, Rudrata and compound metaphors in that the three terms are identified
distinguishes only the two cases w~rl'eall or some of the subsidiary with each other as such and imply no relation of subordination or
aspects are drawn out in metaphor (savayava), or none at all are qualification. Further categories proposed by Dal,l<;lin and illustrat-
(niravayava). The latter case is not the same as Dal,l<;lin's avayavi, ing various principles are (sa)viSe~alJa rupaka, where the metaphors
since Dal,l<;lin requires that the total image be present at least implicitly are grammatically adjectival, that is neither compounded (samasta)
in the descriptive qualifications of the subject. Rudrata intends that nor predicated (asamasta); samtidhtina rupaka, where an inconsistency
only the major term be mentioned. The savayava category is then in the metaphor is alleged and explained; and the curious tattvapa-
divided into three types, not according to which subordinate aspects hnava or "denial of identity", which at first glance appears to be the
of the subject are or are not identified, but as to the nature of the very inverse of rupaka or "identification". See that term.
aspect vis-a-vis the aspect with which it is identified. The aspects of The other writers propose classifications which adumbrate those
the subject and the object may be inherent qualities of the subject more fully outlined by Dal,l<;lin or Rudrata.
and object respectively (sahaja), or they may be accidental (tihiirya), The definitions of rupaka are remarkably unIform, yet some authors
or those of one )!lay be inherent and those of the other accidental (Dal,l<;lin, Udbhata, Rudrata) emphasize the negative aspect of
(ubhaya). The classification recalls the ayukta rupaka of Dal,l<;lin in identification and thus relate the figure explicitly to upamti, while
that it introduces a philosophical discrimination, but here the criterion others (Bhamaha, Vamana) consider the identification in a positive
of consistency is not primary. way. The rapaka is, for the former group, a simile with the difference
Rudrata goes on to consider several types of niravayava rupaka, between the two things suppressed (tirobhutabheda) and, for the latter
that is, metaphorical identifications not involving subsidiary meta- group, is simply an identification (tattva) of the two things.
phors. Of course, the simplest type is metaphor itself: one subject ayukta, 'unrelated': (I) a type of complex rupaka in which the objects
and one object so identified (suddha). But there are certain cases of of the subsidiary metaphors are not mutually related in terms of
metaphor involving more than one identification which are not to some well-known cliche or image which in fact suggests a contrary;
be taken as expressing a total image. The several metaphors are not mixed metaphor. (2) D 2.78. (3) idam tirdrasmitajyotsna/1l snigdhane-
comprehended in a relation of subordination, as were those analyzed tropala'!1 mukham (Dal,l<;lin; "moonlight" and "day lotus" are not
in terms of a major term and its aspects. Three such "compound" usually connected in popular usage: "This face is radiant with its
but not "complex" metaphors are recognized by Rudrata: the same moonlight of tender smiles and the soft day lotus of its eye"). (4)
subject of comparison may be identified with a number of different "'De sun is made of mud from de bottom of de river; f De moon is
objects of comparis9n, giving a 'garland' of metaphors (mtilti); made 0' fox-fire, as you might disciver'" (Owen Wister; fire and
±z
mud). (5) Cf yukta riipaka and ekdfiga riipaka. See also sa,!,kfYl;la, kaprapaiieam / prathama iha bhaviin sa kiirmamiirtir jayati eaturdasa-
where the "mixed metaphor" is more generally defined and is not lokavallikandab (Mammata; here the qualifications apply primarily
limited to an opposition of ideas. to Vi~l)u, not to the "fourteen-world-Iotus-root": "May the Lord
avayava (I), 'part': (1) a complex riipaka in which the subsidiary aspects Vi~l)u in the form ofa tortoise be victorious, infinite and independent,
of the identified subject and object are themselves explicitly identified source of inexhaustible amazement, the root of the vine of the four-
and become members of the total metaphor, but in which the teen worlds!"). (4) "Give me ... / My scrip of Joy, immortal diet; /
principal metaphor is only implicitly expressed, the subject alone My bottle of Salvation; / My gown of Glory, hope's true gage; /
being mentioned. (2) D 2.72 (71). (3) akasmad eva te ealp!i sphuritd- and thus I'll take my pilgrimage" (Sir Walter Raleigh; "diet" applies
dharapallavam / mukha,!, muktiirueo dhatte gharmdmbhabkal;lamaii- to the scrip, not the joy, and "gage" to glory, not the gown). (5)
jarfb (DawJin; her lip is metaphorically a blossom, her beads of Cf s!i$/a. This subtype does not concern the metaphor properly
sweat are blossoms, but her face is just her face: "Suddenly your face, speaking, but only the descriptive qualifications appended thereto.
o cruel one! the blossom of its!9wer lip bursting forth, gives to the This aside, as!i$/a is indistinguishable from the genus metaphor itself.
garland of beads of sweat the appearance of pearls"). (4) "In striving asamasta, 'uncompounded': (I) a riipaka in which the subject and object
to avoid that terrible Charybdis of a, Slope she was in great danger of of identification are expressed as grammatically independent words;
falling into an unseen Scylla on th~d)ther hand, that Scylla being identification by predication. (2) D 2.68 (67). (3) aiigulyab pallaviiny
Bertie Stanhope" (Anthony Trollope:; Mrs.' Bold is not here meta- iisan kusumiini nakhatvi$ab / bahii late vasantasrfs tva,!, nab pratya-
phorically identified with Ulysses). (5) Cf avayavi. k$aeiiriiJf (Dal)<Jin: "Your fingers are new sprouts, the beams fromtheir
avayava (II): (1) a complex metaphor showing identification of subsidiary nails are flowers, your arms are vines; indeed, you are the beauty of
aspects. (2) R 8.41-42 (43-45). (3) (4) See the terms mentioned spring in visible form"). (4) "And she balanced in the delight of her
under (5). (5) The figure is subdivided into three types, depending thought, / A wren, happy, tail into the wind" (Theodore Roethke).
upon how necessarily related to the principal metaphor are the (5) The object is predicated of the subject (or parenthetically
subordinate metaphors: sahaja (the sub-aspects of both are inherent predicated of it) instead of standing as final member in a compound
qualities), iihiirya (they are accidental qualities), and ubhaya (the word. Cf samasta and the discussion thereunder. This case is
sub-aspects of one are inherent, of the other, accidental). distinguishable from upamii (simile) only in the absence of the
The text reads sdvayava. comparative particle (iva, 'like'), but later writers have also distin-
avayavi, 'whole': (1) a.complex riipaka in which certain subsidiary aspects guished similes without the comparative particle (ef dyotakalupta
of the principal sUbject are mentioned descriptively, while it alone upamii), as "dawn-eyed". But the two cases, even in their similarity,
is described metaphorically. (2) D 2.74 (73). (3) vaigitabhru gala- are necessarily distinct, for the riipaka is by nature uncompounded
dgharmajalam iilokitek"alJam / vivriJoti maddvasthiim ida,!, vadana- (reposing upon a predication), while the upamii is always compounded
pafikajam (Dal)<Jin; the face is a lotus, but the brows, sweat, and eyes (with the object preceding). The case "gauze of evening" (Virginia
are but themselves: "The lotus of her face betrays intoxication with Woolf; ef samasta) is equivocal, but because it does not involve a
its fluttering brows, dripping beads of sweat, and inviting glances"). predication explicitly, I have considered it under samasta riipaka.
(4) "But two men in an aeroplane are twins in a womb. The very Asamasta is the same as Rudrata's "first" riipaka (R 8.38, 39).
pulse of one must be the pulse of both, their senses, glances, thoughts, asamasa, 'not a compound': (1) same as asamasta. (2) R 8.38 (39).
such a unison of co-operation as the former world never saw" iik~epa, 'challenge': (1) a riipaka in which the adequacy of the metaphor
(Oliver Onions). (5) Cf avayava, the inverse case. is challenged by pointing out in the subject a property which the
asli~ta, 'not punned': (I) a riipaka in which the descriptive qualifications object does not in fact possess. (2) D 2.91. (3) mukhaeandrasya
apply to one or tbe other of the metaphorically identified terms eandratvam ittham anyopatiipinab / na te sundari sa'!'viidi (Dal)<Jin:
(usually the object) and not to both, in the manner of a pun. (2) M "The qualities of the moon, 0 Lovely, do not entirely correspond
145. (3) niravadhi ea,iziriisraya,!, ea yasya sthitam anivartitakautu- with those of your face-moon which makes others suffer"). (4)
"Re-enter LION and MOONSHINE .... LYSANDER: This lion is lies the metaphorical identification of the subject and object is made
a very fox for his valour. THESEUS: True, and a goose for his explicit for each of the terms. (2) D 2.88 (89). (3) ayam iilohitaeehiiyo
discretion. DEMETRIUS: Not so, my lord; for his valour cannot madena mukhaeandramiil.z / sannaddhOdayariigasya eandrasya prati-
carry his discretion; and the fox carries the goose. THESEUS: His garjati (Dal).Qin: "Themoon ofher face, slightly fiushedfrom drink, dis-
discretion, I am sure, cannot carry his valour; for the goose carries putes with the moon, ruddy above the eastern hills"). (4) "She was
not the fox. It is well: leave it to his discretion, and let us listen to a limpet, with the sensitive side of her stuck to a rock, for ever dead
the moon" (Shakespeare). to the rush of fresh and beautiful things" (Virginia Woolf). (5) Cf
iihiirya, 'adventitious': (I) a complex rupaka in which the subsidiary vyatireka rupaka. The difference between simile and metaphor is
metaphors repose upon accidental properties ofthe subject and object here exemplified. Both repose upon a similitude (shared property or
of the principal metaphor. (2) R 8.42 (44). (3) vikasitatiiriikumude aspect), but metaphor adds a second dimension by proposing an
gaganasarasy amalaeandrikiisalile / vilasati sasikalahafflsal.z priivr- identification of the two similar things. Simile is thus in principle a
tjvipadapagame sadyal.z (Rudrata; the moon and stars are only oc- realistic figure, while metaphor is necessarily figurative. But as the
casional aspects of the sky; the"lotus and the swan are occasional various subclassifications of simile show, the similitude may be
aspects of the lake: "At the close of, the oppressive rainy season, the exaggerated beyond any probability (ef ealu, tattvdkhyiina); it is,
great swan of the moon diverts hi#J.s,(1f 'in the lake of the sky, of however, that element of exaggeration which defines the figure as
blooming lotus-stars, of ripples of dear moonbeams"). (4) "Up in simile: in metaphor, no exaggeration is possible because the two
the heavenly saloon / Sheriff sun and rustler moon / Gamble, stuck things have become one. As far as the common property is coucerned,
in the sheriff's mouth / The fag end of an afternoon" (James Michie; there is no distinction between the figures. That is why, throughout
sun, moon, and afternoon are occasiol\al properties of the heavens; this work, figures whose specificity relates to the common property
sheriff, rustler, and cigarette are similarly occasional properties of a may be exemplified by metaphors, even where the original calls for a
saloon). (5) Ahiirya is a subtype of sdvayava rupaka contrasted with simile, and vice versa. This was generally recognized by the Indian
sahaja and ubhaya, q. v. The basis of this classification seems to be authors themselves, who usually classify simile in reference to the
the logical notion of inherence (samaviiya). If a term (concept, elements of similitude (among which is the common property), while
thing, property, or any mixture thereof) is related to another so that metaphor is classified almost exclusively in reference to the com-
the destruction of the second entails the destruction of the first, plexity of the identification involved.
the relation of the first to the second is said to be inherent. This ubhaya, 'both': (I) a complex rupaka in which the subsidiary metaphors
does not imply that the relation itself is eternal or cannot be subject repose upon the inherent properties of one, and the accidental
to modification. Blue is said to be an inherent property of the pot, properties of the other of the two terms in the principal metaphor.
not because the pot is necessarily blue, but because the destruction (2) R 8.42 (45). (3) alikulakuntalabhiiriil.z sarasijavadaniis ea eakra-
of the pot cannot be conceived without destroying its color. (Note viikakueiil.z / riijanti hafflsavasaniil.z safflprati viil)iviliisinyal.z (Rudrata;
that the reverse is not the case, by which we mean that the pot is the bees, lotuses, etc. are accidental concomitants of the tank; the
not inherently related to blue; the relation of inherence is not neces- tresses, faces, etc. are inherent properties of the girls: "The forest
sarily reciprocal.) Similarly, the relation of a lotus to its parts (ef maidens-the river Vatji-are lovely with their lotus-faces and chign-
the example under sahaja) is inherent, while the relation of the sky ons of bees, their breasts of nightingales and clothes of swans").
to its members (sun, moon, and stars), though eternal, is not inherent, (4) "A steamer, probably bound for Cardiff, now crosses the horizon,
since their absence is perfectly compatible with the continued exist- while near at hand one bell of a foxglove swings to and fro with a
ence of the sky (at night, at new moon, and during the day; or when bumble-bee for a clapper" (Virginia Woolf; the bumblebee is ac-
the sky is overcast). Of course, scientific astronomy wonld take a cidentally related to the foxglove; the clapper is inherent in the bell).
different view, bnt poets are allowed a certain license. (5) This figure is a type of sdvayava rupaka, contrasted with sahaja
upamii, 'simile': (I) a type of rupaka in which the property which under- and iihiirya. For the meaning of "inherence", see iihiirya (5).
ekadeSavivarti, ekadesi, 'partial': (1) a complex rzipaka, some ofthe aspects tryaiiga, etc. (two-membered, three-membered). As the figure stands,
of whose subject, subordiuate or priucipal, are uot metaphorically however, only one metaphor is explicit and therefore must be simple
identified with the corresponding aspect of the object, but are de- (suddha); we may see this type as complex by definition (as DallQiu
scribed literally. (2) B 2.22 (24), U 1.12, R 8.41 (56), M 141. (3) certaiuly does): the fourth possibility in the quartet samastavastu
yasya ra1;lantabpure kare kurvato ma1;lqalagralattim / rasasarrzmukhy (principal and subordinate), avayavi (principal), avayava (subordin-
api sahasti partiiimukhf bhavati ripusenti (Mammata; the battle- ate), ekaiiga (part of the subordinate). If so, it differs from avayava
harem and sword-vine are metaphors, but ueither the king nor his in that there all the subordinate aspects described must be made
enemy are specified as lover or rival: "When the King puts his hands subjects of the metaphor. Here some must be left literal, as, in
to the vine of his sword in the harem of battle, his enemy's army, Maugham's example, the soul or the night.
though at first filled with passion, is quickly chased away"). (4) tattvapabnava, 'denial of the real': (1) a type of rzipaka in which ilie
"America, for many of us, used to mean a very large apron, covered existence of the real subject is denied, and the object is affirmed in
with a patteru of lozenges, edged by a frill, and chastely suspended place of it. (2) D 2.95 (94). (3) naitan mukham idarrz padmarrz na
by a boundary tape rouud the ample waist of Canada" (E. M. Fors- netre bhramarav imau / etani kesara1;ly eva naita dantfirci$as tava
ter). (5) All the authors emphasize that the mere incompleteness of (DallQin: "This is no face, but a lotus; these are not eyes, but bees;
the total metaphor is not the only QR11sideration: those aspects not these are flower filaments and not the gleams of her teeth"). (4)
specified must in fact be articnlating 'parts,of the metaphor and be "What looks like a stone wall to a layman is a triumphal arch to a
readily inferrible as such. "Mixed" metaphor is definitely not de corporation lawyer" (Finley P. Dunne). (5) Formally, this figure is
rigeur. just the inverse of tattvakhyana, where the subject is affirmed in
Ekade!;avivarti is the opposite of samastavastuvi$aya; Bhamaha place of the object, but affirmation is classified as simile, deuial as
and Udbha!a know only this single distinction for all of rzipaka, metaphor. This difference testifies again to that more basic distinc-
which then amounts to "complete" and "partial". In the more subtle tiou between simile and metaphor: the former is in principle realistic,
classifications of DaJ)Qin and Rudrata, the term is the equivalent of the latter is in principle figurative (cf upama rzipaka). Denying the
several others or has several subclassifications. Cf avayava, avayavi, existence of the object of comparison does no more than reaffirm
ekaiiga. the "pre-similar" nature of things, whereas denying the existence of
ekaiigil, 'one member': (1) a simple (but potentially complex) rzipaka in the subject strikes at the very heart of all actuality (which, for the
which one aspect is treated metaphorically, the whole and the oilier purposes of poetics, we may take as a complex of subjects, attributes,
aspect are treated,descriptively. (2) D 2.76 (75). (3) madapti[ala- and actions).
ga1;lqena raktanetrotpalena te / mukhena mugdhab so'py e$a jano niravayava, 'without members': (1) a non-complex metaphor; that is,
rtigamayab krtab (DallQin; the "eye-lotuses" are an aspect of the one showing no metaphorical identification of subsidiary aspects or
face, but the face itself and its other aspects (flushed cheeks) are elements. (2) R 8.41,46. (3) (4) See (5). (5) Cf savayava. This
not metaphorically identified with anything else, though the whole figure is subdivided into four types: suddba (one metaphor), mala
is probably meant to imply a lotus poud: "Anyone bewildered by (several independent metaphors), rasana (several interdependent
your face, its cheeks pink wiili drink and its eye-lotuses tender with metaphors), and pararrzparita (a single metaphor with a multiple
affection, is turued into a passion"). (4) "It was a night so beautiful predicate or object). See these terms for examples.
that your soul seemed hardly able to bear the prison of the body. paralJlparita, 'continuous': (I) a type of non-complex rzipaka in which
You felt that it was ready to be wafted away on the immaterial air, the main metaphor is continued by a second which is grammatically
and death bore all the aspect of a beloved friend" (Somerset subordinate to the object of the first aud which gives a rationale for
Maugham). (5) We say potentially complex because of the possibility its identification. (2) R 8.46-47 (51), M 145. (3) smarasabaraca-
that several subsidiary aspects be metaphorically identified in this paya$[ir jayati jananandajaladhisaSilekhti / lava1;lyasalilasindhub
way. According to I:!allQin, the proper terms would be dvyaiiga, sakalakalakamalasaraslyam (Rudra!a; the girl is metaphorically
.
identified with a bow; this, in itself, is unclear until the bow is said to kara of Vamana, which is defined as a rfipaka (metaphor) founded
belong to the love-hunter: she is the love-hunter's bow: "This lovely upon an upama (simile). The examples, however, are the same:
maiden conquers all-she is a lotns pond of all the arts, a river of Vamana probably takes "rajanipuralfldhrirodhratilaka1) sasr "('the
beauty, a crescent moon on the lake of earthly joys, the bow of the moon is the beauty mark of the night-woman') to mean: 'of the
love-hunter"). (4) "Our caresses, our tender words, our still rapture night, wWch resembles a woman'. It is upon this idea of similitude
under the influence of autumn sunsets, or pillared vistas, or calm (though expressed as a metaphor) that the identification of moon and
majestic statues, or Beethoven symphonies, all bring with them the beauty mark is predicated. An alternative explanation would be:
consciousness that they are mere waves and ripples in an unfathom- "the night with the moon is like a woman with her beauty mark",
able ocean of love and beauty" (George Eliot). (5) The termparalfl- though one fails to see in tWs case just how this figure differs from
parita is defined with differing emphases by the two authors who use simple metaphor (wWch is also founded upon a similitude). Vamana
it: Rudrala draws attention to the formal peculiarity of the com- is eager to reduce all figures to a basic simile, so perhaps his contor-
pound word which expresses the"metaphor; namely, that it contains tions have no other rationale.
one subject but two objects otcomparison (love, subject; hunter, TWs integration of metaphor into metaphor should be distin-
object; bow, object), this second o~ject referring to a second subject guished from rfipaka rfipaka, wWch is only a triple metaphor
which is outside the compound: tJtergiri. This verbalistic account (identification of three terms).
seems to avoid the main point, which is "the relation of inclusion or bhedabhiij, 'distinct': (I) another name for asli${a rfipaka.
extension obtaining between the object of the principal metaphor and miilii, 'garland': (I) a type of non-complex metaphor in which the same
the second metaphor (bow? which bow? love-hunter's bow). Mam- subject is successively identified with a number of objects, each
mala, with uncharacteristic insight, fixes upon this conceptual rela- suggesting a different property or aspect. (2) U I.I3, R 8.46 (49),
tionship and expresses it as that of condition and conditioned (only M 144. (3) kusumiiyudhaparamiistralfl lavaIJyamahMadhir gUlJQni-
by knowing that the bow is that of the love-hunter does it make dhanam / anandamandiram aho hrdi dayita skhalati me salyam
sense to equate it with the girl.) (Rudrata: "Alas, that lady has shot an arrow into my heart! She
Paralflparita is classified as a type of niravayava rfipaka, a non- is the ultimate weapon of the God of Love, an ocean of beauty, a
complex metaphor without subordinate metaphorical identifications; treasure-trove of qualities, a palace of pleasure!"). (4) "TWs royal
that is, the relation ofsubordination discussed above does not involve throne of kings, tWs scepter'd isle, / This earth of majesty, this seat
the relation of a whole to its parts, which is what is intended by the of Mars, / This other Eden, demi-paradise, / This fortress built by
term "complex".:Cf siivayava, niravayava. Analytically,paralflparita Nature for herself / Against infection and the hand of war, / TWs
is the inverse of avayava, for the metaphor that in avayava would be happy breed of men, tWs little world, / TWs precious stone set in
the whole (love-hunter) is here the subordinate (at least grammatic- the silver sea, / ... TWs blessed plot, tWs earth, tWs reahu, tWs
ally), and the part (girl-bow) is the principal. But tWs is not the point England, / This nurse, this teeming womb of royal kings ..."
at issue, for the form of paralflparita is not merely the inverse of the (Shakespeare). (5) Cf niravayava; most of the common figures
form of siivayava (where the principal, neatly spelled out, is accom- (upama, vyatireka) are capable of this extension, since they are all
panied by metaphorically identified aspects, neatly spelled out and analyzable into the same elements: tWng compared, object of
inserted at appropriate places in the larger idea: an architectonic of comparison, common property, etc. Mammala also gives an example
metaphor); rather, in paralflparita the subordinate metaphor (which for a garland of paralflparita metaphors. No new principle is
is the principal of siivayava in meaning) is both a grammatical and involved.
conceptual element of an aspect (the object) of the principal meta- ynkta, 'related': (I) a type of complex rfipaka in wWch the objects of
phor. Instead of being founded upon a part, it is a part: it is inte- the subsidiary metaphors go together, that is, are mutually related
grated in what is analytically its own consequence. in terms 9f some well-known cliche or image. (2) D 2.77. (3)
Paralflparita is apparently identical with the upamarfipaka alalfl- smitapu$pojjvalalfl lolanetrabhrfigam idalfl mukham (DaJ.l4in; bees
\~~. h t~dt!,'rlJ; '"l"'k A 4

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- (
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and flowers, with which the eyes and the smile are identified, are metaphor. This figure is a rasanii riipaka in which the term taken as
thus mutually related: "This face is radiant with its smile-flower both subject and object is expressed only once. It differs from
and the bees which are her roaming eyes"). (4) "Saratoga perhaps paral"(lparita in that only a term is metaphorically subordinated to
deserves our greater homage, as being characteristically democratic the principal metaphor, not another metaphor.
and American .... Let us, then, make Saratoga the heaven of our viruddha, 'obstructed': (I) a riipaka in which the metaphorical identifica-
aspiration, but let us yet a while content ourselves with Newport as tion takes place in the presence of and despite characteristics sufficient
the lowly earth of our residence" (Henry James). (5) Cf ayukta to distinguish the two terms. (2) D 2.83. (3) na mflayatl padmiini na
riipaka. In DaJ:1<;lin's classification, this term is to be taken as a nabho'py avagiihate / tvanmukhendur mamdsiiniil"(l haraQiiyalva kalpate
subtype of dvyaiiga (or tryaiiga) riipaka, which is itself an extension (DaJ:1<;lin: "The moon of your face does not cause the lotuses to close
of ekdiiga, q.v. That is to say, when more than one sub-aspect of an and does not swim amongst the clouds, but it does seem uniquely
image is made the subject of a metaphorical identification, these able to enslave me!"). (4) "You are a tulip seen to-day, / But,
identifications may be classified as to their mutual compatibility. dearest, of so short a stay / That where you grew scarce men can
We may not apply this classification to those metaphors in which the say" (Robert Herrick). (5) Viruddha differs from vyatlreka riipaka
principal identification is explicit" since presumably in that case in that the identification overrides the distinction. The "obstruction",
all the subsidiary objects will be a~pects of the principal, and thus specifically, is the non-performance by the subject of the metaphor
a fortiori go together. of an act which is characteristic of the object: the moon causes
rasana, 'rope': (I) a series of riipaka in which the object of identification lotuses to close; a tulip grows in a garden.
of the preceding metaphor becomes the subject of the following, vise~aQa, 'qualification': (I) a riipaka which descriptively qualifies another
and so on. (2) R 8.46 (50), M 145C. (3) kisalayakarair latiiniil"(l word. (2) D 2.82 (81). (3) haripadah Sirolagnajahnukanyiijaldl"(lsukah
karakamalalh kiiminiil"(l jagaj jayati' / nalinfniil"(l kamalamukhair / jayaty asuranih§ankasuriinand6tsavadhvajah (DaJ:1<;lin; Vi~J:1u's foot
mukhendubhir yo$itiil"(l madanah (Rudra;a; the bud-hands of the is said to be wreathed with "Ganges water-gauze"; note that the
creepers, then the hand-lotuses of the girls: "The Love God conquers Ganges is said to have sprung from a footprint of Vi~l)u: "May the
the entire world with weapons which are the bud-hands of creepers, foot of Vi~J:1u be victorious: the banner of the festival of joy of the
with the hand-lotuses of lovers, with the lotus-faces of the blue lotus Gods who were made fearless [by that foot] of the hosts of demons,
plant, with the face-moons of maidens"). (4) "Nor doth this wood [the banner] being the water-gauze of the Ganges attached to the
lack worlds of company, / For you, in my respect, are all the world" mast [of Vi~J:1u's foot]"). (4) "Books were on his shelves by Wells
(Shakespeare). (5) This figure is the inverse of rasanii upamii. and Shaw; on the table serious sixpenny weeklies written by pale
riipaka, 'metaphor': (I) a riipaka in which the object of a simple meta- men in muddy boots-the weekly creak and screech of brains rinsed
phorical identification is itself taken as the subject of a further meta- in cold water and wrung dry-melancholy papers" (Virginia Woolf).
phor; a triple metaphor. (2) D 2.93. (3) mukhapaiikajaraiige'smln (5) These metaphors differ from samastavastuvi$aya riipaka in that
bhriilatiinartakf tava / lfliinrtyal"(l karoti (DaJ:1<;lin; on the stage which a relation other than that of whole to part underlies the subordina-
is a lotus which is her face: on the face-lotus-stage: "On the stage tion of one to the other component metaphor. In the examples, it is
of your face-lotus, the player of your brow-creeper acts out a that of substantive and qualification. Of course, this formal distinc-
divertissement"). (4) "In those mirrors, the minds of men, in those tion does not affect the meaning or subject matter of the metaphor,
pools of uneasy water, in which clouds forever tnm and shadows and it should be possible to express the matter as a samastavastuvi$aya
form" (Virginia Woolf; in those mind-mirror-pools). (5) If the two by stating the terms in that relation.
identifications are independently taken, a miiliiriipaka is formed. vi~ama, 'uneven': (I) a complex riipaka in which the principal identifica-
I think, however, that in Virginia Woolf's example, the "pools" tion is made explicit together with only some of the subordinate
should be taken with the "mirrors" rather than with "minds", identifications; the remaining aspects are treated descriptively and
since it is their reflecting surface which is to be emphasized by the unmetaphorically. (2) D 2.79 (80). (3) madaraktakapolena man-
mathas tvanmukhendunii ! nartitabhrUlateniilaf[l mardituf[l bhuvana- which all suffering is assuaged"). (4) "Christ, Whose Glory fills
trayam (DalJ.cJ.in; "face-moon" is explicit, along with "brow-creeper", the Skies, ! Christ, the true, the only Light" (Charles Wesley). (5)
but "cheeks flushed with drink" is descriptive and does not continue The point is not that the metaphor is uncompounded (cf asamasta),
the metaphor: "The God of Love has punished the world enough but that the image coined by the metaphor is not extended by other
with the moon of your face, its cheeks flushed with drink, its brow- metaphors or metaphorical usages dependent in some way upon
creeper dancing"). (4) "Let us by reverend degrees draw near, ! I that first metaphor.
feel the Goddess here. ! Lo I, dread Sack, an humble priest of thine! TWs is the type par excellence of niravayava metaphor; according
First kiss tWs cup thy shrine. ! That with more hallowed lips and to Rudrala, maW, rasana, and paraf[lparita are variously defined
inlarg'd soul! I may receive the whole" (Anon., "In Praise of Sack"; combinations of suddha rilpakas. All are called niravayava ('lacking
"Sack Goddess" should be taken as the principal; the drinker and members') for this reason. See these terms.
his cup are identified with the priest and the shrine, but neither the sli~ta, 'punned': (1) a rilpaka to which certain descriptive qualifications
"priest's" soul nor his lips is metaphorically identified). (5) This are appended which are to be taken differently for each of the two
figure amounts to a combinatfon of avayavi and ekiiiiga rilpakas. terms of the metaphor. (2) D 2.87, M 145.. (3) rajahaf[lsopabhogii-
It is a samastavastuvi$aya rilpakq with some of the subordinate rhaf[l bhramaraprarthyasaurabham ! sakhi vaktriimbujam idaf[l tava
aspects not metaphorically identifi,iq; (Dal}gin; for the lotus, "swan-enjoyed" and "bee-beloved"; for the
vyatireka, 'distinction': (1) a rilpaka in which a distinction is drawn face, "king-enjoyed" and "suitor-beloved": "Friend, the lotus of
between the metaphorically identified object and its real counterpart; your face is worthy of being enjoyed by the Great King [the swan]
a literal re-evaluation of the metaphor itself. (2) D 2.88 (90). (3) and so sweet as to attract a lover [bee]"). (4) "A Woman is a book,
candramaJ,z pfyate devair maya tvqnmukhacandramaJ,z ! asamagro'py and often found! To prove far better in the Sheets than bound: /
asau sasvad ayam apilrljamOl;uJalaJ,z (Dal}gin: "The moon[beams] are No marvel then why men take such delight / Above all tWngs to
drunk by the Gods, [the beams from] your face-moon I drink; the study in the night" (Anon.). (5) Mammata takesSli~ta to be a category
former is often less than full, the latter ever and always perfect"). in the determination of paraf[lparita rilpaka, along with maW. There
(4) "I will be Paris, and for love of thee, ! Instead of Troy, shall is no clear reason why puns may not serve in other metaphors as
Wertenberg be sacked" (Christopher Marlowe; Faustus is speaking). well.
(5) Vyatireka differs from viruddha rilpaka in that the distinction is sakata, 'whole': (1) same as samastavastuvi$aya. (2) D 2.70 (69).
specified for both the subject and object, giving the subject a positive salpki'nJa, 'mixed': (1) a complex rilpaka in which a principal subject
content (Werteriberg), whereas, in viruddha, the inadequacy alone of and several of its aspects are metaphorically identified with objects
the subject is shown, hence the name "obstructed". having no mutual relation. (2) R 8.52-55. (3) lak$mfs tvaf[l mukham
Cf upama rilpaka. This subfigure is vyatireka alaf[lkara expressed indur nayane nilotpale karau kamale ! kesaJ,z kekikalapo dasana api
in the form of a metaphor, just as upama rilpaka was a simile ex- kundakalikas te (Rudrala: "You are Lak~mi; your face is the moon,
pressed as a metaphor. In the more formal classifications which your eyes, blue lotuses, your hands, wWte lotuses, your tresses, a
follow Dal}gin, such combinations would be relegated to the etcetera peacock's tail, and your teeth, jasmine buds"). (4) "One man is a
category saf[lkfr(la, q.v. living soul, but two men are an india rubber milking machine for a
vyasta, 'separate': (1) same as asamasta. (2) D 2.68. (5) Used only in beer engine, and three men are noses off and four men are an asylum
the term samastavyasta. for cretins and five men are a committee and twenty-five are a meeting
suddha, 'simple': (1) a non-complex rilpaka without subsidiary metaphors and after that you get to the mummy house at the British Museum,
of any kind. (2) R 8.46 (48), M 143. (3) kaJ,z pilrayed ase$an kaman and the Sovereign People ""nd Common Humanity and the Average
upasamitasakalasaf[ltapaJ,z ! akhiliirthinaf[l yadi tvaf[l na syaJ,z kalpadru- and the Public and the Majority and the Life Force and Statistics
mo rajan (Rudrala: "Who would fulfill the numberless wishes of your and the Economic Man brainless, eyeless, wicked spawn of the
suitors, 0 King, were you not the veritable tree of desire through universal toad sitting in the black bloody ditch of eternal night and
$
croaking for its mate which is the specter of Hell" (Joyce Cary; that idea which is only a figurative and intuitive qualification of
the principal, mankind, has its parts, one man, two men, three men, "mourning veil". Grammatically, the primary fact is now "veil",
etc., severally identified with uuinterrelated objects). (5) In popular and through this confusion of primacy and subordination on differ-
nsage, a "mixed metaphor" has a much wider application. The ent levels, the identification of the two terms is accomplished. In
majority of current examples would probably fall into other cate- the phrase "dear tiger-lily, fanged and striped" (Conrad Aiken),
gories thau riipaka; for example: "The crowued heads of Europe the literal fact and the grammatically defined primary term coincide
were quaking in their boots", where "heads" is an example of in "lily". Here is no instance of identification, because the consist-
vakr6kti II (lak$a1;!ii) and "quaking ..." an example of utprek$ii. ency of the various levels reasserts a fortiori the literally acceptable
But the essential poiut-a lack of parallelism in multiple figurative subordination of the first term: "lily like a tiger". For this reason,
predication-is well illustrated by the present case. The clearest the Indian aestheticians consider such compounds upamti (simile),
instance is riipaka, for all the terms-subject, object, and aspects-are not metaphor. The degree of subordination is limited by the in-
there necessarily explicit; in utprek$ii and vakr6kti II (lak$a!Jii), tuitive possibilities of the terms involved. The compound "milk-
the subject is implied by a sort ,,(Shorthand. Some mixed metaphors machine" is neither a riipaka nor an upamii, for the subordination is
may not be vicious, as the exampl7s show. Cary's mixtnre serves a merely teleological and can have nothing to do with the representa-
specific poetic purpose in that iti~'\'feases the emphasis of the se- tion of the terms themselves. Which is to say, in Pfu).inean phrase-
quence itself. In ayukta riipaka, am()r~.explicit opposition in the ology, that tatpuru$a compounds can be figurative only when they
objects of identification is required, making the metaphor more are karmadhiiraya, where both members have the same case relation-
mixed than this. ship (samtinlidhikaralJatva). We have, however, one skew case in
samasta, 'compounded': (I) a riipaka in which the subject and object of English, as in Virginia Woolf's phrase "gauze of evening": there is
identification are compounded into a single granuuatical word, not much question that this is a metaphor in the Indian sense, as it
the subject preceding. (2) D 2.68 (66). (3) biihulatii ptil)ipadmalll identifies the evening (subject) with gauze (object). It does not mean
caraIJapaliavab (DaI.l<;lin; three separate examples: "Arm-vines, hand- "the gauze belonging to evening"; it is the equivalent of "evening-
lotuses, foot-buds"). (4) "The weeds wear moon mist mourning ganze", but since English does not offer the same facility for com-
veils" (Carl Sandburg). (5) English is sufficiently like Sanskrit to pounding as Sanskrit, poets employ this "of" of identification (see
permit a valid illustration of this grammatical point. A riipaka is Twain's example under samastavastuvi$aya). A case relationship
the identification of a subject (literal) with an object (figurative). implying subordination is used to indicate equivalence. We may
This identificatidn may be accomplished by the simple assertion of ordain·for English a karmadharayagarbhatatpuru$asamiisa. Such an
an identity lesee asamasta), but it may also repose upon an implica- "of" of identification must be carefully distinguished from the other
tion grounded upon a granuuatical feature of the language, namely, "ofs": a sine qua non is that'the granuuatically independent term
that the last member of a compound alone has a direct relation to (ganze) is the representation of the term thereto snbordinated (eve-
the rest of the sentence (it carries the case termination, plural ning), as "moon mist mourning veils". In the example: "And there
termination, etc.). The first member has syntactical reality only the lion's ruddy eyes I Shall flow with tears of gold" (William Blake),
through the second and therefore is subordinated to and is taken "tears of gold" does not satisfy this criterion; rather, "gold" is a
when possible as an equivalent of the second. Through grammatical representation of "tears", and we have upamti, not ritpaka.
identification, concrete identification is implied. Now, into this samastavastnvi~aya,'referring to the entire thing': (I) a riipaka in which
syntactic framework the poet inserts words freely and particularly the subject of identification and its several parts or aspects are
seeks those expressions whose intuitive or logical structure differs identified in rigorously parallel fashion with the object and its
from that, implied and ready made, of the granuuar. Such is "moon several parts; complex metaphor. (2) B 2.22 (23), U I.I2, R 8.41-
mist mourning veils", where the literal and primary fact, "mist", 55, M 140. (3) jyotsniibhasmacchuralJadhavalti bibhratf ttiraklisthfny
is granuuatically sUb<;>rdinated, in the manner described above, to antardhanavyasanarasikti riitrikiipiiliktyam I dvipiid dvipalll bhramati
.
dadhati candramudrakapale nyastalfl siddhiiiijanaparimaialfl laiicha- if the lion be to speak. DEMETRIUS: No wonder, my lord. One
nasya cchalena (Mammata; the principal subject "night" is identified lion may, when many asses do" (Shakespeare; the player Snug has
with the principal object "beggar woman"; their respective parts introduced himself as the Lion: a theatrical metaphor). (5) In
are the subjects of various subordinate identifications: "moonlight- ak~epa rupaka, a property sufficient to distinguish subject from object
ash smeared body", "stars-beads", "moon-bowl", etc.: "The beggar is pointed out, and the metaphor itself is cast into doubt; here an
woman of the night, white with the smeared ash of moonbeams, attempt is made to override that suspicion and thereby to save the
who wears a necklace of stars and shows great interest in hidden original metaphor. In viruddha, the same difference is expressed
things, wanders from island to island gathering in the begging bowl negatively (non-performance by the subject of an action proper to
of the moon fragrances and magic ointments, dark appearing"). the object), in vyatireka, positively (the proper action of the subject
(4) "We see bursting upon us the domes and steeples of Saint Paul, is also given), but in both, the mode is the indicative; in sama-
giant young chief of the North ... carving his beneficent way with dhiina and ak~epa, the adequacy ofthe metaphor has yet to be decided.
the tomahawk of commercial enterprise, sounding the war whoop of samlisa, 'compound': (I) same as samasta. (2) R 8.40. (5) All types of
Christian Culture, tearing off tlif' reeking scalp of sloth and supersti- rupaka given by Rudrata, except asamasa, are examples of samasa.
tion" (Mark Twain). (5) In distinguishing this metaphor from eka- savise1jat;la, 'with a qualification': (I) another term for viSe~aQa rupaka.
deiavivarti, the important thing i~::f~at none of the aspects of the slivayava, 'having parts': (I) another name for avayava II.
subject be descriptively treated (nor identified metaphorically). hetn, 'cause': (1) a rupaka in which a cause is given for the identification
Samastavastuvi~aya is the type of complex rupaka whose many of the subject and object; or, in which the common property under-
variations herein described are simply the non-identification of lying the identification is expressed in the form of a cause. (2) D 2.86.
one or another characteristic part: qvayava (the principal subject- (3) gambhiryeQa samudro'si gauravelJdsi parvatah / kamadatvac ca
object), avayavi (the subordinates), ekdiiga (the principal and some lokanam asi tvalfl kalpapiidapah (DaJ:l<;lin: "You are the ocean for
subordinates), and vi~ama (some subordinates). All these terms are depth, 0 King, and the mountain for weightiness; having granted
types of ekadeiavivarti, but only DaJ:l<;lin goes beyond the basic boons to all men, you are the tree of desire!"). (4) "LYSANDER:
distinction to elaborate types of partiality. The relation of the sub- This lion is a very fox for his valour. THESEUS: True, and a
metaphors to the main metaphor is that of a part or aspect to the goose for his discretion" (Shakespeare). (5) Cf hetu upama.
whole. For a discussion of other kinds of subordination, see
paralflparita and. viSe~aQa rupaka. llitlinuprlisa
samastavyasta, 'compounded and separate': (I) two rupakas in the same llitlinnprlisa, 'Gujarati alIiteration': (I) same as latiya, a type of anuprasa.
expression, one of which is in the form of a compound word, the (2) U 1.8-10. (5) Udbhata considers it a separate alalflkara.
other not. (2) D 2.68. (3) smi/alfl mukhendor jyotsna (DaJ:l<;lin: "The
smile is the beam of her face-moon"). (4) "Walled in by towering lesa
stone- / Peaked margin of antiquity's delay" (Allen Tate). (5) This lesa (I), 'trace': (I) a figure in which a pretext is alleged to cover an
is paralflparita rupaka defined in a purely formal fashion, without embarrassing or otherwise unpleasant situation. (2) D 2.265 (266-
reference to the kind of relation existing between two metaphors. 67). (3) anandfisru pravrttalfl me kathalfl dr~tvaiva kanyakam / ak~i
samlidhlina, 'justification': (I) a rupaka in which a justification is offered me pu~parajasaviit8ddhatena kampi/am (DaJ:l<;lin; the lover is ashamed
for a previously expressed inconsistency in the metaphor. (2) D 2.92. to admit his tears of joy: "Why should I cry for joy at the sight of
(3) mukhendur api te caQ<!i malfl nirdahati nirdayam / bhagyado~an that maiden? My eyes are only bothered by some wind-blown
mamaiva (Dat;l<;lin: "Even the moon of your face, 0 cruel girl, flower pollen"). (4)" 'I was a-stannin' heah, an' de dog was a-
consumes me fierily! Such is the defect of my fate !"). (4) "LION: ... stannin' heah; de dog he went for de shell, gwine to pick a fuss wid
For all the rest, / Let Lion, Moonshine, Wall, and lovers twain / it; but I didn't; I says, "Jes' make youseff at home heah; lay still
At large discourse while here they do remain. THESEUS: I wonder whah you is, or bust np de place, jes' as you's a mind to, but I's got
Db
business out in de woods, I has!"'" (Mark Twain; the darky's that a second meaning is read into that remark.' (2) R 2.14-17,
"business" is a pretext for his hasty withdrawal; the scene is the siege M 103. (3) aho kenMrSi buddhir diiruQii tava nirmitii / triguQii sruyate
of Vicksburg). (5) The figure is rejected by Bhiimaba (2.86) as not buddhir na tu diirumayi kvacit (Mammala; also a pun on the
involving vakrokti. philosophical sense of "buddhi": in the threefold manifestations of
leSa (II): (I) a figure in which a quality is portrayed as involving a defect, sativa, tamas, and rajas; "Hey, who made your will so pitiless
or vice versa. (2) R 7.100 (101-102). (3) hrdayalfl sadafva ye~iim [diiruQa]? Will is said to be threefold, but never, ever made of wood
anabhijnalfl gUl)llviyogaduf.zkhasya / dhanyiis te gUlJahfnii vidagdha- [daru]"). (4) "'I mean: what do I tell Jane? She's down at the apart-
gO~lhirasflpetiif.z (Rudrata: "They whose simple minds are unaware ment by now. She called me. She was worrying that bad about
of the pains of iguorance are indeed blessed, for they feel no compul- you'. 'What's she want?' 'It has all different names', Captain Dyer
sion to attend the assemblies of the wise"). (4) " ... bankruptcy said. 'They use like a bed for it. You ought to know, sonny boy'"
itself can be a pleasure. I'd been bankrupt four times. There's (James Gould Cozzens). (5) This is one of the rare figures which are
nothing like a good smash for !l$?tting rid of small worries, the things essentially dialectical, involving the development of an idea from
that don't matter, but peck a lhan to death" (Joyce Cary). (5) The thesis to antithesis. We are here very close to our own idea of irony
Sanskrit example shows a defect implying a virtue, the other a if we take this to mean reference to something through its opposite,
virtue implying a defect: "Every cli::l1-1<lhas a silver lining". or, at any rate, its other. It differs from irony in requiring that the
lesa (III): (I) same as vyiijastuti. (2) D 2:268'72. thesis, that is, the conventional formulation which is to be referred
to through its opposite, be explicit. Although vakrokti can be ex-
vakra pressed through a pun (see sle~a vakrokti), it differs from pun in
vakra, 'crooked': (I) an artha sle~a in which underlying the double- requiring that the pun be a reinterpretation of something previously
entendre is a further equivocation ofmood (rasa). (2) R 10.9. (3) mentioned, not simply a self-contained play on words.
iikramya madhyaddalfl vidadhat salflviihanalfl tathflfigiiniim / patali kiiku, 'intonatiou': (I) a type of vakrokli in which the rejoinder is not
karaf.z kancyiim api tava nirjitakiimarupasya (Rudrata; taking the stated, but is conveyed through an ironic inflection of the voice.
nouns as names of countries gives one rasa (vira), as parts of the (2) R 2.16 (17), M 103. (3) gurujanaparatantrataya durataralfl ddam
female anatomy, another (srfigiira); "Overcoming Madhyadesa udyato gantum / alikulakokilalalite naf~yati sakhi surabhisamaye'sau
[grasping her waist], sending your army against [caressing] the Aiigas (Mammata; meaning: "he will surely go": "He intends to go to a far
[her limbs], your hand has fallen even on Kaiici [on her girdle], 0 land out of obedience to his teacher; surely he will not leave in the
you who has conquered Kamariipa [hested the Love God]"). (4) sweet-smelling season gay with the sounds of bee and cuckoo !").
"License my roving hands, and let them go / Before, between, behind, (4) "'I don't want to interfere', she said, using the tone and the phrase
above, below. / Oh, my America, my Newfoundland, / My kingdom's to mean its exact opposite" (Margery Allingham). (5) This is vakrokti
safest when with one man manned" (John Donne). (5) Here the in the sense that the conversation proceeds on the basis of the under-
equivocation is thought of on two levels: literal (the word itself standing, not the remark. There is no reply because it is not neces-
having two meanings) and contextual (the two literal meanings sary. The phrase is its own rejoinder and conveys its reinterpretation
implying contrary or contradictory emotions). As such, there are through an inflection rather than mere verbal stuff. Stated linguis-
four meanings here being punned, and the form presents a uice tically, the two senses of kaku vakrokli are carried one by the seg-
problem to the dhvani theorist: is the sle~a here subordinate to the mental morphemes, the other by the suprasegmental; in sle~a vakrok-
expression of the rasa, or vice versa? ti, they are carried by two different sequences. That irony is con-
sidered a type of vakrokti in this sense, shows that the Indian writers
vakrilkti were aware of it as a function of the continuum of speech, not, as
vakrilkti (I), 'evasive speech': (I) a figure in which a rejoinder is appended might appear on the face of it, as a static relation of two super-
to a certain remark, either by the speaker or another, in such a way imposed meauiugs, like Sle~a. This is a profound view of irony and
shows how the idea of a figure cau be treated quite iudependently viikoviikya
of the expressive modes which it may entail. A conversation is viikoviikya, 'dialogue': (I) a figure containing a remark and a reply.
here reproduced, not in its accustomed time continuum, but quite (2) AP 342.32-33. (5) Viikoviikya may be divided iuto rjukti and
simultaneously, indifferent to time. vakrokti. The latter is the well-known alalflkiira of Rudrata and
sle~a 'double-entendre': (I) a type of vakrokti in wWch the second sense is Mammata cousisting of a reply wWch consciously mistakes the con-
conveyed through a rejoinder based on a pun or a play on words. tent of the questiou; irouy. J!.jukti is defined as 'inherent' (sahaja)
(2) R 2.14 (15), M 103. (3) kilfl gauri miilfl prati rU$ii I nanu gaur speech, perhaps conversation. Again the scope of the figures is
ahalfl kupyiimi kiilfl prati I mayity anumiinato'halfl jiiniimy atas I demonstrated (ef bhiivika). Viikoviikya constitutes the sixth sabdii-
tvam anumiinata eva satyam (Rudrata: "SIVA: Why are you angry lalflkiira. Other figures involving conversation are prasna and uttara.
with me, Gauri? SHE: Why am I deemed a cow [gaur] by you? With
whom should I be angry? HE: I know by inference [anumiinato] viistava
that you are angry with me. SHI;;,indeed, you are anumiinato [anumii- viistava, 'descriptive': (I) a generic term for those figures which are
nata: not devoted to Vma, another name for Gaur!],,). (4) "POLO- neither comparative nor hyperbolic. (2) R 7.9-10. (5) Rudrata
NIVS: My honourable lord, I will, most humbly take my leave of intends those figures which are more rhetorical than poetic, involving
you. HAMLET: You cannot sir ta1(~'fr6m me anything that I will arrangemeuts and sequences of terms, or descriptive intimations.
more willingly part withal: except my life; except my life, except my The list is given in 7.11-12. See aupamya, atMaya, and sle$a.
life" (Shakespeare). (5) As in Sle$a arthantaranyiisa, a second topic
is, intimated through a pun, but here that duality is comprehended vidarsanii
in the form ofrepartee-a conversation (or monologue) on two planes. vidarsanii, 'making apparent': (I) a figure in wWch a similitude is sug-
vakrokti (II): (I) a figure wherein a word is used in a figurative sense gested by attributing to one subject a property which is characterized
based on similitude; metonymy of resemblance. (2) V 4.3.8. (3) as really belonging to another. (2) V 5.10. (3) vinoeitena patyii ea
salflsthiinena sphuratu subhaga/l svarci$ii eumbatu dyiim (Vamana; rupavaty api kiimini I vidhuvandhyavibhiivaryii/l prabibharti visobha-
"kiss" is used in a figurative sense: "May the blessed one be brilliant tiim (Vdbhata: "A girl without a husband, though she be beautiful,
with excellence; may he kiss the day with his darting rays"). (4) offers a sight rivalling in ugliness the moonless night"). (4) "In
"She stood breast-Wgh among corn, I Clasp'd by the golden light phrases full of the audible equivalents of Capital Letters, he now
of morn" (Thomas Hood). (5) The Indian writers distinguish several went on to assure Mr. Stoyte ... " (Aldous Huxley). (5) Just as one
types of figurative usage (lak$flIJii), depending on the kind of relation- woman cannot carry the ugliness of something else, so capital letters
ship existing between the literal and secondary senses. For example, cannot be an attribute of the spoken word; nevertheless, the adjunc-
the relation of proximity underlies "the grandstand roared with tion suggests comparability-of the woman and the night, of
approval"; that of whole-part in "Washington was scandalized by audible and visible sententiousness.
it". Vamana specifies that the relation be understood in this figure But for the example wWch Vdbhata offers, this figure would be
as being restricted to similitude only: though light cannot "clasp" indistinguishable from nidarSanii II of Mammata, for the definitions
anytbing, the meaning is obtained here through the striking simil- are almost equivalent. In Mammata, the rapprochement is via a
arity of that act with the literal effective manifestation of the light. similar or common result, and two distinct verbs underlie the contrast;
The figure utprek$ii, as described by DaJ:.lc;1in, appears identical with here there is but one verb, which does not apply literally to .the sense
this one, but involves a totally different orientation. expressed, and the rapprochement is simply with the object of that
This one figure, sauf erreur, marks the only effort of an Indian verb, as taken figuratively. This figure is perhaps a "portmanteau"
iilalflkiirika to define a poetic figure in the referential usage of single of nidarsanii.
words (trope, metonymy) which plays such a large role iu our own A second type is mentioned by Vdbhata in the definition, wherein
rhetorics. See the Introduction. the two situations are in fact related, but no example is offered.
1
He may be referring to the more common nidarsana 1. The examples dambam asa1[lmr#dmalt!mbaram I aprasiiditasuddhtJmbu jagad asin
also suggest that vidarsana is similar to utprek,a, but the figurativeness manoharam (DaJ;lqin; the cause of these paradoxical phenomena is
of the ascription is literally pointed out. the autumn weather: "The geese are intoxicated without having
drunk, the sky is clear without having been cleaned, the waters are
vin<lkti pure and have not been given grace: the world is so lovely!"). (4)
vin<lkti, 'speech including the word "without"': (1) a figure in which two "My tale was heard, and yet it was not told; I My fruit is fall'n,
things are presented as excluding one another. (2) M 171. (3) and yet my leaves are green; I My youth is spent, and yet 1 am not
arucir nisayii vinii saSi sasinii sdpi vina mahattamal; I ubhayena vina old" (Chidock Tichborne; written just before his execution at the
manobhavasphurita1[l naiva cakasti kiiminol; (Mammata: "The moon age of twenty-eight). (5) See svabhiivika.
without the night has no brilliance; the moonless night is fearful svlihhlivika(tva), 'natural(ness)': (I) a type of vibhiivanii in which the
and dark; without both, no thonght of love comes to the minds of nature of the thing so described is implied as the explanation of the
lovers"). (4) "Through want of m~ssion] she had sung without being seeming contradiction. (2) D 2.199 (201), AP 344.28, R 9.20 (21).
merry, possessed without enjoyillg, outshone without triumphing" (3) anaiijitdsita dr#ir bhrur aniivarjita nata I araiijito'rul,las cdyam
(Thomas Hardy). (5) Vin6kti is obvious inversion of sah6kti adharas tava sundari (DaJ;lqin; her anger is the "cause" of her parad-
("speech including the word 'with' oxical appearance; she doesn't love him: "Your glance is dark
without eyeshade, your brow is arched with no one bending it,
vibhlivanli your lip is full colored and not a touch of lipstick"). (4) "1.0, lot
vihhlivanli, 'manifesting': (1) a figure in which an effect is realized in the how brave she decks her bounteous bower, I With silken curtains
absence of its normal or conventional yause, thus implying another, and gold coverlets, I Therein to shroud her sumptuous belamour, I
unusual cause. (2) B 2.77 (78), D 2.199-204, V 4.3.13, U 2.9, AP Yet neither spins nor cards, nor cares nor frets, I But to her mother
344.27, R 9.16 (21), M 162. (3) apftamattiil; sikhino diSo'nutka1Jthi- Nature all her care she lets" (Edmund Spenser; the lilies bloom
tdkuliil; I nipo'viliptasurabhir abhra$/akalu,a1[l jalam (Bhamaha; a "naturally"). (5) See kiiral,ldntara.
description of the rainy season: "The peacocks are drunk without
having imbibed, the skies are confused without being in love, the virodba
nipa tree is sweet smelling without being anointed, the water is virodba, 'contradiction': (1) a figure in which contradictory properties
corrupt without having sinned"). (4) "0 world invisible, we view are expressed of the same subject; the affirmation of the excluded
thee, I 0 world intangible, we touch thee, I 0 world unknowable, we middle. (2) B 3.24 (25), D 2.333-39, V 4.3.12, U 5.6, AP 344.28, R
know thee, I Inapprehensible, we clutch thee!" (Francis Thompson; 9.30-44, M 166-67. (3) upantariil;/h6pavanacchiiyasftdpi dhar asau I
presumably a description of religious man). (5) Outwardly, this viduradeSiin api val; sa1[ltapayati vidvi,al; (Bhamaha; the king's
figure resembles a simple virodha (contradiction); its peculiarity "cool" sovereignty inflames his enemies: "The royal sovereiguty,
reposes in the fact that the two terms contradicted are cause and cool in the shade of the city's environing groves, consumes his
effect, not any two coexistent properties. According to DaJ;lqin enemies, though they be in a distant land"). (4) "I find no peace,
and the Agni Pural,la, vibhiivana is of two sorts, depending on whether and all my war is done; I 1 fear and hope, 1 burn, and freeze like
another (less common) cause is implied (kiiral,ldntaram), or whether ice; I 1 fly aloft, yet can 1 not arise; I And nought I have, and all
the nature of the thing itself provides the explanation (svabhiivika). the world 1 seize on" (Sir Thomas Wyatt; "Description of the con-
Rudrata, finally, divides the former into vibhiivanii of the subject trarious Passions in a Lover"). (5) This figure is elaborately catalo-
(abhidheya) and vibhiivana of an aspect of the subject (vikara). gued by Rudrata, probably following DaJ;lqin's sketchy and un-
kliral}antaram, 'another condition': (1) a type of vibhiivana in which a less named sixfold division, into fourteen types based on the common-
usual cause is to be inferred as explanation of the seeming contradic- place distinction jiiti, gU1)a, kriya, dravya ('genus', 'attribute', 'act',
tion. (2) D 2.199 (200), AP 344.28, R 9.16 (17). (3) apftak,ibakii- 'substance'). (Rudrata asserts, however, that one of the fourteen
types-jati dravya-is theoretical only.) The contradiction may and tender, of celebrating a festival, as if two emotions were called
exemplify any of these categories, or may involve terms from any up in her, one profound-for what could be more serious than the
two of them. (For an example of multiple or complex virodha, see love of man for woman, what more commanding, more impressive,
gu~akriya virodha.) Mammala copies this scheme. Virodha differs bearing in its bosom the seeds of death; at the same time these
from pihita and like figures in emphasis only. Where the intention lovers, these people entering into illnsion glittering eyed, must be
is to show two incompatibles as equally valid, and where no implicit danced around with mockery, decorated with garlands" (Virginia
decision is made, we have virodha; if the intention is to exaggerate Woolf). Both examples show only a situation of contrasts, not
one of the incompatibles at the expense of the other, we have hyper- contradiction (D 2.336).
bole, which uses contradiction as a means. Like all the subtle gtU]akriyii, 'attribute-verb': (1) a type of complex virodha where incom-
distinctions of alalflkarasastra, the properly understood intention of patibility is shown between actions and qualities or traits of the same
the poet is the ultimate clue. For this reason, it might be added, subject. (2) R 9.39, M 167. (3) sa komaliJpi dalayati mama hrdayalfl
the body of poetic distinctions c~!;1, be a powerful adjunct in coming (Rudrala: "0 how that tender one causes my heart to break!").
to grips with the poet's often murky thoughts. (4) "Of course I don't deny that if I were thoroughly unscrupulous
kriya, 'verb': (1) a type of virodha wher!" the incompatibility is that of I could make a sensation. It would be rather amusing to show the
two actious of the same subject. (2}'P 2.334, R 9.36, M 167. (3) man with his passion for beauty and his careless treatment of his
bii1amrgalocanaytiS caritam idalfl citramatr'ayad asau mam I ja¢ayati obligations, his fine style and his personal hatred for soap and water,
salfltapayati ca diire hrdaye ca me vasati (Rudrala; "soothes" and his idealism and his tippling in disreputable pubs; but honestly,
"inflames": "How can this doe-eyed girl perform such wonders? She would it pay?" (Somerset Maugham).
both soothes and inflames me from a, distance, yet she resides in jat!, 'genus': (I) a type of virodha where generic incompatibility is shown
my heart !"). (4) "It's bad when they think well of you, Cokey, in the same subject. (2) D 2.335, R 9.37, M 167. (3) ekasyam eva
because you get to think too much of yourself. And it's bad when tanau bibharti yugapan naratvasilflhatve I manujatvavarahatve tathiJiva
they think badly of you because you may get to think badly of them. yo vibhur asau jayati (Rudra(a; "manliness" and "lionhood" in
Take your mind off your work" (Joyce Cary; "think well" and speaking of a form of VisJ,lu: "May he be victorious, the Lord who
"think badly"). unites in one body humanity and lionhood, manliness and porcinity").
gtU]a, 'attribute': (1) a type of virodha where the iucompatibility is that (4) "Now I am well aware that pettiness and grandeur, malice and
of two (adjectivally stated) attributes of the subject. (2) R 9.35, M charity, hatred and love, can find place side by side in the same human
167. (3) satatalfl musaliisakta bahutaragrhakarmaghatanaya nrpate I heart" (Somerset Maugham; "pettiness and grandeur"). (5) The
dvijapatnfnalfl kathinal; sati bhavati karal; sarojasukumaral; (Mam- logical category "genus" is never given abstract substantiatiou, but
mala; "harsh" and "soft": "The hands of the Brahmin ladies, is always considered to be a peculiar kind of attribute. Iu this sense,
busily attached to the duties of the home, forever making foods and the important distinction is between genus and gu~a, not between
sauces, have become rough; yet in your preseuce, King, those hands genus and species (dravya). This turns out to be largely a matter of
are lotus soft!"). (4) "Behold a critic, pitched like the castrati, I morphology: if a pot is red, then redness is a generic attribute of
Imperious youugling, though approaching forty" (Theodore Roeth- its color.
ke). (5) DaJ,lc;liu gives an (unclassified) example which, though based dravya, 'particular thing': (1) a type of virodha where the incompatibility
ou gu~a, does not show virodha in any accepted sense: "tanumadhyalfl is that of particular individual things or ideas. (2) D 2.337, R 9.34,
prthusro~i raktiJu~tham asitek~a~am I natanabhi vapul; strf~alfl kalfl M 167. (3) atrendranilabhitti~u guhasu saile sada suveliJkhye I
na hanty unnatastanam" ('Thin waisted and ample thighed, red lipped anyonyiJnabhibhiite tejastamasf pravartete (Rudrala; tejas ['energy']
and black eyed, with depressed navel and raised breasts-who would and tamas ['indolence'] paired with "glimmering" and "shadow":
not be striken by the body of a woman?'); compare: "This will "The glimmering and the shadow, ever contending, persist on the
celebrate the occasion~a curious sense rising in her, at once freakish sapphire-set walls of the caves of Mount Suvela"). (4) "[Theodore
I
i l
Roosevelt] is an interesting combination of St. Vitus and St. Paul" ~thira are enemies in the Ramdya1ja and the Mahiibharata: "Your
(1. Morely, quoted by Frederick Lewis Alleu). (5) These categories arm is left, although it is right [clever], Pralamba [pendant] although
are ill translated by our own: witness the example "energy" considered Balabhadra [strong], although Duryodhana [difficult to fight], it is
as a category of substance. Yudhi~thira [firm in battle]"). (4) "Uutil yesterday I had no idea that
virodha (II): (1) same as asarrtgati. (2) V 4.3.12. (5) The subject ofvirodha there were any families or persons whose origin was a Terminus"
has been fully developed in relation to the causal process. Various (Oscar Wilde; Lady Brackuall refers to Jack's having been abandoned,
contradictions or distortions of the normal relation of cause and as an infant, in the cloak-room of Victoria Station). (5) This figure
effect are exemplified by the figures anyonya, piirva, vyaghata, differs from virodha III only in that the apparent paradox is borne
asarrtgati, samadhi, and ahetu. An ordinary virodha concerns aspects by the meanings of the words, rather than by a formal (positive-
of one subject and does not extend necessarily to relations between negative) contrast. Both are appearances of paradox, and both are
many subjects, nor is it based on any notion of the propriety of resolved in the same way.
such relationship, as implied, for example, by the notion of cause and
6d .~. . vise~a
virodha (III): (1) an artha sle~a in whic)1 a positive term or thought is vise~a(I), 'difference': (1) a figure in which a quality or thing is represented
directly contradicted by its negative,.,:~~.~resolution of the contradic- without, or in separation from its natural substratum or basis.
tion is effected by understanding one(i1sulilly the negative) as a pun. (2) R 9.5 (6), M 203. (3) divam apy upayiilanam akalpam analpagu-
(2) R 10.5. (3) sarrtvardhitavividhfidhikakamalo'py avadalitanalikal,l 1jaga1ja ye~am / ramayanti jaganti giral,l katham iha kavayo na te
so'bhiit / sakaldridararasiko'py anabhimatapardfiganasafigal,l (Rudra- vandyal,l (Rudrata; the poet's voice is represented here in separation
ta; the first reading suggests that ,the king is both an enjoyer of from his body: "Why are the poets now gone beyond to heaven not
the wives of his enemies and uninterested in the wives of others, but honored here-poets whose voices will delight the worlds and mani-
dara (first "wife") also means "sword": "Although he has nurtured fest numberless qualities till the end of time?"). (4) " ... when the
various excellent lotuses, he has destroyed lotuses [fools]; although door opened, and a somewhat forbidding countenance peeped into
he is an amateur of all his enemies' wives, he disdains the embraces the room. The eyes in the forbidding countenance looked very
of others' women [swords]"). (4) "In those old days, the Nymph earnestly at Mr. Pickwick, for several seconds, and were to all
called Etiquette / (Appalling thought to dwell on) was not born. appearance satisfied with their investigation; for the body to which
/ They had their May, but no Mayfair as yet, / No fashions varying the forbidding countenance belonged, slowly brought itself into the
as the hues of morn" (c. S. Calverly; "May" without "Mayfair" apartment, and presented the form of an elderly individual in top-
appears to be a contradiction, until Mayfair is understood as a boots-not to keep the reader any longer in suspense, in short, the
[fashionable] quarter of London). (5) This figure is virodha alarrtkara eyes were the wandering eyes of Mr. Grummer, and the body was
expressed through sle~a. See also virodhfibhiisa. This could better the body of the same gentleman" (Charles Dickens). (5) Cf adhika
be called paradox. II, where the substratum is exceeded or surpassed by the condition
which it limits. In the following example from Shelley, the sub-
virodhlibhlisa stratum is actnally left behind: "My heart, for my weak feet were
virodhlibhlisa, 'appearance of paradox': (1) an artha sle~a in which two weary soon, / Did companion thee".
terms appear to contradict each other, and in which the contradiction vis~a (II): (1) a figure in which a single quality or thing is represented
is resolved by understanding one or the other as a pun. (2) R 10.22. as inhering in, or being in conjunction with, several natural substrata
(3) tava dak$i1jo'pi vamo balabhadro'pi pralamba e~a bhujal,l / duryod- or bases. (2) R 9.7 (8), M 203. (3) sa vasai tujjha hiae sa cciacchfsu
hano'pi rajan yudhi~lhiro'stity aho citram (Rudrata; the king's arm saa vaa1jesu / ahmarisa1ja sundara oaso kattha pava1jOm (Mammata;
is both ';right" and "left", but "left" also means "unpropitious" (for spoken by a jealous wife about her rival: "She resides in your heart,
his enemies); Pralamha and Balabhadra, Duryodhana and Yudhi- in your eyes and voice; where is there place for sinners like us?").
",,--u l
..... _
(4) "Mine eye and heart are at a mortal war, / How to divide the in vibhiivanii rests entirely upon a negated cause as the cause of just
conqnest of thy sight; / ... My heart doth plead that thon in him that "impossible" effect. In other words, we wonder, in vibhiivanii,
dost lie, / A closet never pierced with crystal eyes, / Bnt the defendant that the effect should come at all, but here we wonder at how it
doth that plea deny, / And says in him thy fair appearance lies" has come about, or, to put it another way, the proximate cause is
(Shakespeare; the same idea as in the Prakrit example with the added denied in vibhiivanii, but in viSe$okti, only a condition is denied.
fillip that the various "residences" of"her" are considered contestants; Dal)<,lin classifies viSe$okti into five sorts, using the common four-
cf the figure pratyanika). some-jiiti, gUl)a, kriyii, and dravya (cf virodha)-and adding a
vise~a (III): (I) a figure in which a single cause is represented as producing, fifth, called hetu, which is "qualified deficiency", much as viSi${a-
in addition to its usual effect, another, literally impossible effect. dvaita is "qualified non-dualism". Compare viSe$okti II, the exact
(2) R 9.9 (10), M 203. (3) likhitaltl biilamrgak$yii mama manasi reverse of this term.
tayii sariram iitmiyam / sphu(am iitmano likhantyii ti/akaltl vimale kriya, 'verb': (I) a type of viSe$okti in which the subject's deficiency is
kapolatale (Rudrata; applying cosmetics prodnces not only the that of an action usually contributing to a given effect. (2) D 2.323
tilakam but also a mark on theyoung man's soul: "As she paints (326). (3) na baddhii bhruku(ir napi sphurito dasanacchadal;z / na ca
the bright tilaka mark on her spotless cheek, her whole form is raktabhavad dr,,(ir jitaltl ca dvi$atiiltl kulam (Dat:1<,lin; the king invests
graven in my mind"). (4) "Why ~.tte about thy wrist, / Julia, this his enemies without the slightest sigu of anger: "His brows unlower-
silken twist; / For what other reason is't/Bnt to show thee how, in ing, his lips not athrob, his glance uninflamed-yet he conquers the
part / Thou my pretty captive art? / But thy bond-slave is my heart hosts of his enemies!"). (4) "So forth those joyous Birds did pass
..." (Robert Herrick). (5) Compare asaltlgati, where the only effect along / Adown the Lee, that to them murmur'd low, / As he would
produced is literally impossible. The present case seems to be the speak, but that he lack'd a tongue, / Yet did by signs his glad affec-
combination of an ordinary hetu with asaltlgati. tion show, / Making his stream run slow" (Edmund Spenser; the
stream is unable to speak, yet he shows his affection).
vise~llkti gtII.Ia, 'attribute': (I) a type of vise$okti in which the subject's deficiency
vise~llkti (I), 'giving a difference': (I) a figure in which a deficiency (a is that of a specific (adjectival) attribute usually associated with that
negative attribute), either natural or occasional, is pointed out in effect. (2) D 2.323 (324). (3) na ka(horaltl na vii tik$l)am iiyudhaltl
.snch a way as to magnify or emphasize the capability of its subject. pU$padhanvanal;z / tathapijitam evasidamunii bhuvanatrayam (Dat:1<,lin:
(2) B 3.22, D 2.323. (3) ekas tri1;i jayati jaganti kusumayudhal;z / "The Love God's weapon-his bow of flowers-is neither hard nor
haratapi tanultl yasya saltlbhunii na hrtaltl balam (Bhiimaha; though sharp, yet with its aid he has snbdued the three WOrlds !"). (4) "The
incorporeal, Love conquers all with his flowered arrows: "One turtle lives 'twixt plated decks / Which practically conceal its sex. /
Love God has conquered the three worlds, and though Siva stole I think it clever of the turtle / In such a fix to be so fertile" (Ogden
his body away, his force remains"). (4) "The eyes in front of their Nash).
[women's] face are not used for seeing with, but for improving the jati, 'genus': (I) a type of viSe$okti in which the subject's deficiency is
appearance. Hang the thickest veil in front of them and a girl of that of a generic characteristic nsually associated with the given
seventeen will still see the other woman, through two doors and a capacity or effect. (2) D 2.323 (325). (3) na devakanyakii napi
brick wall, with the various organs of perception existing in her skin, gandharvakulasaltlbhavii / tathtipye$ti tapobhaiigaltl vidhiitultl vedhaso'
which changes color, her breasts which tingle, and her brain which py alam (Dat:1<,lin: "Though not one of the heavenly chorus, not
performs evolntions of incalcnlable direction and speed" (Joyce even a daughter of the Gods, she could still disrupt the penances of
Cary; though they cannot see, yet they are aware). (5) The present Brahma!"). (4) '''I know I'm not a great novelist', he will tell you.
case differs from vibhiivanii in showing only a deficiency in the ability 'When I compare myself with the giants I simply don't exist.... All
of the subject as a means to exaggerating the power of a given I want people to say is that I do my best .... And after all, the
cause which realizesAts effect in a normal way. But the emphasis proof of the pudding is in the eating: The Eye of the Needle sold
thirty-five thousand in England and eighty thousand in America, down to his reading again, and he sauntered along by the brook and
and for the serial rights ofmy next book I've got the biggest terms I've stood leaning against the stiles, with eager, intense eyes, which looked
ever had yet'" (Somerset Maugham; though not a great novelist, as if they saw something very vividly; but it was not the brook, or
his books sell). (5) See the remark on jiiti virodha; jtiti here means the willows, or the fields or the sky" (George Eliot). (5) This figure is
'class'. just the inverse of vise~{)kti I, where the effect is present, the con-
dravya, 'substance': (1) a type of viSe~{)ktiin which the subject's deficiency tributing cause absent. But, as Mammata shows, a clever scholiast
is that of particular things which usually accompany its capacity or can turn black into white; he cites the example, originally from
effect. (2) D 2.323 (327). (3) na rathti na ca rniitafigti na hayti na ca Bhiimaha, which we have given under viSe~{)kti I and interprets it:
pattayab / strilJam apafigadr~!yaiva jiyate jagataf[l trayam (Dat;lQjn; "Deprivation of body is usually followed by deprivation of power;
though unaccompanied by the accoutrements of war, Love conquers this does not happen in the case ofLove, whose power is unimpaired."
all: "No chariots! No elephants or horses! No infantry! With By taking as the effective cause the very deficiency which other
sidelong glances alone do the ladies conquer the three worlds I"). writers allege, the same example can be made to prove contraries.
(4) "From thence to Heaven's',brideless hall, / Where no corrupted The influence of Sanskrit logic, where double negatives are the
voices brawl; / No conscience molten into gold; / Nor forged preferred modes of exposition (e.g., concomitance is the non-existence
accusers bought and sold; / No c~~~y deferred; nor vainspent jour- of mutual absence), upon Mammata is evident, to the detriment of
ney; / For there Christ is the King'sAttorney, / Who pleads for all his poetics.
without degrees, / And he hath angels, but no fees" (Sir Walter Udbhata and Mammata subdivide into several classes: the ex-
Raleigh; though it lack the accoutrements of a courtroom, yet planation for the non-operation is given (nimittadr~!i) or left to
justice is doue). inference (nimittfidr~ti). Mammata adds in logical fashion a third
betu, 'cause': (1) a type of viSe~{)kti in which the subject's deficiency is category-where the explanation is quite beyond us (acintyanimitta)
not total, but qualified; the deficient attribute is present but in an -but he gives the same example as for nimittadr~!i!
unusual or improbable form. (2) D 2.329 (328). (3) ekacakro acintyauimitta, 'inconceivable cause': (1) a type of viSe~{)kti II whose
ratho yanta vikalo vi~ama hayab / akramaty eva tejasvi tathapy arko distinctiveness is questionable. (2) M 163. (5) See viSe~{)kti II.
nabhastalam (Dat;l<;!in; references are to the disc of the sun, the seven The example offered is identical with that of anuktanimitta viSe~{)kti
days of the week, and the dawn, said to be anuru, 'lacking thighs': (see nimittadmi).
"The burning sun still courses through the heavens, though his annktanimitta, 'whose cause is not expressed': (1) same as nimittadr~!i
chariot has but;pne wheel, his steeds are uneven, and his driver viSe~{)kti. (2) M 163.
maimed"). (4) "As I walked along the winding road ... I mused nktauimitta, 'whose cause is expressed': (1) same as nimittadr~!i viSe~{)kti.
upon what I should say. Do they not tell us that style is the art of (2) M 163.
omission? If that is so I should certainly write a very pretty piece" uimittadnti, 'evidence of cause': (1) a type of viSe~{)kti II in which an
(Somerset Maugham; the author's style is present, but its form is a explanation is given for the unexpected non-operation of the cause.
bit unusual). (2) U 5.5, M 163. (3) itthaf[l visaf[l~!hulaf[l dmva tavakinaf[l vice~!itam/
vise~6kti (II): (1) a figure wherein no effect obtains despite the presence nOdeti kimapi pranum satvarasyapi me vacab (Udbhata; the reason
of an effective cause. (2) U 5.4, M 163. (3) nidranivrttav udite dyura- why he didn't speak is given; it was Parvati's stumbling gait: "Seeing
tne sakh'ijane dvarapadaf[l parapte/ slathikrtasle~arase bhujalflge cacala your hesitating gait, no words arose to put a question, though I was
nalifiganato'figana (Mammata; the causes for awakening are present, eager"). (4) "Miss Thorne declared that she was delighted to
but the girl, exhausted by lovemaking, remains asleep: "The sun have Mrs. Bold and Dr. Stanhope still with her; and Mr. Thorne
has risen to put an end to sleep, the troop of friends awaits outside would have said the same, had he not been checked by a yawn, which
the door, yet the lady departs not from a loose embrace in the arms he could not suppress" (Anthony Trollope). (5) The figure is called
of a lover who has ta';Jled her passion"). (4) "But Adam could not sit uktanimitta in Mammata.
-
nimittadnti, 'non-evidence of cause': (I) a type of viSe~{)kti II in which vi~ama
no explanation is given for the nnexpected interruption of the cause. vi~ama (I), 'dissimilar': (I) a figure wherein the relationship between
(2) U 5.5, M 163. (3) (3) maharddhini grhe janma rupalfl smarasuhr- two things, which may exist either in fact orin the mind ofthe speaker,
dvayal; / tathapi na sukhapraptil; kasya citriyate na dhil; (Udbhala; is considered incongruous. (2) R 7.47-50, M 194. (3) rupalfl kva
fate is alleged to be the unspoken explanation for the girl's un- madhuram etat kva c!!dam asyal; sudiiruvalfl vyasanam / iti cintayanti
happiuess: "Though born in a family of great wealth, beautiful pathikas tava vairivadhulfl vane dr~tva (Rudrala; flattery of the
and young and befriended by Love, she was not happy. Who does victorious warrior: '''How can such beauty exist in such sinful and
not marvel at itT'). (4) '''A fine painter, Mr. Esdaile, it's a pleasure harsh condition l' Thus do the travellers wonder who see in the
to work for him', the old man ran on; and I did not reply that in my forests the wives of your vanquished enemies"). (4) "Did He smile
experience few pleasures iu the world lasted quite so long. I was His work to see? / Did He who made the lamb make thee?" (William
thinking of other things, the nature of which you may guess at" Blake; a tiger is referred to). (5) The relation under consideration
(Oliver Onions). (5) This and the previous type illustrate a topic may not in fact exist, as: "He had the passion of Romeo in the body
which preoccupies certain logitl~ns, since it is relevant to the con- of Sir Toby Belch" (Somerset Maugham); the incongruity is given
sideration of what constitutes an inferrible proposition (thesis). A figurative force.
cause, or condition is not sufficient.:i1'iitself to account for an effect: vi~ama (II): (I) a figure in which the causal process is described as
the absence of counteracting causes orconditions is just as necessary; functioning in an incongruous way: either an outclassed cause
thus the absence of certainty is also an element in the inferribleness of accomplishes its effect, or a potent cause somehow fails to accomplish
propositions. Certainty causes the operation of the syllogism to be its effect. (2) R 7.51 (52-53). (3) tvadbhrtydvayavan api so¢hum
fruitless. The figure is called anuktanimitta by Mammala. samare k~ama na te k~dral; / asidharapathapatitalfl tvalfl tu nihanya
vise~okti (III): (I) a striking identification of non-similar things, obtained mahendram api (Rudrata: "Your vile enemies can't withstand even
by expressing one of the terms on the distinctive level of reality the little fingers of your dependents in battle; and you, 0 King,
appropriate to the other. (2) V 4.3.23. (3) dyutalfl hi nama puru~a would slay even Indra should he fall beneath your sword !"). (4) "Ah,
sydsilflhasanalfl rajyam Mrcchakatika, quoted by Vamana); vyasanalfl how can those fair Eyes endure / To give the wounds they will
hi nama sOcchvasalfl mara1;UJm (Vamana: "Gambling for some men not cure!" (John Dryden). (5) This figure resembles the two types
is a kingdom without a throne!" "Sin is breathing death!"). (4) of viSe~6kti, but, unlike them, does not repose upon the idea of
"Fame is a food that dead men eat" (Henry Austin Dobson; food deficiency. In viSe~{)kti, a cause must be specifically unable to
and fame are on.tologically different entities: food is expressed on produce that effect; here no judgment is implied beyond the mere
the ideal plane appropriate to fame). (5) This figure is just the inverse improbability of the event.
of vyatireka, where two otherwise similar things are said to be subject vi~ama (III): (I) a figure in which a cause is described as producing the
to a point of difference which is generally figurative or at least contrary effect of the one desired. (2) R 7.54 (55), M 194. (3)
irrelevant. Here, two otherwise different things are said to be subject utkavtha paritapo ravaravakalfl jagaras tanos tanuta / phalam idam
to a point of similarity, which is just as figurative. Despite his aho maydptalfl sukhaya mrgalocanalfl dr~tva (Rudrala: "Longing,
examples, Vamana's definition is misleading, for his terms resemble sorrow, and regret, wakefulness and loss of weight-this is the result
those used by others for vyatireka ("ekaguvahanikalpanayalfl se~a I have gained when I songht her out for pleasure"). (4) "But thence
samyadar¢hyam"), but his definition of vyatireka is correspondingly I learn, and find the lesson true, / Drugs poison him that so fell sick
skew (in which the pre-eminence of the subject is expressed). of you" (Shakespeare; drugs only aggravate the sickness of love).
The issue is thus neatly avoided, since the pre-eminence is expressed (5) Cf vise~a III and abhava hetu.
precisely by pointing out a defect in the other term. vi~ama (IV): (I) a figure in which a cause and its effect are described as
possessing incompatible qualities. (2) M 194. (3) sadyal; karasparSam
avapya citralfl rave rave yasya krpavalekha / tamiilanfla saradindu-
I
.I
plil:"ju YaSas trilokylibharaQaffl prosute (Ma=«ta; the sword is expense of the subject of comparison. Cf vyatireka II.
said to be dark blue and its effect, glory, to be the color ofthe autumn artha, 'implicit': (I) a type of vyatireka in which the comparative particle
moon: "Always in his hand, in battle after battle, that thin sword, (iva, 'like') is present, expressing a similitude of action or behavior.
dark as a blue lotus, engenders in him glory worthy of the three (2) M 160. (3) asimatrasahayo'pi prabhi1tfiriparabhave / nfiivlinya-
worlds and pale as the autumn moon"). (4) "My mother bore tucchajanavat sagarvo'yaffl mahiidhrtil.z (Mammata: "Armed only
me in the southern wild, / And I am black, but 0, my soul is white!" with a sword, in the midst of his enemies' rout, King Mahadhjii is
(William Blake). (5) An example of cause and effect differing as to not swelled np with pride like the rest of the vain world"). (4) ", ..
mode of action is: "The walls were of old plaster ... marked with and art, the most nervous of the three, musn't be pushed aside like a
the blood of mosquitoes and bed-bugs slain iu portentous battles butterfly" (E. M. Forster). (5) In sabda vyatireka, the comparative
long ago by theologians now gone forth to bestow their thus uplifted particle expresses a nominal similitude, that is, a similitude of two
visions upon a materialistic world" (Sinclair Lewis). We are to things through a co=on property. This same distinction was made
believe that the fight with bedbugs has prepared the theologian for for simile (upama). It pervades the thinking of the Indian aesthe-
his later calling. ,," ticians: cf vakylirthOpama. Here the form of vyatireka is overlaid,
but the distinction (artha-sabda) concerns only the terms in respect
vyatire~,,,, of their comparability. In Forster's example, an injunction forbids
vyatireka (I), 'distinction': (I) a figure wherein two notoriously similar us to push aside art like we push aside a butterfly (note the repetition
things are said to be subject to a point of difference; usually the of the verbal idea when the figure is spelled ont; cf vakylirtha), but
subject of comparison is stated to excel the object, surpassing the the difference in our attitude is meaningful ouly insofar as the terms
norm of its own comparability; hencq, an inverted simile. (2) B 2.75 are comparable. In ak~ipta vyatireka, the comparative particle is
(76), D 2.180-98, V 4.3.22, U 2.6, R 7.86-89, M 159. (3) kuvala- not expressed. The form is artha in the commentary.
yavanaffl pratyakhyataffl navaffl madhu ninditaffl hasitam amrtaffl ahetu, 'without the cause': (I) same as nimittlidr${i vyatireka. (2) M 160.
bhagnaffl sviidol.z padaffl rasasafflpadal.z / vi~am upahitaffl cintavyajiin (5) See sahetu vyatireka.
manasy api kaminaffl caturamadhurair matantrais tavlirdhavilokitail.z lik~ipta, 'implied': (I) a type of vyatireka in which the force of the distinc-
(Vamana: "The lotus forest repudiated! The new springtime has tion is carried by circumlocutions which avoid the comparative
been put to shame! Honey has become a mockery, the state of sweet particle entirely. (2) M 160. (3) iyaffl sunayana dasfkrtatamarasasriya /
satisfaction is ended, and poison, in the guise of longing, has been ananenlikalafikena jayatinduffl kalafikinam (Ma=ata: "This girl
put into the minas of lovers by your playful, passionate, coquettish oflovely eyes and beauty which enslaves the day lotus-she conquers
sidelong glance"). (4) "Eyes, that displace / The neighbour diamond, the spotted moon with her unblemished face"). (4) "Bacchus must
and outface / That sunshine by their own sweet grace" (Richard now his power resign- / I am the only God of wine!" (Henry Carey;
Crashaw). (5) The most extensive anatomies of this figure are given instead of: Bacchus is unlike me, for I am a drinker). (5) Inpratfya-
by DaI}gin and Mammata and rest upon the same sorts of criteria. mana, it is the similitude which is understood, not the comparative
Dal}gin divides first, into those dissimilitudes whose common particle. Cf artha, sabda-the other members of Mammata's triad.
property is expressed (Sabdopadana), and second, into those where lik~epa, 'refusal': (I) a type of vyatireka in which the underlying similitude
it is implicit (pratfyamiina). Ma=ata follows suit, but subdivides is admitted only tentatively, as a prelqde to showing the difference
the former category as to whether a verbal or nominal similitude is (refuting the similitude). (2) D 2.186 (187). (3) sthitiman api dhfro'pi
expressed (sabda, artha). Both authors admit formal criteria ratnanam akaro'pi san / tava kak~affl na yaty eva malino makarlilayal.z
depending upon the number, character, and scope of the differential (Daw;lin: "Though it is steadfast and a mine of jewels, the ocean
qualifications which express the dissimilitude (eka, ubhaya, iidhikya, cannot be compared to you, 0 King, for it is dark colored"). (4)
hetu). In the Sanskrit texts considered, there is but one example "Her sacred beauty hath enchanted heaven; / And, had she liv'd
offered of a vyatireka' whose fuuction is to extol the object at the before the siege of Troy, / Helen, whose beauty summon'd Greece
to anns, I And drew and thousand ships to Tenedos, I Had not been however, you differ as to your aspect"). (4) "'I like the front
nam'd in Homer's Iliads" (Christopher Marlowe; Tamburlaine window', I said, 'for the view. As good as a RoIls. Better; higher
praises his dead Zenocrate). (5) Here the interest resides in the form and not the same responsibility not to run over the poor'" (Joyce
the differentiation takes: we have only concessive similitude, so that Cary; in a London bus). (5) There is, of course, no mystery about
the distinction has the aspect ofa refutation of that similitude. Usu- how the distinction applies to the other term (it being only the con-
aIly, the similitude is unflinchingly admitted. Marlowe, however, verse); the point is that for that term, the appropriate qualification is
aIlows Helen her virtues only so long as the accidents of time are only suggested (the ocean has another form; the driver of the RoIls
respected; the similitude of Zenocrate and Helen is in fact a fiction has a responsibility). Cf ubhaya.
whose only purpose is to lead the unsuspecting reader to a more gamyamlioa, 'being understood': (I) same as pratiyamtina vyatireka.
forceful perception ofthe pre-eminence ofthe former. In the Sanskrit (2) V 4.3.22C.
example, the similitude is introduced by the word api, the discrimina- jliti, 'genus': (I) a type of vyatireka in which an instance, usuaIly figurative,
tion by eva. This has the advanti\ge ofmaking the concession explicit. is distinguished from its own genus by pointing out the sense in
lidhikya, 'superabundance': (I) a type of vyatireka in which both the which it is figurative. (2) D 2.198 (197). (3) aratna!okasalphtiryam
pre-eminence of the subject of comparison and the defectiveness of ahtiryalp siiryarasmibhil; I dr~tirodhakaralp yiintilp yauvanaprabhavalfl
the object in respect of the crite~$1 of differentiation are stated. tamal; (DaJ.l<;lin: "The passionate darkness bam of youth which
(2) D 2.192 (191). (3) abhriiviliisa"; QspNtamadariigalp mrgek~a/Jam I obstructs the vision of the young is impenetrable even to the clear
idalp tu nayanadvandvalp tava tadgu/Jabhii$itam (DaJ.l<;lin: "The doe's briIliance of jewels and cannot be dispeIled by the rays of the sun").
glance is unrelieved by coquettish brows, untouched by love's heady (4) "He had merely meant to express his feeling that the streams which
passion; your two eyes redeem this lack"). (4) "Mr. Irwine was like ran through their veins were not yet purified by time to that perfec-
a good meal 0' victual, you were the better for him without thinking tion, had not yet become as genuine an ichor, as to be worthy of
on it, and Mr. Ryde was like a dose 0' physic, he gripped you and being caIled blood in a genealogical sense" (Anthony TroIlope; here
wOITeted you, and after all he left you much the same" (George common blood is distinguished from noble blood, but the principle
Eliot; two preachers are being distinguished; note the subordinate is the same). (5) This amounts to specifying the two senses of a
comparisons). (5) In bhedamiitra, the bare distinction is made legitimate double-entendre, insofar as one meaning is literal and
between the two things, and there is no expression of pre-eminence the other figurative. Cf s!e~a, where the duplicity of meaning is
since the distinction is entirely circumstantial. Note the subordina- founded upon a pun, not a double-entendre.
tion of the similes to the synchisis: a common "salpsr~ti" in English. dntaota, 'example': (I) a type of vyatireka in which the distinction is cast
obhaya, 'both': (I) a type of vyatireka in which the point of difference is in the form of proposition and example, and where the example
made explicit for both things being distinguished. (2) D 2.184 (183). involves the contrary property or aspect. (2) iU 2.7. (3) Sir/Japa-
(3) abhinnave!au gambhiriiv amburiisir bhavtin api I astiv aiijanasaii- r1Jambuvtitiisaka~te' pi tapasi sthitam I samudvah~ntilp [Umtilp] napii-
ktisas tvalp tu ctimikaradyutil; (DaJ.l<;lin: "You, 0 King, and the ocean rvamgarvamanyatapasvivat (Udbhata: "Uma was not overborne by
both are deep and limitless, bnt it has the appearance of coIlyriom unprecedented pride like other ascetics, whose privations were made
and you that of gold!"). (4) "Old black rooks flapping along the difficult by a diet of withered leaves, water, and air"). (4) "I may be
sky and old black taxicabs flapping down the street" (Joyce Cary). nothing but an old failure, having muffed just about everything I
(5) Cf eka vyatireka, where the difference of one term only is given. ever put my hand to; I seem to have the Midas touch in reverse"
eka, 'one': (I) a type of vyatireka in which the point of difference is made (Saul BeIlow). (5) Udbhata says that this figure is the same as
explicit for only one of the things being distinguished,. (2) D 2.182 vaidharmya dr${anta. This is a curious point, because Udbhata is
(181). (3) dhairya!tiva/Jyagtimbhiryapramukhais tvam udanvatal; I the first known writer to mention dr~tanta as a figure, and among
gU/Jais tu!yo'si bhedas tu vapu~aivedrsena te (DaJ.l<;lin: "You are indeed the later writers, only Mammata recoguizes a vaidharmya subtype.
similar to the ocean in steadfastness, kindness [saltiness] and depth; Of course, all the figures ultimately go back to sources unknown
I
D
280 GLOSSARY GLOSSARy 281
to us (in the sense, at least, that the writers never tell us when they which the similitude which underlies the discrimination is not
are innovating), but here is an example of a notion refuted before mentioned explicitly, but where the distinction is spelled out. (2)
it is stated. The issue is not major, for it reduces to a decision D 2.189 (190-98). (3) tvanmukharrz kamalarrz cai dvayor apy anayor
as to which of the two figures (dr${anta, vyatireka) here com- bhidii / kamalarrz jalasarrzrohi tvanmukharrz tvadupiiSrayam (Dal.lQin;
bined is primary, and that seems to depend on the intention of their loveliness is not mentioned: "Your face and the lotus differ in
the speaker. In the example from Saul Bellow, the distinction seems this: the lotus grows in the water, and your face appears only on
more important than the illustration (he is not looking around for you"). (4) "A man's profession is not like his wife which he must
un mot juste at any rate). take once and for all for better or for worse without proof before-
nimittadr~ti, 'whose cause is evident': (I) a type of vyatireka in which a hand" (Samuel Butler). (5) This figure is the same as gamyamiina
cause explains the pre-eminence of the subject. (2) U 2.6. (3) ofVamana. Dal.lQin distinguishes vyatireka into two broad classes-
padmalJ ca niSi nib§rikarrz divii candrarrz ca ni$prabham / sphuracchii- this and sabdopiidiina (explicit)-and then subdivides each type
yena satatarrz mukhenadhab pra/fyrvatim [Umiim] (Udbha\a; Uma's further. As examples, of iidhikya, bhedamtitra, jati. CJ. atisayopamti,
face surpasses both the lotus and the moon because it is beautiful which differs from this type only in asserting that the difference
both by day and by night: "Un;>a, conquering with her ever- given is unique.
radiant face the lotus, at night url19yely, and the moon, dull by bbedamatra, 'the difference only': (I) a type of vyatireka in which the bare
day"). and circumstantial difference of the two comparable things is stated.
(4) "Return sweet Evening ... / Not sumptuously adorned, nor (2) D 2.192 (190). (3) tvanmukharrz kamalarrz cai dvayor apy anayor
needing aid, / Like homely featured Night, of clustering gems; / bhidii / kamalarrz jalasarrzrohi tvanmukharrz tvadupiisrayam (Dal.lQin;
A star or two, just twinkling on thy brow, / Suffices thee" (William see the translation under pratiyamiina). (4) "When a man bleeds
Cowper). inwardly, it is a dangerous thing for himself; but when he laughs
nimitt§dr~ti, 'whose cause is not evident': (I) a type of vyatireka in which inwardly, it bodes no good to other people" (Charles Dickens).
the cause of the subject's pre-eminence is only hinted at. (2) U 2.6. (5) This figure is to be distinguished from iidhikya, in which the
(3) sii gauri sikhararrz gatvii dadarMmiirrz tapabkrsiim / riihupitapra- differentiation of the two terms involves the assignment of pre-
bhasy@ndorjayantirrz duratas tanum (Udbha\a; the explanation-the eminent and defective status, respectively. Here the differentiation
eclipse-is not given: Rahu is unable to obscure the moon for long, is entirely circumstantial, eschewing such judgements. CJ. ca{u
whereas Uma's pale and intense tapas is coustant; "Gaurl, gone to upamii, which simile consists in overlooking the difference.
the mountain peak; saw Uma, frail through penance but conquering maIa, 'garlaud': (1) a type of vyatireka in which the subject of comparison
from afar the beauty of the pale, eclipsing moon"). (4) "I think is distinguished from several objects in terms of several properties;
that I shall never see / A billboard lovely as a tree. / Perhaps unless a series of vyatirekas having the same subject. (2) M 160C. (3)
the billboards fall, / I'll never see a tree at all" (Ogden Nash; why haravan na vi$amadr${ir harivan na vibho vidhutavitatavr$ab / ravivan
trees are preferable to billboards is left to onr imagination). (5) na catidubsahakaratiipitabhUb kadiicid asi (Mammata: "Unlike Siva,
Udbhata subdivides vyatireka only in this way (cJ. nimittadT${i); you have but two eyes, 0 King. Unlike Kr~l.la, you have not
now, any distinctive qualification can be taken as a cause of dis- overthrown the great bull demon (viz. vice personified as a bull).
similitude or pre-eminence, but it seems that we should take Udbhata Unlike the sun, you do not beat down upon the earth with rays
more literally than that, and see his cause to be an effective and not [hands] of great violence"). (4) "-But your voice, -never the rush-
merely formal cause. Eka and ubhaya vyatireka concern distinctive ing I Of a river underground, I Not the rising of the wind I In the
qualifications only as forms. In hetu vyatireka, the discrimination is trees before the rain, I Not the feet of children pushing / Yellow
itself given the form of a cause; in the present case, the cause is leaves along the gutters I In the blue and bitter fall, I Shall content my
taken to mean the explanation of that discrimination. musing mind I For the beauty of that sound" (Edna St. Vincent
pratiyamana, 'being understood, implicit': (I) a type of vyatireka in Millay). (5) This category is introduced by Mamma\a only to show
...
rim 1.
.... -----'-
the futility of such classifications; cf artha, sabda, iik~ipta, hetu, good fortune [beauty]; unlike the full moon, he need never suffer
and elements of the structure of vyatireka. decrepitude [enter the waning phase]"). (4) "a politician is an arse
vyasta, 'separate': (I) same as eka vyatireka. (2) R 7.86 (87). (5) Cf upon / which everyone has sat except a man" (e. e. cummings).
samasta. (5) In Dan<;\in's example, the qualifications which serve to discriminate
sabda, 'literal': (I) a type of vyatireka in which the comparative particle the two things are also punned: "tva/fl samudras ca durviirau maM-
is present expressing a similitude of two nominal ideas through a sattvau satejasau / aya/fl tu yuvayor bhedal;z sa ja4iitmii pa!ur bhaviin"
common property. (2) M 160. (3) jitendriyatayii samyagvidyiivr- ("You and the ocean, 0 King, are indomitable [uncrossable], of
ddhani~eviQah / atigii4haguQasyasya niibjavad bhafigurii guQiih (Mam- great character [containing many substances], violent [stormy]; this,
mala: "Your virtues [garlands] are notfragile like those of the lotus, however, is the difference between you: the ocean is cold [stupid]
for your qualities are deep rooted and you honor the aged sages by souled; you, however, are acrid [keen witted]"). Compare: "When I
your great self-control"). (4) "Men's muscles move better when am dead, I hope it may be said: / 'His sins were scarlet, but his
their souls are making merry music, though their merriment is of books were read'" (Hilaire Belloc).
a poor blundering sort, not af all like the merriment of birds" sadrsa, 'similar': (I) a type of vyatireka in which the distinction is itself
(George Eliot). (5) Cf artha; the distinction is the same as that cast in terms which suggest comparable aspects of the two things.
applied to simile (cf iirtha, siibda)~Il.? concerns only the interpreta- (2) D 2.192 (193-95). (3) candro'yam ambarotta/flso ha/flso'ya/fl
tion of the comparative particle. .For afnll discussion, see viikya- toyabhii~alJam / nabho nak~atramiilldam utphu/lakumuda/fl payal;z
rthavrtti. In the example offered under artha vyatireka, "like" ex- (Dan<;\in; the four terms are distinguished, but all are expressed as
presses a verbal similitude ("pushed aside"), here a nominal similitude ornaments of the distinguishing feature: "The moon is an ornament
("poor blundering sort"). The distinction is linguistic and not of the sky, the swan adorns the lake; the skY has a necklace of stars,
absolute: the former could be expressed nominally ("as light as"), the lake is abloom with lotuses"). (4) "That punctual servant of all
the second verbally ("blunders"). The form siibda is found 4n the work, the sun, had just risen, and begun to strike a light on the
commentary. morning of the thirteenth of May, one thousand eight hundred and
sabdopiidiina, 'literal': (I) a type of vyatireka in which the similitude twenty-seven, when Mr. Samuel Pickwick burst like another sun
which underlies the differentiation of the comparable things is from his slumbers, threw open his chamber window, and looked
spelled out. (2) D 2,180-88. (3) tvanmukha/fl pUQ4arika/fl ca phu/le out upon the world beneath" (Charles Dickens). (5) This is instead
surabhigandhini j,bhramadbhramaram ambhoja/fllolanetra/fl mukha/fl of stating the distinction as an adjunction to the description of the
tu te (DaI;u;lin: "Your face and the lotus are full blown and sweet similarity of the two things (cf sabdopiidiina).
smelling, but the flower is surrounded by wandering bees and the samasta, 'conjoined': (I) same as ubhaya or iidhikya vyatireka. (2) R
face has a coquettish glance"). (4) "All human things are subject to 7.86 (88). (5) Cf vyasta. Rudrala's classification stops at this
decay, / And, when Fate su=ons, Monarchs must obey: / This distinction. His intention is probably closer to the iidhikya of Dan<;\in,
Flecknoe found, who, like Augustus, young / Was called to Empire since there it is a question explicitly of pre-eminence and inferiority,
and had govern'd long: / In Prose and Verse was own'd without not just of distinctive qualifications applied to both terms.
dispute / Through all the reahns of Non-sense, absolute (John sabetu, 'including the cause': (I) same as nimittadr~!i vyatireka. (2)
Dryden). (5) Cf pratiyamiina, where the similitude is only implied. M 160. (5) Mammala distinguishes four types, according to whether
See kalpitopamii. the cause for the discrimination is given for both, for one or the
sle~a, 'double-entendre': (I) a type of vyatireka in which the similitude other, or for neither of the two compared things. He offers examples
on which the distinction is founded is punned upon. (2) D 2.186 only for the first category.
(185), M 160. (3) akhaIJ4amaIJ4alah sriman pasyai~a prthivipatih / hetn, 'cause': (1) a type of vyatireka in which the distinctive qualification
na niSiikaravaj jiitu kaliivaikalyam iigatal;z (Mammala: "Regard that is cast in the form of a cause (of that difference). (2) D 2.186 (188).
great Lord of prosperoils court [whose disc is full] and who embodies (3) vahann api mahi/fl krtsnii/fl sasailadvipasiigariim / bhartrbhiiviid
bhujaiigiinii'fl se~as tvatto nikr~yate (Dal).<;Iin: "Although you both ironically (cf asiidhiira1)a upamii), but factually. In tWs effort, the
support the whole world with its islands and mountains and seas, underlying comparability of the distinguished terms is only a con-
you surpass the great Serpent who is only the first among snakes"). dition or a means to the end of that distinction, and far from assum-
(4) "In Germany the Reformation was due to the passionate convic- ing primary importance (through irony), it is effective only as it
tion of Luther. In England it was due to a palace intrigue" (E. M. remains just below the level of interest, as the basses in an orchestra.
Forster). (5) Cf. nimitttidr~ti.
vyatireka (II): (I) a vyatireka in which the expression of difference focuses vyiighiita
upon the pre-eminence of the object of comparison. (2) R 7.89 (90). vyiighiita, 'obstacle': (1) a figure in wWch a cause, for some reason
(3) k~fQab k~fQo'pi saSi bhuyo bhuyo vivardhate satyam / virama obstructed in its operation, is carried through to its effect in another
prasfda sundari yauvanam anivarti yiita'fl (Rudrata: "The waning way by another cause wWch is a modified version of the obstruction.
moon grows less and less, but will become again complete. Be kind, (2) M 206. (3) drsii dagdha'fl manasija'fl jfvayanti drSiiiva yiib /
o lovely, and leave off anger; youth once gone does not return"). virupak~asya jayinfs tiib stuve viimalocaniib (Mammata; Love,
(4) "Still do the stars impart th'~jr light / To those that travel in the consumed by the fire of Siva's glance, is reanimated by the glances of
night; / Still time runs on, nor dqth the hand / Or shadow on the the young ladies: "I praise their lovely, conquering eyes in whose
dial stand; / The streams still glide l!~4,constant are: / Only my mind / glances the God of Love again lives, whose body was consumed by
Untrue I find / Which carelessly / Neglects to be / Like stream or another's glance"). (4) "Catherine rushed to congratulate him, but
shadow, hand or star" (William Cartwright). (5) Though tWs could knew not what to say, and her eloquence was only in her eyes. From
easily be included in the first variety of vyatireka, it is worthy of them, however, the eight parts of speech shone out most expressively,
note that of the thirty or forty exall'1plys offered in the different texts, and James could combine them with ease" (Jane Austen). (5) The
only this one of Rudrata fails to exWbit the usual exaggeration and cause, as it were, is shown getting the best of its Wndrance by taking a
consequent flattery of the subject of comparison (in the present form whereby that Wndrance can be turned to its own ends. This
case, the mind). Of course, in English poetry, such instances are if figure is neither viSe~6kti, because the first cause, though obstructed,
anytWng more frequent than the flattery, and several have been does contribute to the final effect, nor is it asa'flgati, because a
included as examples of subtypes of vyatireka I where the point at mediating cause is introduced to explain the effect.
issue is formal and does not contest with the intention of the speaker vyiighiita (II): (I) same as viSe~6kti II. (2) R 9.52 (53). (5) There may be a
(cf hetu, sabda). Rudrata's late arrival does, however, pose one slight difference in that the absence of obstruction is specifically
interesting problem of interpretation. If the intention of the speaker alleged.
is flattery, the vyatireka amounts to an elliptical simile, for the differ-
ential qualifications all operate to the disadvantage of the object or vyiija
the advantage of the subject, and thus reinforce their basic similitude vyiija, 'pretence': (1) an artha sle~a in which praise is understood from
by cancelling the natural relation of the subject (which shares the apparent blame, or vice versa. (2) R 10.11. (3) tvayii madarthe
property of comparison to a lesser degree) and the object (to a samupetya dattam ida'fl yathii bhogavate sarfram / tathOsya te duti
greater). However, once the discrimination of the two terms is krtasya sakyii pratikriyanena na janmanii me (Rudrata; spoken by a
divested of tWs function, the character of the figure assumes only girl to her messenger after learning that her lover found the messenger
secondary importance, for it then acquiesces in the natural mode of a bit too pliable and not uniquely concerned with arranging the
expression of its own terms and becomes either a matter of fact rendez-vous: as apparent praise, bhogavate is taken as 'lover' and
distinction or an anti-simile, as above. It cannot be said that the pratikriyii as 'recompense'; but as blame, as 4snake' and 'vengeance'.
intention of the poet is to compare mind and stream, etc., in the The snake image is further suggested by the messenger's returning
same sense as that in which moon and face are habitually compared; with [the lover's] teeth wounds on her lips; "You have gone for my
his intention is rathe,no express the peculiarity of the subject, not sake and given your body to my lover [serpent], 0 procuress; I will
never be able in my life to repay you [get even with you]"). (4) depends upon some aspect of their grammatical, phonemic, or
"When other fair ones to the shades go down / Still Chloe, Flavia, metrical form, and not upon the idea they couvey. (2) B 1.15-16,
Delia, stay in town: / Those ghosts of beauty wandering here reside, D 3.186, V 1.1.1,4.1.1 (vrtti), U 5.12, AP 342.18-19, R 2.13, M 103C.
/ And haunt the places where their honour died" (Alexander Pope; (5) See artha. The common examples of sabddlalflkara are anuprasa
the pun is on two kinds of death). (5) Both examples show apparent (alliteration), yamaka (word play, cadence), certain kinds of punning
praise which is blame. This Sie$a differs from vyajastuti alalflkara (Sie$a), prehelika (conundnun), and the citra, or verses arranged in
only in that a pun is at the bottom of the irony. It is perfectly imitation of visual forms. Only the Agni Pura~a deviates significantly
possible, ofcourse, to express such pretence of praise without actually from this canonical list, by adding six figures which have no parallel
employing puns. except in much later works (Sarasvatika~lhdbhara~a). They are (a)
chtiya, imitation of specific verbal styles, (b) mudra, the poet's
vyajastuti ability to translate his intentions into plausible situations. (c) ukti,
vyajastuti, 'deceptive eulogy': (1) a figure in which apparent blame con- use of injunctions, (d) yukti, figurative usage, (e) gumphana, ability
ceals real praise or appreciation. (2) B 3.30 (31), D 2.343-47, V to construct the narrative, and (f) vakovakya, conversation. These
4.3.24, U 5.9, R 10.11 (12-13), M 169. (3) pUlflsaiz pura~tid acchidya notions, which have to do with the technical skills of the poet, are
sris tvaya paribhujyate / rajann'/k;$vakuvalflsyasya kim idalfl tava matched by certain stylistic figures which the Agni Pura~a treats
yujyate (Dal1J;lin; Sri is the wife of-ViglU: "0 King, you have stolen under sabdiirthdlalflkara and which relate to the congruence and
Sri [prosperity] from her former spouse and enjoyed her! Can this appropriateness of the different aspects of the poem to one another
deed be condoned in the scion of the IkFiiku clan ?"). (4) "The poor (see prasasti, kanti, aucitya, Salflk$epa, yavadarthata, and abhivyakti).
. man's sins are glaring; / In the face of ghostly warning / He is caught These irregular notions of poetic style have been incorporated into
in the fact / Of an overt act- / Buying greens on Sunday morning" the traditional treatment of the figures. Anuprasa and the others are
(T. L. Peacock; really a defense of the lower classes). (5) The earlier treated as the seventh, eighth, and ninth sabdiilalflkara. The five
writers consider only the case of blame concealing praise (although figures ak$epa, aprastutastotra, samas6kti, apahnuti, and paryay6kta
Da114in in his unique interpretation of the figure aprastutaprasalflsa, are considered subtypes of abhivyakti. The arthdlalflkara are the
considers it to be blame concealed as praise of something irrelevant). usual ones, mainly based on simile. A fusion of several different
But Rudrala and Mammala extend the figure and take account of systems is indicated also by the fact that the Agni Pura~a, despite
the other pos.sibility-that of praise concealing blame: "tvaya tWs incorporation of style into the figures, treats at length (though
madarthe samupetya dattam idalfl yathti bhogavate sariram I tathdsya again with innovations) the traditional topic of style (kavyagu~a).
te diUi krtasya sakya pratikriydnena na janmana me (Rudrala; for One figure (yathtisaY(lkhya) finds its way into this category. This
translation, see vyaja); or: "Lament him, Mauchline husbands a', / early attempt at broadening the notion of verbal figure was not,
He often did assist ye; / For had ye staid whole weeks awa', / however, viewed with favor by later writers. With the triumph of
Your wives they ne'er had missed ye" (Robert Burns; "praise" of the dhvani school, an eclipse of the sabdiilalflkara is evident, at least
the gay deceased). among the poeticians. Mammala goes so far as to view even yamaka
Rudrala groups this figure with those based upon a pun. See as a citra. The previously elaborate classifications of yamaka and
vyaja. anuprasa are reduced or are even iguored entirely (Rasagaiigiidhara).
This is doubly curious, since the poetry written during tWs period
vyajokti
(eleventh-sixteenth centuries) is, for the most part, alleged to depend
vyajokti, 'pretext': (1) same as lesa I. (2) V 4.3.25, M 184. upon such verbal devices.
sabda sabdilrtha
sabda, 'word': (1) a gelleric term for those figures whose poetic effect sabd~rtha, 'word-sense': (1) a generic term used to indicate those in-
i
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e/,\"
determinate figures whose poetic effect cannot be assigned exclusively "women's breasts": "May he alone conquer you who is unaffected
to either their formal character or to the meaning they convey, but by soldiers and the breasts of lovely women, brilliant with their
rather involves both. (2) AP 345.1, M 124. (5) See sabda,l artha. spotless drawn scimitars [the nipples of whose spotless circles gleam
This category in the Agni Purii~a includes six figures: prasasti, when revealed], whose chests are girded [whose chests are full
kiinti, aucitya, Salflk$epa, yiivadarthatii, and abhivyakti. All are blown], lively [heaving], scarred [wounded], striking fear into the
aspects of literary style concerned with the integration of the various hearts of their enemies [producing agitation in the hearts of their
elements of a poem, and the most interesting is the last: abhivyakti. rivals], rough [firm], arrogant [swollen], stolid [heavy], and whose
Here are treated the various kinds ofmeaning-direct, connotational, faces are dark with rage [whose tips are dark]"). (4) "Beneath in the
and secondary-which a word or phrase may convey, and five Dust, the mouldy old Crust / Of Moll Batchelor lately was shaven,
modes of relating the suggested meaning to the major senSe of the / Who was skiIJ'd in the Arts of Pyes, Custards and Tarts, / And
poem are outlined. All five happen to be traditional alalflkiiras: every Device of the Oven. / When she'd Iiv'd long enough, she made
iik$epa, aprastutastotra, samiis~kti, apahnuti, paryiiyokta, and in this her last Puff, / A Puff by her Husband much prais'd; / And here she
sense they are taken as exaniples of dhvani. The category dhvani doth lie, and makes a Dirt Pye, / In hopes that her Crust may be
is not otherwise noted, and we may here be in the preseuce of one rais'd" (Anou.; the puns here relate the kitchen and the tomb).
of the forerunner theories involvin~lhis term. Out of this may have (5) The confusion of terms is here significant and oddly appropriate
grown the dhvani which denied all association with figures of speech to the concept involved; the first two writers to define pun, Bhamaha
as expressively necessary. It is easy to see how this uotion may have and DaJ:l4in, prefer the term Sli$!a, perhaps to distinguish double-
arisen out of an examination of those figures of speech which do entendre from the well-known gu~a (stylistic quality) "sle$a" (usually
convey a second meaning, not literally expressed, as abbreviated defined as the appropriateness of word and sense) which dates at
metaphors (samasokti). It is, however, just as possible in theory least from the Nii!yasiistra. The two terms thus contrasted are only
to take the Agni Pura~a as a conservative text attempting to re- grammatically different, the former being a past participle, 'con-
integrate an already proposed dhvani (the kiirikiis of the Dhvanyiiloka joined', and the latter a derived noun, 'conjunction'. The first
may have been approximately contemporary) into a traditional writer to confuse the issue was Vamana, who uses "sle$a" only.
.structuring of the figures. Udbhaia follows Bhamaha's lead, but does not treat the gu~as in the
part of his work we have. The Agni Purii~a describes the ~a
sayya "Sle$a", but ignores the alalflkiira. Rudraia does not consider the
sayya, 'bed': (1) same as mudrii. (2) AP 342.26. gu~as, but calls the alalflkiira "Sle$a". Mammaia, to complete the
confusion, refutes the gu~a "sle$a" (he accepts only three gu/Jas),
sli~ia but follows Rudraia in describing Sle$a alalflkiira. On the level of
sli~!a, 'punned, conjoined': (I) a variant form of sle$a. the idea, we fare little better. It is obvions that all the writers are
talking abont the same thing, bnt their definitions, though having
sle~a some elements in common, vary widely. Sle$a is snbdivided in
sle~a, 'adhesion' or 'conjoined': (I) paronomasia; pun; double-entendre; extremely different ways. Its relation to the other figures is only
the simultaneous expression of two (or more) meanings. (2) B 3.14, partially described.
D 2.310, V 4.3.7, U 4.9, R 4.1, 10.1, M 119, 147. (3) iikmamala- Sle$a is the associating figure par excellence: it is found in conjunc-
ma~(ialagrarucayabsalflnaddhavak$absthaliib siJ$mii~o vra~ino vipa- tion with a long list of other figures, notably upamii, rilpaka, arthtin-
k$ahrdayapriJnmiithinab karkasiib / udvrttii guravas ca yasya vasinab taranyiisa, vyatireka, vakriJkti, ak$epa, dipaka, sahiJkti, hetu, etc.
syiimiiyamiinananii yodhii miiravadhiistanas ca na dadhuh ksobham sa With these figures, the sle$a occupies the subordinate place and serves
vo'vyiij jinab (Vamana; all the descriptive adjectives h~ve 'one s~nse as the means whereby the idea of the figure is expressed. For ex-
when taken with the noun "warriors", another when taken with ample, in upamiisle$a the pun replaces the common property as that
element in terms of which the snbject and object are compared In fact, both Bhiimaha and Vamana define sle$a in relation to rilpaka,
("Why is a woman like a hinge? Because she's a thing to adore"; for has this latter not been already defined as the imposition of an
M. E. W. Sherwood). It would appear that Sle$a is at least compatible object onto a subject-that is, the identification as though there were
with every figure except svabhiivokti and embodies more fully than coalescence in reality of a subject of description with a similar object,
any other figure the universality of the poetic idea. It comes closer as eye-lotus or face-moon? The answer is again obvious and is the
thau any other figure to the essence of poetry, variously expressed same answer: sle$a may be taken as a rilpaka with simultaneous
as "vicchitti", "vaicitrya", "vakrokti", etc. ('strikingness', 'charming- expression of subject and object.
ness', ~circumlocution'), inasmuch as no expression containing a The treatment of Sle$a in terms of rilpaka is, however, far too
sle$a can ever be regarded as a mere statement, an apodiction. narrow to do justice to the concept of double-entendre, for since
Theoretically, too, the idea of a pun, in which two different meanings rilpaka itself is an identification only of similars, this view seems to
inhere in the same phonemic span, is an employment of langnage imply that Sle$a, too, is at bottom a comparison (upamii) or can, at
which transcends the character.pf langnage, at once demonstrating any rate, be described in the same context (cf Bhiimaha's definition
the limitations of non-poetic speech and using those limitations to "upamiinena yat tattvam upameyasya siidhyate ..."). But it is simply
another purpose. Punning in SaJ;lskrit is not the weak-kneed and not true that every sle$a rests on an implicit comparison, for there
self-conscious crudity that it is in'):r18st-Western languages. A pun are puns, in the extreme case, which involve words of different
involving only one word or a single'idea-is an object of indifference form classes or even do not involve the same words (as: "The moon-
to the Sanskrit writer; it becomes interesting only when whole shine's bright on my Old Kentucky Home", or: "Focus, where the
ideas and complicated concepts aredouble-entendus. A person who Sons raise Meat" as the name of a ranch). It is, of course, true that
knows only English or Greek simply pannot appreciate the elegance many double-entendres (especially the best) do repose upon such an
and refinement of punned verse as written in India, the reading of implicit comparison; for example: "But then, you know, you stand
which resembles nothing so much as a continnous re-awakeuing of upon / Another footing now" (see asal'j'lbhava sle$a); but the concept
one's own apprehensive powers. is not wide enough. Hence later writers follow Dal).<)in in not
Puns are very sharply distingnished from the pointless word play committing themselves on the subject: a pun is simply 'two senses
which deforms so much light verse in English and which, in Sanskrit, expressed in the same words' ("anekdrtham ekarilpdnvitol'j'l vacaiz").
is relegated to the category yamaka, or cadence. Ogden Nash, for The dhvani writers are understandably preoccupied with sle$d-
example, abounds in usages which depend upon the associative lal'j'lkiira; as defined, it borders precariously upon the domain of
power of partial"or incomplete repetition ("In spite of her sniffle / suggestion. In fact, one of the most important functions of sle$a is
Isabel's chiffle"), or Thomas Hood's: "But from her grave in Mary- to suggest (vakra, etc.). We cannot enter here into the niceties of
bone / They've come and boned your Mary". These are not puns, dhvani theory, but in general it can be remarked that the suggested
because the expression of the ideas is not simultaneous. All that sense of that system is not, strictly speaking, expressed (in words) at
happens is that two ideas totally unrelated are here juxtaposed all; not only is the most characteristic dhvani [rasadhvani] "in-
through the extraneous (and even forced) similarity of the words expressible", but even those evocations of discrete ideas and things
which carry them. They are nascent puns, if you like, or inchoate which are considered subordinate are not denotatively comprehended
puns which the author has left unclothed with their bare unrelatedness in the utterance as the two meanings of a pun always are. The
showing. Simultaneity of expression is at once the formal criterion distinction here rests upon a theory of signification which all
and the condition of delectation of double-entendre. It is the one iilal'j'lkiirikas are far from sharing and which is not entirely germane
feature which all writers are able to agree upon. to the subject of poetic fignres. Hence we leave the matter at that,
Formally, then, sle$a is most characteristically differentiated remarking only that here again sle$a occupies a crucial position in
from yamaka; but in terms of its content (the two ideas conjoined), the history of aesthetic speculation.
the figure which is most often taken as crucial is rilpaka (metaphor). Sle$a cannot ultimately be defined in relation to the content of
i
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292 GLOSSARY
GLOSSARY 293
the figure (that is, the idea it expresses), since, as has been noted, two (hence unpunned) nouns may constrnct witb one verb [abhin-
sle$a can be associated with almost any other figure-not merely nakriya], with two verbs wbicb are different in sense [aviruddhakriya],
in the sense ofadjunction of two figures, but as an essential element or witb two verbs wbicb are contrary in sense [viruddhakarman].
in the expression of that other figure's idea. That is why most later Neitber tbe nouns or tbe verbs are punned; tbe puns reside only in
writers resort to what amounts to a formal, or grammatical, classi- tbe adjectives pertaining to the nouns. Having tbus introduced tbe
fication of subtypes. verb into tbe system, Da!].Qin proceeds to state tbe possible relations
The earliest writer, Bhamaha, who treats s!i${a as a variety of between the two senses of tbe pun: they. may be entirely different,
metaphor (rupaka), gives two independent classifications; the identity but consistent (avirodhin), contradictory (virodhin), tbey may be two
of the subject and the object can be expressed in any of three aspects: aspects of the same concept (niyamfik$eparupa), or, finally, an aspect
adjectival qualification (gUlJa), mode of activity (kriya), or essence and the concept itself (niyamavat). Da!]'Qin is tbe only writer wbo
(nama). (These correspond to the grammatical triad adjective, sbows metaphysical ability in tbe organization of his classifications;
verb, and noun, but Bhamaha'sjJ;ltention is not to equate them with tbis one is extremely interesting in laying bare the generic kinds of
the formal categories, at least in the sense that he treats primarily oppositions wbicb any two meanings may bave: tbey will eitber be
the aspects of the thing thereby~xpressed.) Secondly, Bhamaha indifferent or generically related; if indifferent, tben eitber compatible
notes that s!i${a can be associate<i\With three other almrzkaras: or contradictory, if generic, tben eitber as species or as genus and
sahOkti, hetu, and upama. Oddly, he give'" only three examples for species. Needless to say, tbis categorization was not followed by
tbese six types, eacb exemplifying one term of eacb triad (altbough later writers, wbose interests become more and more formal and
tbe triads bave no relation to one anotber). verbal. But it does bave an interesting parallel in the ten types of
DaJ)Qin also gives two classifications, and one of tbem recognizes artha sle$a whicb Rudraja describes. Tbese, bowever, relate to tbe
tbe formal aspect of sle$a, for tbe pboneme span whicb expresses kinds of situations in wbicb sle$a can be used and suggest a context
tbe double-entendre may consist of tbe same words for botb senses similar to tbat of the dhvani tbeory, ratber tban involving tbe struc-
(abhinnapada), or of different words (bhinnapada). (Compare ture of meaning itself.
"another footing now", using the same words, with "moonshine's Vamaua does not subdivide s!e$a. Udbba!a is tbe first to use tbe
brigbt", using different words.) This distinction is essentially tbe terms sabda and artha Sle$a, probably in tbe sense described above,
same as tbe more popular later version artha-sabda, but tbe elabora- but since no explanation is contained in the text, we bave only tbe
tion wbicb this has received bas somewhat clouded tbe issue (for opinions of commentators to go on, all of wbom were posterior
example, see vatlJas!e$a, wbere it is not at all clear that vibhau to tbe writers (notably Rudra!a) wbo developed sabda and artha
would be taken as an example of bhinnapada sle$a by Da!].Qin, despite Sle$a in great detail. Tbere is always a tendency in sucb cases to read
its being considered sabdas!e$a by Rudraja). We migbt say, in back into tbe text the later opinions.
i modern parlance, tbat tbe "morpbo-pbonemics" of the two spans Witb Rudra!a, tbe idea of double-entendre reacbes its apogee.
are eitber tbe same or different. As an aside, it sbould be noted tbat He recognizes tbe distinction of sle$a into sabda and artha, but raises
most writers (beginning with Udbbaja) specifically exempt intona- each to tbe status of an independent subject. Cbapter Four of his
tion as a consideration in determining tbis difference. It is inevitable work is devoted to tbe former and Cbapter Ten to tbe latter. More-
tbat many compounds will be differently accented as they are taken over, artha sle$a represents one oftbe four large categories into which
in different senses, but unless tbe analysis also reveals a morphemic artha alamktiras are divided, tbe others being 'descriptive' (vastava),
difference in tbe line (do$a-kara, vs. dO$fikara), these compounds 'comparative' (aupamya), and 'byperbolic' (atiSaya). Tbe division
are not considered different. implies that artha sle$a is botb comparative and byperbolic (since
DaJ:jQin's otber classification is also formal, but is extrinsic to "descriptive" is neither comparative nor hyperbolic) and as sucb
tbe double-entendre strictly speaking: it assumes a standard form represents for Rudra!a the most poetic as well as tbe most interesting
for tbe pun, whicb is .on qualifications of two (given) nouns. These case. Sucb an inference is not entirely witbout plausibility, inasmuch
i
4
as an artha sle~a does bring together two ideas in such a way that one abbionakriyii, 'identical verb': (I) a type of paronomasia in which the
heightens the effect of the other (hyperbole). This point is made verb does not participate in either sense of the double-entendre,
clearer in the discussions which accompany the individual figures. but satisfies both indiscriminately. (2) D 2.314 (316). (3) vakraf.i
It should be emphasized that mere punning, that is, punning which svabhavamadhuraf.i salllsantyo ragam ulvavam / drso dlityas ca kar~anti
is not based on the meanings involved and which does not aim at an kantabhif.i pre~itaf.i priyan (Dal}<;lin: "Sidelong [devious], by nature
end to which those meanings are relevant, is definitely unacceptable affectionate and making declaration of heated passion, both glances
here. In this sense, too, the concept of artha (sle~a) has acqnired a and go-betweens are attractive when sent by the beloved to the
positive content; in Dal}<;lin, it was a residual category (a-bhinna- lover"). (4) "Two dozen cows, knee-deep in grass, / I saw, and
pada): that pun which cannot be explained by grammatical exegesis. twenty-seven goats, / And heard a hnndred sparrows pour / Upon a
The ways in which the two meanings can complement one another bank ten thousand notes. / And, though I've seen the golden notes /
are ten: (a) they can be qualified in the same way (aviSe~a), (b) That rich men pour in city banks, / And know the sparrow's note is
or not (virodha); (c) the second may constitnte llattery of the first 'cheep', / I lifted up my heart in thanks" (Samnel Hoffenstein). (5)
(adhika); (d) the pun may siiggest a further contrast of mood Here the verbs kar~anti and "pour" go with either of the snbjects
(vakra); (e) one may be llattery" the other reproof-ironic praise whose qualifications are punned npon: in the English, the "bankers"
(vyaja); (f) the second meaningq,ay be risque (ukti); (g) the two or the "sparrows" pour "notes" into or upon "banks". Cf viru~
meanings may be similar but tiiK~ contradictory qualifications ddhakriya and aviruddhakriya, where each of the senses of the pun
(asalllbhava); (h) the second meaning may augment the force of an demands a different verb. Note that though identical, the verb
adjectival description (avayava), or (i) the force of the names itselfis not here punned upon; compare Harry Graham's reproachful
themselves (tattva); (j) and, lastly, if they cannot be qualified in "Baby roused its father's ire / By a cold and formal lisp. / So he
the same way (case b), the contradiction in qualification may be a placed it on the fire / And reduced it to a crisp. / Mother said, 'Oh, .
fnnction of the meanings of the terms, rather than a question of stop a bit! / This is overdoing it!'" where the pun is the verb.
mere negation (virodhiibhiisa). abhionapada, 'same words': (I) a type of paronomasia in which the morph-
Rudraja is not less inventive with regard to sabda sle~a. Given emic analysis implicit in both meanings is the same. (2) D 2.310
that the two meanings must relate to a different morphemic analysis (311). (3) asav udayam ariirjhaf.i kantiman raktamav4alaf.i / raja
i
i'i
of the common span, that difference can be specified in terms of harati lokasya hrdayalll mrdubhif.i karaif.i (Dal}<;lin: "This moon
ii
l! the kinds of morphemes (form classes) which are thus confused. [King], mounted on the eastern mountain [having attained prosperity],
Rudraja gives eight examples, starting with the syllable (varva; this lovely, ruddy orbed [whose courtiers are devoted], delights the hearts
alone is sub-morphemic), stem (pada), gender-indicating suffix of men with his soft rays [low taxes]"). (4) "Did you hear about
(liiiga), verb root (prakrti), nominal affix (pratyaya; exclnding inllec- the moth who chewed a hole in the rug because he wanted to see the
tions), inflection (vibhakti; both nominal and verbal), and number- lloor show? And then he covered it over because he didn't want to
indicating suffix (vacana). see the whole show?" (Lennart Rydfors). (5) Dal}<;lin does not men-
It is clear that the subdivisions of artha are not incompatible with tion the distinction artha/sabda sle~a, but the present two types could
those of sabda, but it would indeed be rare for an example to be easily be argued into it. On the other hand, the differentiae are
found showing both grammatical and contextual precocity to such a stated in snch a way as to make possible a division such as we have
degree. Nothing within the realm of human experience is beyond discnssed under artha !;/e~a, where two different "etyma", thongh the
the power of the Sanskrit language, but we feel that here, at least, "same" word, would not exemplify artha !;/e~a in the strict sense,
we are straining at the limits. being homonyms.
Mammaja repeats Rndraja's classification of sabda sle~a, but he no- artha, 'meaning': (I) a type of slNa in which the double-entendre reposes
tices only one "Sle~a" in his chapter on arthiilafllkara. Many ofthe oth- upon a legitimate duplicity of meanings within those meanings
ers, however, have been treated as separate figures (e.g., virodhiibhiisa). properly ascribed to the word and not upon some accidental gram-
IIi '
,
r
I 296 GLOSSARY GLOSSARY 297

I
q matical or formal feature. (2) U 4.9, 10, R 10.1, M 147. (3) svayafll itself punned and hence, as far as the pun is concerned, it provides
q ca pallavatamrabhasvatkaravirajini / prabhatasaflldhyeva [bhagavati]
I only an extrinsic, though relevant, classification.
iI Udbhala; the word kara is taken in two legitimate senses: 'hand' avirodbin, 'non-contradicting': (1) a type of paronomasia in which the
of Parvati and 'ray' of the dawn: "She is brilliant like the dawn double-entendre is suscitated by the application of a single qualifica-
'I onrushing, her hands [rays] red gleaming like new buds"). (4) "There tion to two subjects in such a way that the qualification is understood
I
was a young lady from Wantage / Of whom the town clerk took differently for each, but without implying a contradiction. (2)
'j
advantage. / Said the borough surveyor: / 'Indeed you must pay 'er. / D 2.315 (321). (3) mahibhrdbhurikatakas tejasviniyaMdaya!; / dalqa!;
You've totally altered her frontage'" (Anon.; "frontage" in two prajapatiS casU svami saktidharas ca sa!; (DaJ;l<;lin: "The King
senses). (5) We may distinguish three levels of double-entendre or [mountain], possessing many camps [valleys], glorious, of consistent
paronomasia: (a) in which two occurrences of the same etymon prosperity [having regular heights], clever (Dak~a by name], protector
differ as to context, as here ; (b) in which two etyma have the same of men [the father of men], Lord, and bearing a spear [powerful]").
phonemic shape; pun, properly speaking; and (c) in which two (4) "Them young gells are like th' unripe grain; they'll make a good
words, differing as to phonemiC"shape, are used in such a way as to meal by-and-by, but they're squashy as yet" (George Eliot). (5)
suggest cancellation of that difference; plays on words, such as See virodhin.
Ogden Nash has popularized. Th~;~~Jne distinction may be seen in iik~epa, 'objection': (1) see under sle~a iik~epa.
Sanskrit most clearly where type (alis artha sle~a. It wonld seem opamii, 'simile': (1) see under Sle~a upamii.
that Sanskrit, so rich in natural puns, does not feel the need to distort kriyii, 'verb': (1) a type of paronomasia in which the double-entendre
words to obtain unnatural ones (type c); nevertheless, the same kind resides in a verb; it pun on verbs. (2) B 3.14 (19). (3) unnatii lokada-
of discrimination can be seen firs~, in those puns which require a yitii mahanta!; priijyavar#TJa!; / samayanti k$ites tiipafll suriijiino
different accentuation, as muktasri!; (on the first syllable a bahuvrihi ghanii iva (Bhamaha: "Good kings, like rain clouds, calm the suffer-
meaning 'by whom ugliness was dispelled'; on the last, a tatpuru~a ing of the earth-lofty, beloved of men, great, and giving copiously
meaning 'beauty of pearls'), and secondly, in those playful puns of their rain"). (4) "How beastly the bourgeois is / especially the
where the word divisions of one sense are not the same as those of male of the species- / Nicely groomed, like a mushroom / Standing
the other, as in the pun of Kalidasa 'u meti matra tapaso ni#ddha there so sleek and erect and eyeable- / and like a fungus, living on
i
, ' pasctld Umakhyafll sumukhijagama" ("from her mother's warning her the remains of bygone life" (D. H. Lawrence). (5) Bhamaha offers
II
!! "don't, don't (doJapas)", she came to be called Uma'). These types three examples for six types enumerated; this one serves also for
are generally groUped indiscriminately under sabda sle~a. upamii sle~a. As far as the verb is concerned, we must interpret
aviruddbakriyii, 'unopposed verbs': (1) a type of paronomasia in which loosely: the verbal idea here includes the object of the verb as well.
separate verbs accompany each of the senses of the double-entendre. These examples should be compared with those of gUTJa sle$a
(2) D 2.314 (317). (3) madhura ragavardhinya!; komala!; kokilagira!; / ('adjective'). Bhiimaha, the first writer to discuss sle~a as a figure,
akarTJyante madakalti!; sli~yante casitek~aTJa!; (DaJ;l4in: "Lovely, does not seem too ready to force these equivocations into sharp
inspiring passion, soft and low from sipping drink, voices of night- categories of mode and means: the simple adjectives in our examples
ingales are heard and dark-eyed girls are embraced"). (5) The classi- above are not puns, because they can apply with equal justice to
cal form of the pun in Sanskrit is a series of adjectives or qualifica- both subjects in the same sense, though they do not mean exactly
tions which apply equally to one or another of two given subjects. the same thing as qualifications of the two subjects-that difference
Given this form, the present distinction should be understood as an is to be sought in the kinds of things the subjects are rather than
attempt to include the verb within the frame of reference of double- in a consideration of the kinds of usage and context the adjectives
entendre, since the two nouns mayor may not be accompanied by themselves are capable ofsustaining. Bhilmaha seems more interested
different verbs and, if they are, the verbs mayor may not be opposed in defining this difference than in specifying the source and scope
in meaning. It shou!<}'be noted that in these types, the verb is not of the equivocation itself.
gt1I1a, 'property, adjective': (I) a pun on adjectives. (2) B 3.14 (18). annulled. Since, however, of the two senses, it is the less obvious,
(3) chiiyiivanto gatavyiilii/;l sviiroha/;l phaladiiyina/;l / miirgadrumii obscure, or figurative which is affirmed, it is readily seen that the
mahantas ca pare~iim eva bhUtaye (Bhiimaha: "Shady [possessing denial of the double-entendre is a mere formal device whereby the
lustre], free of snakes [suspicious characters], firm rooted [independ- more obvious, clear, and primary sense is ironically intended.
ent], and producing fruits [benefits], both the roadside trees and great This type is contrasted with niyamtik~eparapa sle~a, wherein the
men live for the benefit of others"). (4) "As lines so loves oblique primary meaning is broadened to include the secondary.
may well / Themselves at every Angle greet: / But ours so truly niyamak~epariipa, 'having the form of an objection to limitation': (I)
ParaUel, / Though infinite can never meet" (Andrew Marvell). a type of paronomasia in which the double-entendre is explicitly
(5) Bhamaha's example is also used for upamii sle~a. See the discus- extended to another, more current, sense. (2) D 2.315 (320). (3)
sion under kriyii sle~a. The examples show how subtle can be the padmiiniim eva dav4e$u kavtakas tvayi rak~ati / athavii drsyate
difference between pun and metaphorical usage. "Chiiyii" has two riigimithuntiliiigane$v api (Dal).<;lin: "As long as you are King,
senses here which are merely the two ends of a continuum: "shade, thorniness/rivalry/horripilation exists only in the stalks of lotuses;
complexion, aspect, lustre"; slihilarly, "oblique" with the added but then, it could also be seen in the embraces of love-making
overtones of "contrast". As puns, these meanings would have to couples"). (4) '''As you are doubtless aware', began Marcel, drawing
be considered different.,::>" on his praline, 'Harper's Bazaar not only prognosticates the mode
naman, 'name, noun': (I) a pun in whicli'a noun figures as the locus of but frequently publishes news of consuming interest-you will
the double-entendre. (2) B 3.14 (20). (3) ratnavattviid agiidhatviit pardon the play on words-to gourmets'" (S. J. Perelman). (5) The
svamaryiidiivilaiighaniit / bahusattvtisrayatviic ca sadrsas tvam name of this figure implies that the pun is an objection to the scope
udanvatii (Bbamaha; the terms "h"ving jewels", etc. are expressed of meaning of a word, the extended meaning thereby offered being
as abstract nouns in -tva: "You resemble the ocean for possessing the rest of the double-entendre. Now, the example from S. J. Perel-
jewels, for depth, for keeping within your own limits, for containing man does not formulate an objection as such, but since the purpose
many substances [much strength of character]"). (4) "You tell of the parenthesis is to mark off clearly the second meaning of "con-
'em, whalebone, you've been around the ladies" (S. J. Perebnan). suming" and to focus the attention of the reader on that extension, I
(5) Cf kriyii and gUiJa sle~a. This example serves also for hetu believe it legitimately mentioned here. The parenthesis can also be
sle~a. Bhamaha, in specifying the grammatical classification of the taken as an ironic objection.
pun, lays the groundwork for the elaborate stratifications of Rudra,a pada, 'word': (I) a type of verbal pun (sabda sle~a) in which the constituent
and Mamma,a where every conceivable form class (root, suffix, words of a phrase are differently separated to give different senses to
gender, number, etc.) is shown to be capable of expressing a double- the phrase. (2) R 4.5, M 119C. (3) prthu-kiirttasvara-piitral'(l
entendre. See sle~a. (Prthuka-iirtta-svara-piitral'(l) bhU"ita-ni/;lSe~aparijanal'(l (bhU-u$ita)
niyamavat, 'restricted': (I) a type of paronomasia in which a double- deva / vilasatkarevu-gahanal'(l (bila-satka-revu-gahanal'(l) samprati
entendre is explicitly limited to its further or irregular sense. (2) samam iivayo/;l sadanam (Mamma,a: "Our residences are quite
D 2.314 (319). (3) nistritr,satvam asiiv eva dhanu~y evtisya vakratii / similar, 0 King: furnished with extensive gold [furnished with the
sare~v eva narendrasya miirgOlJatval'(l ca vartate (Dal).<;lin: "Sharpness pained howling of children], where the entire court is adorned with
is but in his sword, deviousness [being curved] but in Ws bow, supplic- jewels [where all of the residents sleep on the bare ground], where
ation [seeking a target] only in his arrows"). (4) "Who could young elephants bathe and play [where the mice emerge from their
continue to exist where there are no cows but the cows on the chim- holes and play in the dust]"). (4) "Only Seven: A pastoral Story
ney-pots; nothing redolent of Pan but pan-tiles; no crop but a stone after Wordsworth: I marvell'd why a simple child, / That lightly
crop?" (Charles Dickens). (5) The figure is the same as parisal'(lkhyii draws its breath, / Should utter groans so very wild / And look as
alal'(lkiira. This is a sort of pun a fortiori, in which the distinction pale as Death. / Adopting a parental tone, / I ask'd her why
implicit in the pun is made explicit and the pun is thereby literally she cried; / The damsel answered with a groan, / 'I've got a pain
inside!' / ... / Postscript: / To borrow Wordsworth's name was "aham ucitarucib syiim nandi/a.; sa tathti me" or "aham ucitaruci/:J.;
wrong, / Or slightly misapplied; / And so I'd better call my song, sytit nanditii sa tathd me", in which case nanditti is to be taken as an
/ 'Lines after Ache-Inside'" (H. S. Leigh). (5) Rndrala's example -r stem: "Sometimes in the midst of yonr attendant hosts, by your
not only shows compound words which can be analyzed differently, grace, 0 Siva, I am an enjoyer who has become appropriately
bnt also sequences of grammatically independent words showing delighted [likewise, I, as it were, occupy the state of your mount
different junctures (Sariram adaiJ; sarira-madaiJ). Nandi]"). (4) "A dripping pauper crawls along the way / The only
This type of pun, in Rndrala and Mammala, assnmes the word real willing out-of-doorer / And says, or seems to say / 'Well, I
as one of the possible loci of sabda sle$a and contrasts with other am poor enough-but here's a pourer!'" (Thomas Hood). (5) As in
topics snch as letter (varva), root (prakrti), gender (liiiga), etc. the other types of sabda sle$a, the point is here that the locus of the
Hence the word pada is to be understood in its strictly grammatical pun is restricted to the formal element in question: -t or -m alone
sense: that whose final is an infiection; that is, since pada is here being eqnivocal and not the stem sya- 'am/is'. Likewise, the element
distinguished from inflection (vibhakti), it should be taken as the -ta is both the nominative singular feminine of the past participle
grammatical aiiga (Pav. 1.4.13;"14). and the nominative singnlar masculine of an agent noun, but the root
praIqti, 'root element': (1) a type of paronomasia in which the locus of is the same: nand- 'to enjoy'. The English example, as usual, is not
the double-entendre is the primary;r~d uninflected root. (2) R 4.28, as finely adjusted to the point at issue, for the root "pour" is not the
M 119C. (3) ayam sarvavi Stistrav(hrdijfie$u ca vak$yati / samart- same as the root "poor"; but the example does involve as well an
hyakrd amitravam mitraVam ca nrpatmajaiJ (Mammala: "He holds in equivocation based on the affix, namely the "-er" of the comparative
his heart and [speaks] to the wise all the Stistras; he makes [destroys] degree and the "-er" of the agent noun. So we offer it here and hope
the ability of both his friends and his ,nemies"). (4)" 'So they ought that any more crucial example wiJI be brought to our attention by
to be yonr best friends', I said. 'With all that money. You stick to the kind reader.
them, old man. Clasp them to yonr soul with bands of steel-say bhii~ii, 'language': (I) a kind of paronomasia in which the double-
steal ... '" (Joyce Cary). (5) The double-entendre here consists in a entendre depends upon the apparent or verbal (I hesitate to say
doubt as to which of two roots a given inflected form should be "phonemic") identity between two languages. (2) R 4.10, 16, M
assigned: in the Sanskrit, vak$yati can be taken as the third singular 119C. (3) akalaiikakula kalalaya bahulilalola vimalabtihubala /
future active of both yah 'to carry' and vae 'to speak'. It should be khalamaulikila komala maiigalakamalalalama lala (Rudrala; it is
noted for purposes of comparison with other types of sle$a (such asserted that this can be read in six languages: samskrta, prakrta,
as liiiga, vaeanci;:·'etc.) that no equivocation attaches to any of the magadhi, paiStici, suraseni, and apabhralflsa; in Sanskrit, it is but a
inflectional elements of the form (future, singular, etc.). As to the string of vocatives: "0 thou, be delighted! of spotless family, re-
English example, though it is not as convincing, we may reason as pository of the arts, stumbling from too much gay sport, strong in
follows: "steel" and "steal" are nominal forms of two roots "to steel" your spotless arms, a thorn in the heads of the corrupt, loveable,
and "to steal" which are not identical in all forms (as, "steeled" bearing the beauty mark of the lotus of good fortune!"). (4) "I don't
and "stolen"). The two roots are, however, accidentally identical know what I'm doing mucking about with a lot of French authors at
in the present case (cf. Skt. krt, nominal of both kr, 'to do' and krt this hour, anyway. First thing you know I'll be reciting Fleurs du
'to cut'), as well as in their infinitives. We would be hard pressed Mal to myself ... and I'll say offVerlaine too; he was always chasing
to find in English, with its analytical structure, so revealing an Rimbauds" (Dorothy Parker). (5) In this category, the meanings
example as vak$yati. need not be different; and this shows to what extent Sle$a was a
pratyaya, 'affix': (1) a type of paronomasia in which the donble-entendre qnestion of technical manipulation of forms rather than (always)
depends upon the phonemic identity of two affixes. (2) R 4.26, directed at some inteIligent purpose. Rudrala gives examples for
M 119C. (3) pramathanivahamadhye jtitu cit tvatprastidtid / aham two-, three-, four-, five-, and six-language puns.
ucitaruciiJ syan nandita sa tatha me (Mammala; may be read either Curiously, bhti$a sle$a is included in the eight kinds of sabda
sle$a, all the other of which localize the double-entendre in some the respectable [whose faces are beautiful], leader of good govern-
formal element of the same language. Completeuess demauds that ment [of beautiful eyes], praiseworthy [are to be seized]"). (4) "Ben
this possibility be accounted for: the language is itself a form. This Battle was a soldier bold, I And used to war's alarms; I But a cannon-
wonld then represent the other pole to artha sle$a, where no formal ball took off his legs, I So he laid down his arms" (Thomas Hood;
element can be ascribed as the locus ofthe double-entendre: language we might claim here an equivocation between dual and plural. At
is grasped as meaning alone. least it is a numerical idea which is punned npon). (5) Strictly speak-
bbinnapada, 'different words': (I) same as pada sle$a. (2) D 2.310 (312). ing, no illustration is possible from English since any pun involving
riipaka, 'metaphor': (1) for rupaka sle$a, see under rupaka. (2) D 2.313. plural-singular contrast (e.g., "rose", "rows") would also involve a
Iiiiga, 'gender': (I) a type of paronomasia in which the double-entendre different etymon. Here the point is that the same word lends itself
depends upon the phonemic identity of gender-indicating suffixes. to two numerically different references. Perhaps a pun could be
(2) R 4.8, M l19C. (3) devf mahf kumarfpadmanal'l' bhavanf rasaharf I found involving the word "sheep" (sing.) and "sheep" (pl.).
sukhanf raja tiro'hitam ahima"!al'l' tasya saddharf (Rudrata; as mas- varl)a, 'syllable, letter': (1) a type of paronomasia in which the locus ofthe
culines, the first line must bere&d as nominative -n stems, as feminines, double-entendre is restricted to a single phoneme. (2) R 4.3, M l19C.
as stems in of; other types of puuning are here evidenced, mostly (3) alaiikara!; saiikakaranarakapalal'l' parijano viSfnJdiigo bhriigf vasu
pada sle$a: for the king, raja('b:~brilliant'), for the girl, rajati ca Vr$a eko bahuvaya!; I avasthiiyal'l' sthavor api bhavati sarviimara-
('illuminates'). Note also that, forthe'king, tasya is also a vocative guror vidhau vakre murdhni sthitavati vayal'l' ke punar amf(Mammata;
from the obscure root tas- ('slay'): "Be brilliant! Slay the enemy, the pun is restricted to the syllable -au of vidhau, which happens to
proud as a snake, 0 playful, festal, destroyer of evil, engenderer of be the locative singular of both vidhi ('fate') and vidhu ('moon'): "His
prosperity, depository of passi~)ll, bringer of pleasure, upholder only ornament is a human skull which inspires fright; his attendant
of the just!" or: "The earth, the queen, young, happy, source of is Bhplgi, the one who has consumed his own limbs; his wealth is '
lotuses and of spices, illuminates him who has assumed pride and one old bull. Such is the condition of Siva, Lord of all the Gods!
upholds him!"). (4) " ... I'm a pris'ner, gen'l'm'n. Con-fined, as Since inscrutable fate [the curved moon] sits on his brow, what
the lady said" (Charles Dickens). (5) Of course, our English example indeed do we mere mortals amount to?"). (4) "Oh, the moon
stretches a point, since the grammatical category in question does not shines bright on myoid Kentucky home" (Anon.; or: moonshine's).
exist. Contextually, however, the sense of the illustration is clear, (5) This category shows a delicacy of interpretation which is truly
since the word:'confined" in feminine syntax means quite a different astounding: at first glance, this seems to be an instance of pratyaya
thing. SZe$a, where the affix is quite accidentally a single letter. But this
vacana, 'number': (1) a type of paronomasia in which the double-entendre analysis does not stand examination, because in the case of vidhau,
depends upon the phonemic identity of numerical suffixes. (2) the pratyaya is not punned at all, since it is locative singular in both
R 4.28(30), M l19C. (3) aryo'si taromalya!; satyo'natakuk$aya!; cases (we say that the locative singular of both -i and -u stems is -au).
stavavacya!; I sannabhayo yuvataya!; sanmukhya!; sunayana vandya!; Neither can the pun be attributed to the roots, for they are not the
! I (Rudrata; for singular, aryo'si, etc.; for plural, aryo (from pI. of same (one is -i stem, the other -u stem). It might appear then that we
ad) 'sita-romalya!; (from pI. of romalf), etc. Note that the example have a case of vibhakti sle$a, where two inflections have the same
also involves liiiga sle$a and pada SZNa; I think it is impossible to form. But this interpretation, too, is invalid, for it cannot be said
find vacana sle$a "pure", as it were: "You are a noble [the wives of that the locative singular of two form classes is two inflections.
i We are left then with the recondite category pun on nomiual form
Ii" your enemies], the ornament of strength [the hair on whose navels
iii is black], truthful [faithful], destroyer of the lands of the unbent class, which in this unique instance involves only one syllable: hence
I
[with round bellies], who cannot be praised in words [silent before the classification. Our English example is of course fictitious, since
compliments], fearless of those he has destroyed [with beautiful it is, strictly speaking, a case of vibhakti Sle$a (the "-s" being both
navels], who consorts with women [being young women], first among present singular of verbs and contraction of the nominal verb),
I!
I'
I Ii
Ii
!II "
~l, J
r
304 GLOSSARY
GLOSSARY 305
but since it involves but a single letter, I have inclnded it here. No the sun, however, sinks from sight"). (4) "At Thieves I bark'd, at
pnn of this finesse can be conceived in English, since the only basis lovers wagg'd my tail, I And thus I pleas'd both Lord and Lady
for a distinction of form classes in English nonns is the formation Frail" (John Wilkes; "pleas'd" is the double-entendre; "bark'd"
ofthe plural, and we could not fiud two words in different form classes and "wagg'd", which are opposite in sense, accompany each meaning
which had the same plural. of "pleas'd"). (5) TWs figure contrasts with aviruddhakriya, which
vibhakti, 'inflectiou': (I) a type of parouomasia in which the double- has two verbs which are not opposite in sense, and abhinnakriya,
entendre depends upon the phonemic identity of two inflections. which has one verb only.
(2) R 4.28, M 119C. (3) sarvasva'!' hara sarvasya tva,!, bhavacche- virodhin, 'contradicting': (I) a type of paronomasia in which a double-
datatparal; I nayopakarasammukhyam ayasi tanuvartanam (Mam- entendre is snscitated through the resolution of an apparent con-
mala; spoken by a thief to his son, hara and naya are imperatives; tradiction between a noun and a qnalification appended on it.
spoken by a devotee of Siva, hara is vocative and naya- a nominal (2) D 2.315 (322). (3) acyuto'py avr$acchedi rajapy aviditak$ayal; I
stem: "0 Siva, thou art the whole of everything [steal everything], devo'py avibudho jajfie safikaro'py abhujafigavan (Dal)c,lin: "Althongh
you whose intention is to destroy the bonds of being [you must he is Vi~l)u [not deviating from the right way], he has not slain the
iutend to break through the walls to everyone's treasure]. You demon Vr~a; although the moon [King], he does not know diminu-
have attained that state of soul ~~ichconsists of an ensemble of ation [never suffers decline]; although a God [King], he is not a God
help and counsel [bring into play eVery device and countermeasure [not surrounded by wise men]; although Siva [appeasing], he is not
and you will exhaust the efforts of others"]. (4) "Will there never possessed of snakes [questionable friends]"). (4) "Now as they bore
come a season I Which shall rid us from the cnrse I Of a prose that him off the field, I Said he, 'Let others shoot, I For here I leave
knows no reason I And an unmelodious verse: I ... I When there my second leg, I And the Forty-second Foot!'" (Thomas Hood).
stands a muzzled stripling, I Mute, beside a muzzled bore: I When (5) Nobody has forty-two feet on his leg. The point here is that no
the Rudyards cease from Kipling I And the Haggards Ride no moreT' pun would be understood were it not for the juxtaposition of
(J. K. Stephen). (5) This type may be understood in two ways: incompatibles which serves then as the efficient cause of the double-
either as defined, or as a pnn on an inflection common to verbs and entendre. Usnally, in Sanskrit punning, the duplicity of meaning is
nouns. In the first case, wWch is probably that of Rudrala, vibhakti suscitated by the adjunction of two different things which are said
is to be nnderstood as a specific type of pratyaya (affix); in the second to have the same qnalifications (see avirodhin). There is no con-
(Mammala), pratyaya SlNa will be understood as limited to the tradiction between the thing and the qualification taken singly.
general affixes of:Jhe nominal form class, whether inflections or not, See aviruddhakriya for notes on form.
while vibhakti will involve the contrast between inflections (neces- ryatireka, 'distinction': (I) see sle$a vyatireka. (2) D 2.313.
sarily) of verb and noun. The names thus do not exactly specify sabda, 'word': (I) a type of paronomasia in wWch some point of gram-
the scope of the pun intended. Another favorite example stems matical interpretation is involved in distinguisWng the meanings of
from the identity of the genitive plural present participle and the the double-entendre. (2) U 4.10, M 119. (3) prabhiitasa,!,dhyeva ...
third singular middle imperative -tam, as, jivatam ('may he live' muktasris tvam eva parvat! (Udbhala; applying to Parvati,
and 'of those living').
muktasrii;l, a bahuvrihi with udiitta accent on the first member; apply-
viruddhakarman, 'opposed verbs': (I) a type of paronomasia in which ing to the dawn, an appositive tatpuru$a, "beauty of pearl", with ac-
a separate verb accompanies each of the senses of the double-en- cent on the stem of the final member: "Parvati, by whom ugliness
tendre, and which verbs are moreover opposite in meaning. (2) was abandoned [beautiful as a pearl], is like the onrushing dawn").
D 2.314 (318). (3) ragam iidarsayann e$a varuJ;iiyogavardhitam I (4) "This is how it came to pass that their children were white and
tirobhavati gharma'!'sur afigajas tu vijrmbhate (Dal)c,lin: "Having puny; they were suffering from home-sickness" (Samuel Butler;
revealed a passion [redness] born of association with intoxicating here is a pun on the compound form "sea-sickness": ordinarily the
liquors [the western sky], the God of Love shows his full power; compound form "home-sick" does not express a cause, but the ab-
r
!I
i

sence of the antidote). (5) If the pun depends on no determinable salJls~ti
formal equivocation, but only on a legitimate duplicity of meaning salJlSf~ti, 'combination': (I) a multiple or compound figure. (2) B 3.48-
assignable to the word (lexical item, etymon) itself, we have artha 51, D 2.363 (sa1[lkfrva, 2.359), V 4.3.30-33, U 6.5, M 207. (3) (4)
sle$a (q.v.). For a full discussion of this difference, see artha Sle$a. See following discussion for examples. (5) The three terms sa1[lSr$ti,
Mammata takes the distinction sabda/artha slNa from Udbhata samkfrna and samkara used in general to refer to the combination
and then finds that Rudrata's eight grammatical categories of sle$a or 'co~p~unding'of oilier fignres of speech, have such a variety of
can be taken as subdivisions of sabda SlNa. Thus do systems grow. particular acceptations in the various authors that it is impossible
He treats sabda sle$a in ulliisa 9 (kiirikii 119) and artha sle$a in to separate them clearly. In general, the phenomenon of the multiple
10 (ktirikti 147). figure was considered, from DaJ)<jin onwards, in two aspects: the
sab6kti, 'expression of concomitance': (I) sahtikti ala/[lktira accompanied two or more constituent figures could be related somehow, or they
by sle$a. (2) B 3.17 (18). (3) (4) (5) See gw:za sle$a. could be purely extrinsic to one another. Only Bhiimaha and Vamana
hetu, 'cause': (1) a type of paronOluasia in which the double-entendre do not make this distinction in some form; their term sa1[lsr$(i is
accompanies hetu ala1[lktira. (2) B 3.17 (20). (3) (4) (5) See ntima therefore to be taken as referring to the genus of multiple ala1[lktiras.
sle$a. That they do use the term sa/[lsr$ti and not one of the other terms,
"::"> ' probably testifies to the originality of this term, the others being
salJlsay,i' used ad hoc by later writers. DaJ)<jin, however, in making the
salJl8aya (I) 'doubt': (1) same as sa1[ldeha. (2) R 8.59, 61. (5) See distinction between related and independent figures in conjunction,
sa/[ldeha. employs the term sa/[lkfn:za in the generic sense of Bhiimaha's
salJl8aya (II): (1) a fignre in which tW? similar but discriminable things sa/[lsr$(i. The word sa1[lsr$li does appear in DaJ)<jin's definition of
are said to be subject to a doubt concerning their respective nature sa1[lkfrva ("ntintila/[lktirasa1[lsr$til; sa1[lkfrvam") and suggests that the·
or mode of action. (2) R 8.65 (66). (3) gamanam adhita/[l ha1[lsais use of sa/[lkfn:za is idiosyncratic and well within the normal variation
tvattal; subhage tvayti nu ha1[lsebhyal; / ki/[l sasinal; pratibimba/[l of otherwise univocal technical terminology (DaJ)<jin, for example,
vadana/[l te ki/[l mukhasya sasf (Rudrata; in the first half sloka, the refers to svabhtiv6kti as svabhtivlJkhytina (2.4) for metrical reasons).
mode of cause and effect is suspended: who taught whom? In the Within sa1[lkfl7)a, then, DaJ)<jin enumerates two types: mutually
last half, the question is: the beauty of which term is the model related (afiglJngi), and independent (samakak$atti), depending on
for that of the other? "Did the swans teach you how to walk, 0 whether or not one figure implies the other in the sense that the other
lovely, or did you teach the swans? Is your face modeled on the cannot be grasped as a figure without the first. Udbhata recognizes
moon, or the moon on your face?"). (4) "Such was the mutual this distinction, but applies to it the two terms which up to now
love and reciprocal respect that this worthy man had to his flock, appear to be but mere stylistic variations of one another: sa1[lSr$ti
and his flock to him, that it was hard to judge whether he delighted (for unrelated figures) and sa1[lkara (from the same root -k; as
more in having such a people, or they in having such a pastor" sa/[lkfl7)a; for related figures). Within the latter term, Udbhata finds
(Carl Sandburg). (5) This fignre differs from the ordinary sa1[ldeha four subtypes: DaJ)<jin's familiar afiglJfigi (renamed anugrtihylJngu-
only in that it is not qua comparability that the two similar things grtihaka) as well as an ekasabdlJbhidhtina (where the two figures
are doubted. Here they are confused through some other aspect of overlap in the total expression), sa1[ldeha (where they coalesce entire-
their relation (which is, of course, many sided), as, for example, ly), and a type in which both sabda and artha ala1[lktiras (sabdlJrtha-
cause-effect (which is cause and which effect?), if they happen to be vivarti) are mixed. Mammata repeats the entire discussion of Ud-
related as to cause and effect (either in fact or in the poet's imagina- bhata except for his omission of the subtype ekasabdlJbhidhiina.
tion). For other exaggerations of nature and mode of action, cj. Rudrata, however, introduces the ultimate element of confusion
adhika and vi$ama. The present type differs from them inasmuch by using the term sa/[lkara in the generic sense, as did DaJ)qin, and
as it is expressed by means of a doubt, not declaratively. not mentioning sa1[lsr$(i at all. His two types, vyaktlJ1[lsa and avya-
n
I'
i'

kta/flsa, seem to refer to the same distinction as Dal).gin intended by anugriibyftnugriibaka, 'related as facilitated and facilitating': (1) same as
samakak$atii and aiigaiigi, bnt his definitions of them are analogical aiigaiigi sa/flsr$/i. (2) U 5.13.
and do not permit precise rendering. The former is said to resemble avyaktftlllsa, 'whose parts are not manifest': (I) a type of complex
a mixtnre of rice and sesame, where the components remain discrete, ala/flkiira (sa/flkara) in which the component figures are so expressed
the latter to resemble a mixture of milk and curds, where the com- as to make impossible a decision as to the location of each in the
ponents fuse in an indissoluble agglutinate. phrase. (2) R 10.25 (28-29). (3) iilokana/fl bhavatyii jananayana-
Whatever use is made of this terminology, all the writers agree on nandanendukarajiilam (Rudrata; in this case, the commentator
regarding sie$a or pun as the compoundable figure par excellence. asserts that the compound can be taken in one way as an upamii,
Daw}in's remark to this effect (2.363) is probably to be taken in in another as a rupaka: "Your glance is a net of moonbeams, delight-
context with his previous discussion of sa/flkfn;za. Most of the ex- ing the eyes of men"). (4) "Even when the President, the Rev. Dr.
amples offered by the various writers involve sle$a as one of the Willoughby Quarles ... than whom no man had written more about
figures. .. the necessity of baptism by immersion, in fact in every way a
aiigftiigi (-tva; -bhiivavasthiina), 'relal'ed as whole and part': (1) a type of thoroughly than-whom figure ..." (Sinclair Lewis; the last phrase
complex ala/flkiira (sa/flkara) in wh,ich the several constituent figures can be taken as an arthantaranyiisa or a rupaka). (5) As a karma-
are mutually interrelated in the sen$~~hat the figurativeness of some dhiiraya (''jananayananandana evendukarajiilam"), the figure in the
cannot be understood apart from the others. (2) D 2.360 (361), Sanskrit example is a riipaka; as a locative tatpuYU$a (,'jananayana-
U 5.13, M 208. (3) iik$ipanty aravindiini mugdhe tava mukhasriyam f nandana indukarajiilam"), the attributive relation to the subject iiloka-
kosadavl}asamagrii1;lii/fl kim e$iim asti dU$karam (Dal).gin; the sle$a of nam can, it is said, be interpreted as a simile lacking the comparative
the second half verse depends on the upamii of the first: if the lotuses particle (iva). It may be said that this latter interpretation seems to
were not "disputing" the beauty of her face, then their "buds" and be at variance with Rudrala's own treatment of both simile and
"stalks" would not be taken as weapons: "treasury" and "army": metaphor. "lndukarajiilam" by itself would not be an upamii, since
"The lotuses are attacking the beauty of your face! Is this difficult the upamiina follows the upameya (R 8.21); neither would the predi-
for them, whose means are buds [treasury] and stalks [army]?"). cative assertion "alokanam ... indukarajiilam", since this is the
(4) "He[the biographer] will row out over that great ocean ofmaterial, clearest type of rupaka (metaphor) definable in Rudrata's system
and lower down into it, here and there, a little bucket, which will (8.38-39). This difficulty does, however, parallel Bhiimaha's appar-
bring up to the light of day some characteristic specimen, from those ently inconsistent definition of the figure upamiirupaka, where the
far depths, to be examined with a careful curiosity" (Lytton Strachey; example of the upamii is just such a rupaka. It may be that the formal
the samiis6kti of "bucket", "specimen", and "depths" cannot be discriminations were not rigorously applied to those cases where,
understood apart from the rupaka "ocean of material"). (5) A despite the predicative identification of upameya and upamiina,
subordination of implication only is to be understood by this term; the idea of comparison was judged to be uppermost in the mind of
the two figures concerned are formally distinguishable (cf salfldeha) the poet. If this irregularity is allowed, the example then indeed
and occupy different places in the total phrase (cf avyaktillflsa, illustrates the definition of avyaktal'(lia, for both interpretations are
ekaiabdabhidhiina). They are not, however, entirely independent-a valid (neither can be refuted), and both apply to exactly the same
mere concomitance of figures-as in samakak$atii: should one of word sequence. In the English example, if the phrase "than-whom
the figures (the aiigin) be deleted, the other (the aiiga) no longer figure" is taken as a predicate to Dr. Quarles, we have a rupaka;
i
makes any sense as a figure. The terms sa/flkara and sa/flsr#i are however, the phrase can also be taken as a general summary of the
used by Udbhata and Mammata in the sense of this distinction, but preceding descriptive passage (arthantaranyiisa). Compare ekasa-
I Dal).gin, who does not use the term sa/flkara, views both as types of bdabhidhiina, where the two figures only overlap; here they coalesce
sa/flsr,,/i. For the use of the terminology, see sa/flsr$/i. The figure entirely. This type is the same as the salfldeha of Udbhata and the
is called anugriihyanugtiihaka by Udbhata. aniScaya of Mammala. Rudrala gives another example which the
i
J
[
i
'i
i 310 GLOSSARY GLOSSARY 311
commentator interprets as an angangi saI'flSr~ti; that is, a simple Udbhata apparently considers that the pun extends to the words
relation of implication exists between the two fignres, not physical which are said to be alike by virtue ofthe pun (here"aba/i!va vairisenii"
coalescence. Rudrata's definitions of this dichotomy (vyaktam- and "thine eyes"). If Rudrata is correct, then vyaktlil'flsa may be
Nivyaktal'flsa) are only analogical (see saI'flSr~li), and much leeway equated with samakak~atii; it should, however, be noted that the
must be allowed in their interpretation. distinctions implied by the two terms are not the same: vyaktlil'flsa
ekasabdlibhidhana, 'naming by the same words': (1) a type of complex may mean 'whose parts are not in doubt' (see avyaktlil'flsa) whereas
alal'flkiira (sal'flkara) where the two constituent fignres overlap as samakak~atii means 'whose parts are not subordinate' (see anglingi).
to the words which express them. (2) U 5.12. (3) maivam evlistha See sal'flsr~li for a discussion of these classifications.
sacchiiyavarl)ikiiciirukar~ikii / ambhojiniva citrasthii dnlimiitrasu- sabdlirtbavarti, 'involving both (fignres of) word and sense': (I) a type of
khapradii (Udbhata; Ganri is here compared to a lotus as delighting multiple alal'flkiira (saI'flSr~li) in which are mixed both sabda and
the eyes only (upamii); another common property is offered which is, artha a/al'flkiiras. (2) U 5.12, M 210. (3) spa~follasatkira~akesara
in fact, a pun referring to the golden earrings of Gaud and to the seed suryabimbavistfr~akar~ikam atho divasaravindam / sli~fli~ladigda/a
pods within the lotus (s/e~a); tii~ two fignres share the word ambho- ka/iipamukhtivatiirabaddhtindhakiiramadhupavali sal'flcukoca (Mam-
jinf ('lotus'): "Don't remain so, <iazzling and giving pleasure only mata; contains both rupakas (an arthti/al'flkiira) and anupriisa (a
to the eyes, like a lotus, earringsts9~dpods] of beautifully shaded sabda/al'flkiira): "The lotus of the day closes its vast pericarp, the
gold"). (4) "But the man who fell iii love with Rozzie was the poor sun's orb and its filaments the clearly dancing rays, with a swarm of
iI little Peter Pan who wanted to creep back into his mother's womb bees-the great darkness-clinging to the face of the eight direc-
I'::
I:
and be safe and warm and comfortable for the rest of his life. Isola- tions"). (4) "Glory be to God for dappled things- / For skies of
l: tionist, with nave/ defence", (Joyce C!'ry; same analysis except that couple-colonr as a brinded cow; / For rose-moles all in stipple upon
I the figures are rupaka and s/e~a). (5) This type is recognized as trout that swim; / Fresh-firecoal chestnut-falls; finches' wings; /
such only by Udbhata, who distingnishes it from sal'fldeha sal'flkara: Landscape plotted and pieced-fold, fallow, and plough; / And all
here the two fignres are partially different and wholly identifiable; trades, their gear and tackle and trim. / All things counter, original,
in sal'fldeha, they are expressed in wholly the same words and are spare and strange; / Whatever is fickle, freckled (who knows how?) /
not identifiable. To the naive observer, this type would appear With swift, slow; sweet, sour; a dazzle, dim; / He fathers-forth whose
to be more akin to sal'flSr~ti than to sal'flkara, but the fact that there beauty is past change: / Praise him" (Gerard Manly Hopkins;
is partial coaiescellce is sufficient to make the two fignres constitutive anupriisa and upamii). (5) This type would exemplify sal'flkara or
and "interdependent". complex a/al'flkiira, for the same word span may share two or more
vyaktliJ!lsa, 'whose parts are evident': (1) a type of complex a/al'flkiira figures. It differs from avyaktal'flsa in that the basis of interpretation
(sal'flkara) in which the component fignres are separable as to the is not such that one fignre, once defined, necessarily excludes the
words which express them. (2) R 10.25. (3) abhiyujya /o/anayanii other: here both are conjointly possible and discrete because the
siidhvasajanitoruvepathusvedii / aba/i!va vairisenii nrpa janye bhajyate fignres do not refer to the same definand (one refers to phonemic
bhavatii (Rudrata; an upamii in the last half, a pun in the first: "When patterns, the other to morphemic contrasts and usages).
attached, its leaders unsteady [eyes rolling], sweat and great trembling saJ!lkara, 'intermixtnre': (I) a multiple a/al'flkiira. (2) U 5.11, 13, R
:] [trembling at the thighs] produced suddenly, the enemy army, like a 10.24-29, M 208-210. (5) See sal'flsr~fi. The term is often used to
young girl, 0 King, is enjoyed by you"). (4) "As lightning, or a signify complex a/al'flkiira as opposed to compound a/al'flkiira.
taper's light, / Thine eyes, and not thy noise, waked me" (John saqlkirl}a, 'commingled': (I) a multiple a/al'flkiira. (2) D 2.359-363.
I
Donne; upamii in the first line, vyatireka in the second). (5) The (5) See sal'flsr~fi.
I example here is identical to that offered by Udbhata to illustrate the saJ!ldeba, 'doubt': (I) same as avyaktal'flsa sal'flkara. (2) U 5.11. (5) Also
I exact inverse (see ekasabdlibhidhiina). But Rudrata takes the called aniScaya in Mammata.
i
sle~a as confined to/the word which is actually punned, while samakak~ata, 'equality': (1) same as vyaktal'flsa sal'flkara or sal'flsnfi.
i
(2) D 2.360 (362). (5) In Dal).<;lin, the term is opposed to afigafigi, either resolved or in which a discrimination is offered which would
in the sense that no relation of implication exists between the two permit its resolution (niScayanta, niScayagarbha), following Bhamaha.
figures; in Rudrata, however, it is opposed to avyaktalflsa, in that Udbhata, though following Bhiimaha, distinguishes those doubts
the parts of the phrase expressing the several figures are physically which are feigned and those which are real, perhaps anticipating
separable. The two ideas are therefore of differing extent, but in bhriintimat alalflkiira; however, a "feigned" doubt for him involves
intent they are the same. the suggestion of another figure, usually upamii (simile), and in this
respect he returns to the opinion ofDal).<;lin. I append here Udbhata's
salpkara example for "real" doubt, since none of the other writers seems wil-
salpkara, 'intermixture': (I) another word for salflsr~li. ling to limit the figure in this way: "haste kim asya ni/:lSe~adai-
. tyahrddalanodbhaval; / yasal;samcaya e~a syiit piJpjibhiivo'sya kilfl
saqikirl}a krtal; / niibhipadmasprhaymal; kilfl halflso nai~a cailcalal; / iti yasya-
salpkirl}a, 'commingled': (I) another word for saIflSr~li. bhital; safikham asafiki~larjavo janal;" ('Can this be in [Siva's] hand
the accumulation of glory born of his destroying all the demons'
salpk~epa loves? Why has it become spherical? Can it be a swan filled with
salpk~epa, 'abbreviation': (I) terseneS~'fondensation of meaning into desire for his lotus-navel? But it is motionless! So does the stupid
few words. (2) AP 345.6. (5) This"is one of the sabdttrthdlalflkiira fellow wonder about the conch shell'). Or: "He thought he saw an
of the Agni Puriil)a. Elephant, / That practised on a fife: / He looked again, and found
it was / A letter from his wife. / 'At length I realize', he said, / 'The
salpdeha bitterness of Life!'" (Lewis Carroll).
ili[:1
salpdeha, 'doubt': (I) a figure in which tile speaker hesitates to identify aniScaya, 'undecided': (I) a type of salfldeha in which the resolution of
which of two similar things is which; the expression of a similitude the doubt is neither intimated nor given. (2) R 8.59 (60). (3)
I:
;;"
through the affectation of an inability to decide the relative identity asyiil; sargavidhau prajiipatir abMc candro nu kiintiprackll; srfigiirai-
of two things-the subject and object of comparison. (2) B 3.42 (43), karasal; svayalfl nu madano miiso nu pu~pakaral; / vedabhyiisajatjal;
V 4.3.11, U 6.2-3, R 8.59-64, M 138. (3) kim idam linalikulam nu vi~ayavyiivrttakautiihalo nirmiitulfl prabhaven manoharam ickllfl
kamalalfl kilfl vii mukhalfl sunilakacam / iti salflset~ lokas tva;i riipalfl puriil)o munil; (Kalidasa, quoted by Rudrata: "The God
sutanu sarovati":ziiyiim (Rudrata; cf salflsaya: "As you descend to Prajapati presided at her birth! Or was it the moon, giver of beauty?
the lake, 0 LovelY, onlookers are bound to wonder if that is a face Or was it Love, made of pure affection? Or the springtime, the
set in hair of darkest hue or a bee-girt lotus"). (4) "Mr. Smith, mine of flowers? How could the ancient sage-his mind dulled by
suddenly meeting the lovely young thing, may not be sure whether recitation of the Veda, his curiosity turned away from outward things
his feet are treading a polished studio floor or whether they have -conspire to create this excellently lovely form?"). (4) "God bless
little Mercury wings on them that waft him through the empyrean the King, I mean the faith's defender; / God bless-no harm in
..." (Oliver Onions). (5) Rudrata names this figure salflsaya, blessing-the Pretender:/ But who Pretender is, or who is King,
departing from tradition slightly (the word also means 'doubt'), / God bless us all-that's quite another thing" (John Byrom). (5)
perhaps because he enlarges the scope of the figure beyond simile In niScayagarbha, the doubt is implicitly resolved by proposing a
(see saf/lsaya II). Dal).<;lin (2.358) mentions the figure only to assert reason why the two things cannot be the same. In niScayanta, this
its identity with his salflsaya upamii. The figure has two forms in the is put positively and one learns what, in fact, they are. Note that
early writers, judging by the examples offered; this difference is neither example can be taken as a simile: in the first case, the inten-
recoguized by Rudrata and Mammata, who subdivide into those tion is not to compare Prajapati with the moon, etc., but, quite the
doubts about which no attempt is made to decide (aniscaya), contrary, to say that only the moon, etc. are qualified to serve as
II:! following Dal).<;lin an,d Vamana, and those in which the doubt is tutelary deities at UrvaSi's birth (this might be called a salfldeha
ii,'!
Ii,!
Illiiiiill.l.
wi .'I,. ----------------------------------
vyatireka). Byrom likewise expresses only the insecurity of man's sarna
state and is unsure which "tutelary deity" guides him. sama, 'together': (I) a figure in which is depicted an appropriate conjunc-
niscayagarbha, 'preguant with decision': (1) a type of sal'fldeha in which tion of events, persons, or qualities. (2) M 193. (3) dhi1tu/; silpdtiSa-
the doubt is implicitly resolved by advancing a discriminating yanika~asthtlnam e~a mrgdk~f / rilpe devo'py ayam anupamo datta-
qualification which makes it impossible that the two things in question patra/; smarasya / jatal'fl daivat sadrsam anayo/; sal'flgatal'fl yat tad
can be the same. (2) R 8.61 (62-63). (3) etat kil'fl sasibimbal'fl na tad etat / srfigarasyopanatam adhuna rajyam ekdtapatram (Mammata;
asti kathal'fl katafikam afike'sya / kil'fl va vadanam idal'fl tat katham a marriage is described: "This doe-eyed maiden .is the veritable
iyam iyati prabhi1sya syat (Rudrata: "Can that be the moon's orb? touchstone of the creator's skill; in beauty, the King is incomparable
Impossible; there are no spots upon it! Can it then be a face? and the given vessel of Love itself! That their union should come
Ifso, how could it be so brilliant?"). (4) "Women ben full of Ragerie, about through fate means that the kingdom of Love has been
/ Yet swinken not sans secresie / Thilke Moral shall ye understand, / brought under one umbrella!"). (4) "Happy, happy, happy Pair! /
From Schoole-boy's Tale of fayre Irelond: / Which to the Fennes None but the Brave, / None but the Brave, / None but the Brave
hath him betake, / To filch the gray Ducke fro the Lake. / Right deserves the Fair" (John Dryden). (5) In origin, this figure may simply
then, there passen by the Way (His Aunt, and eke her Daughters be an adverb mistaken for a name in an enumerative verse. The
tway. / Ducke in his Trowses h~th he hent, / Not to be spied of Agni Purava affirms that the arthdlal'flkara (q. v.) are eight in number
Ladies gent. / 'But hot our Nepb'ew';.(crieth one) / 'Ho', quoth (344.2-3); the chapter is devoted to definitions of them, and from
another, 'Cozen John'; / And stoppen, and laugh, and callen out,- / that text, we learn that the eight are svarilpa (3), stldrsya (5), utprek~a
This sely Clerk full low doth lout: / They asken that, and talken this, (25), atisaya (26), vise~okti (27), vibhdvana (28), virodha (29), and
. / 'Lo here is Coz, and here is Miss.'. / But, as he glozeth with Speeches hetu (30). The introductory verse enumerating the eight gives, how-
soote, / The Ducke sore tickleth his Erse-root: / Force-piece and ever, only seven, ignoring viSe~okti. After hetu, the words "samam
buttons all-to-brest, / Forth thrust a white neck, and red crest. / a$!adha" ('together, eightfold') close the half verse, presumably to
'Te-he', cry'd Ladies; Clerke nought spake: / Miss star'd; and gray fill ont the metre. Later commentators and wnters, apparently
Ducke crieth Quake. / '0 Moder, Moder' (quoth the daughter) / iguoring the body of the text, have raised this superfluous adverb
'Be thilke same thing Maids longen a'ter? / 'Bette is to pyne ·on coals (samam) into the eighth arthdlal'flkara, and it is included in all later
. and chalke, / Then trust on Mon, whose yerde can talke'" (Alexander anthologies, starting with Mammata. The Sarasvatikav!hdbharav a,
Pope; "Imitation of Chaucer"). (5) The discrimination is given, which follows the Agni Purava closely, does not mention samdlal'fl-
but the proper identification is not made: cf niScaydnta. kara. There is a samya, but it refers to intimated similes. If this
niscayilnta, 'conclusive': (I) a type of sal'fldeha in which the doubt is interpretation is correct, we have here an excellent instance of the
resolved by the proper identification of the two similar things. eclectic resilience of the later encyclopaedists. None of the printed
(2) R 8.61 (64). (3) kim ayal'fl hari/; kathal'fl tad gaura/; kil'fl va texts of the Agni Purava, not even the so-called critical edition of
hara/; kva so'sya vr~a/; / iti sal'flsayya bhavantal'fl namna niScinvate S. M. Bhattacharya, seem to have noticed this anacoluthon.
toka/; (Rudrata: "Is he KWJ.a? Why is he not dark? Is he Siva?
Where is his bull? In this way onlookers at first doubting now at samiidhi
last conclude who you are, 0 King"). (4) "Surely she lean'd o'er samiidhi, 'conjunction': (I) a figure in which a desired effect is accomplished
me-her hair / Fell about my face .... / Nothing: the autumn-fall of by the coincidental intervention of another and quite irrelevant
leaves" (Dante Gabriel Rossetti). (5) Cf aniscaya and niscayagarbha cause. (2) M 192. (3) manam asya nirakartul'fl ptldayor me pati~yata/;
sal'fldeha. / upakaraya di~!yMam udirQaI'fl ghanagarjitam (Mammata: "As I
bhedilnukti, 'non-expression of the difference': (I) same as aniscaya. fell at her feet to beg respite from her wrath, to my aid came a
(2) M 138. great exploding thunderclap"). (4) "I asked professors who teach
bhed6kti, 'expression ofthj;l·difference': (I )sameasniScayagarbha. (2) M 138. the meaning of life to tell me what is happiness. / And I went to
:'1
I"
I
~
]
1;:
iii
I'
I
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Ii

famous executives who boss the work of thousauds of men. / They than identity of qualification, such as similitude or causality. We
all shook their heads and gave me a smile as though I was trying might say that in aprastutaprasalflsa the remark is always motivated,
to fool with them. / And then one Sunday afternoon I wandered while in samtisokti the suggestion of the other situation is subordin-
out along the Desplaines river / And I saw a crowd of Hungarians ated to the reqnirements of clever characterization. The case is
under the trees with their women and children and a keg of beer and perhaps clearest in Bhamaha, the first writer to define both terms:
an accordion" (Carl Sandburg). (5) This figure differs from vytightita "yatrokte gamyate'nyo'rthas" ('where another meaning is understood
in that the intervening cause is unrelated to the original (obstructed) in a given expression'; samds8kti) and "adhikdrdd apetasya vastuno' ~
motive. Samtidhi is the same as samtihita of Bhamaha and Dal)gin. nyasya yti stutiiz" ('mention made of a subject irrelevant to the topic';
aprastutaprasalflsti). Evidently exegesis is still required, Udbhala
sarnasilkti and Mammala conform in general to this pattern, but the latter
sarnasilkti, 'concise speech': (1) a figure in which the descriptive qualifica- complicates the discussion by defining a type of aprastutaprasalflsti
tions of an explicit subject s1)~gest an implicitly comparable object based on samtisokti, This is perfectly reasonable and justified by
to which they likewise apply.(2) B 2.79 (80), D 2.205-213, V 4.3.3, the distinction given above: where the identity of descriptive qualifi-
U 2.10, AP 345.17, R 8.67 (68), ¥ 148. (3) skandhavtin rjur avytilaiz cations serves (in lieu of other possible relations) to suggest the real
sthiro'nekamahtiphalaiz / jtitas tar!;irpyam coccaiiz ptititas ca nabha- subject of the motivated remark, we have conjunction. Rudrala's
svatti(Bhamaha; the description ofthe tree suggests the picture of a definition is straightforward, but since he does not accept the figure
noble man fallen on hard times: "A great tree has grown here, with aprastutaprasalflsti, his samtis8kti can be made to cover both cases:
.many limbs, erect and without flaws, firm and bestowing many the object of comparison serves to suggest the subject of comparison.
great fruits; now it has fallen from !ts high place, uprooted by the Vamana, in his attempt to reduce all figures to a basic simile, is
wind"). (4) "The young man .. , reached down the boughs where forced to modify the present distinction inasmuch as it is indifferent
the scarlet beady cherries hung thick underneath, and tore off to the nature of comparison (cf Rudrala's definition). For him,
handfull after handfull of the sleek cool-fleshed fruit. Cherries the subject of comparison is unmentioned in samtis8kti, but is
touched his ears and his neck as he stretched forward, their chill partially mentioned (that is, through its attributes only) in aprastuta-
finger-tips sending a flash down his blood. All shades of red, from prasalflsti. Thus samtis8kti covers the two terms as used by the other
. a golden vermillion to a rich crimson glowed a,nd met his eyes under writers, and aprastutaprasalflsti is unparalleled (cf aprastutaprasalflsa
a darkness of leaves" (D. H. Lawrence; the description of the tree II), but resembles the more usual samtis8kti. It is Dal)gin's treatment,
suggests the young man's incipient passion), (5) This figure is however, which diverges farthest from the norm. He defines samti-
easily coiliused with aprastutaprasalf/sti, and any attempt to distin- sokti in the way Mammala defines tulya aprastutaprasalflsti, and his
guish sharply the two figures is rendered fruitless by an historical aprastutaprasa/'flsti is etymologically interpreted as a kind of vyaja-
examination of the relation between them. Though each writer stuti (concealed praise) which could be called "concealed blame"
distinguishes them in his way, none follows exactly his predecessor, (cf aprastutaprasalflsti III). Only Dal)gin subdivides samasokti, so
and the same concept is likely to end up on both sides of the defini- the peculiar character of his general definition must be born in
tion at one time or other. There are two criteria involved in the mind when examining these subtypes. The qualifications will either
distinction, from which only Dal)gin deviates significantly. The first apply equally to both subjects (tulyfiktiraviSewva), or some to both
is that samtisokti tends to repose on the identity of descriptive and some to the implicit subject only (bhinnfibhinnaviSe$ava).
qualifications of two terms: one explicit, the upamtina; one implicit, Thirdly, the qualifications may cease to apply to either subject in
the upameya. There is no emphasis placed on the implicit term, thus time (apiirva).
making it into the explanation of the occasion of the remark itself. The encyclopaedist Ruyyaka has stated the opposition between
Aprastutaprasalflsti , on the other hand, generally imposes upon the aprastutaprasalflsti and samtis8kti most rigorously. Accepting the
terms such an empha$is, and it can function through relations. other usual version of aprastutaprasalflsti, he understands the other figure
1
GLOSSARY 319
318 GLOSSARY
bhinnl\bhinnavise~al}a, 'whose qualifications apply both differently and
as its exact inverse: "prastutad aprastutapratitau samasoktir ukta II
in the same respect': (1) a type of samas6kti in which some of the
adhuna tadvaiparityenaprastutat prastutapratitav aprastutaprasa'!1so-
qualifications apply only to the understood subject. (2) D 2.208
cyate" ('samasokti is defined as the understanding of what was not
(210). (3) analpavitapabhoga!; phalapu~pasamrddhiman I s6cchraya!;
intended, on the basis of what was; now in opposition to that,
sthairyavan daivad e~a labdho maya druma!; (DaJ.lgin; a benefactor
aprastutaprasa'!1sa is defined as the understanding of what was
is thus referred to: "My fortune is that I have fonnd this tree of
intended on the basis of what was not'; p. 132). This recapitulates
expansive foliage, rich with fruit and flower, lofty and steadfast").
rather forcefully and with perhaps too much antithesis what was
(4) "'Is the gray mare made over to anybody?' inquired Mr. Weller
stated earlier: in aprastutaprasa'!1sa the purpose of the utterance
anxiously. George nodded in the affirmative. 'Veil, that's all right',
(its prastuta) is precisely what is not said; in samasokti, for the most
said Mr. Weller. 'Coach taken care of, also?' 'Con-signed in a
part, that implicit reference should not be understood as the main
safe quarter', replied George, wringing the heads off half a dozen
topic itself. The implicit aprastuta serves only as a flattering back-
shrimps, and swallowing them without any more ado. 'Wery good,
ground; for example, when~king is described in terms also appro-
wery good', said Mr. Weller. 'Alvays see to the drag ven you go
pnate to the Diety: "he is ofclever mien [four faced]". In these terms,
downhill. Is the vaybill all clear and straight for'erd?' 'The schedule,
then, samas6kti appears as a sintile in which the upamana is implicit.
sir', said Pell, guessing at Mr. Weller's meaning, 'the schedule is as
apiirva, 'unprecedented': (I) a typepf,samasokti in which the qualifica-
plain and satisfactory as pen and ink can make it'" (Charles Dickens;
tions will cease to apply to either subject at some future time. (2)
the references are to the legal liquidation of a bankrupt coachman's
D 2.213 (212). (3) nivrttavyalasa'!1sargo nisargamadhuriisaya!; I
property. The first two remarks apply only to the lawsuit; the last
ayam ambhonidhi!; ka~ta'!1 kalenc; pariSu~yati (DaJ.lgin; the reference
two ("downhill", "vay-bill") apply to the legal "journey" the coach-
is to the eventual demise of a liberal benefactor: "This great ocean
where serpents [evil men] perish· and whose fund of fresh water man is about to make).
[affection] is elemental will in time, alas, dry up!"). (4) "There was a samiihita
lean and haggard woman, too-a prisoner's wife-who was watering,
samahita (1), 'composed': (1) a figure wherein a similitude serves as the
with great solicitude, the wretched stump of a dried-up, withered
basis for the total identification of two similar things in the mind of a
plant, which, it was plain to see, could never send forth a green leaf
particular person; a consciously formulated metaphor. (2) V 4.3.29.
again-too true an emblem, perhaps, of the office she had come
(3) tanvi meghajalardrapallavataya dhautfidhari!viisrubhi!; sunyi!va-
there to discharge" (Charles Dickens; in this example, the qualifica-
bharavai!; svakalavirahad viSrantapu~p6dgama I cintamaunam ivasthi-
tion [sending.!'Drth a green leaf] has already ceased to apply, but the
ta madhuliha'!1 sabdair vina lak~yate cavlji mam avadhuya padapati-
function of the periphrasis remains the same-to indicate termination
ta'!1 jatanutapi!va sa (Vamana; Puriiravas addresses the creeper as
through parallelism of change).
though it were Urvasi: "The thin creeper, its leaves wet with the rain,
tulyilkaravis~al}a, 'whose qualifications apply in the same respect': (1) a
is like her lip wet with tears; like her dress without jewels, the creeper
type of samas6kti in which the qualifications apply in the same respect
sleeps through its flowerless season without the sound of bees like
to both the expressed and understood subjects. (2) D 2.208 (209).
my love lost in thought; the cruel thing spurns me fallen at its feet
(3) ruljhamula!; phalabharai!; pu~vann aniSam arthina!; I sandracchayo
like my love whom I hurt"). (4) "Sleepily she cuddled up in the fold
mahavrk~a!; so'yam asadito maya (DaJ.lgin: "I have seated myself
of his left arm, her cheek against his heart, though a hard hand which
under this great tree, deep rooted and thick shading, which ever
seemed to be pounding against a wall was trying to wake her np
provides for the needy with its harvests of fruit"). (4) "And then
again; she would just let it go on pounding all it pleased. She had to
he dwelt for a while on the wife of a man called Socrates, who he
sleep some more! ... But now mother was here. Hurriedly she was
didn't bother to place, though I judged he had something to do with
transferred into her mother's arms and squeezed almost to a pan-
the mule train, as there was a fair number of foreigners amongst
cake. She had to gasp for breath; nevertheless she snuggled into
them" (Robert Leyvis Taylor).
320 GLOSSARY
GLOSSARY 321
her arms as closely as she could, for she felt, oh, so sleepy! ... But no
peace here, either! Here, too, a hand pounded against a wall. Were AP 344.23, R 7.13-18, 8.99 (102), M 170. (3) bhavadapariidhaib
they tearing down the house?" (0. E. Rolvaag; the parents' chests sardha'll sa'lltapo vardhatetara'll tasyab /k~ayam eti sa vataki
are represented as a wall). (5) Though the element of confusion is snehena sama'll tvad;yena (Rudrala: ''Together with your unfaith-
present objectively, the figure differs from bhrantimat in that the fulness, her sufferiug grows and grows; the unfortunate girl is ruined
confusion is subjectively willed, or is at least not the concomitant along with your love for her"), (4)"Hark, hark! the lark at heaven's
of error. The identification of the two things here differs from gate sings, / And Phoebus gius arise, / His steeds to water at those
riipaka, since the mode of the identification is volitional, not conven- springs / On chaliced flowers that lies; / And winking Mary-buds
tional; a stratum of explicit consciousness is overlaid on the identifi- begin / To ope their golden eyes: / With everything that pretty is, /
cation. My lady sweet, arise; / Arise, arise!" (Shakespeare). (5) Accom-
samiihita (II): (1) same as samiidhi. (2) B 3.10, D 2.298 (299). paniment is, of course, one type of association, and this latter notion
can always suggest a comparison (as in the second example). Some
samnCllllya writers, notably Vamana and the Agni Puralla, have emphasized the
samuccaya, 'accumulation': (I) a figure consisting of the multiplication comparative aspect of sah8kti; others have preferred to leave its
of descriptive adjuncts to a thing>~~ rpood. (2) R 7.19 (20-26), definition purely formal (as in the first example). Rudrala allows
7.27 (28-29), 8.103 (104), M 178-79:(3) sukham idam etavad iha both. The many definitions and examples which Rudrala gives are
sphiirasphuradindumalJ4ala rajan; / saudhaidla'll kavyakathii suhrdab not distinguished by any special terminology, and in fact the
snigdhii vidagdhiis ca (Rudrala: "It is so pleasant here! The night is discriminations are quite extrinsic and depend on the actual relation-
brilliant with a glimmering moon; here on the palace roof poetry is ship ofthe things said to be accompanying one another. One example
read; friends are kind and clever"). (4) "As [the Public] sat, listening refers to two things which, in fact, do physically accompany one
to his speeches, in which considerations of stolid plainness succeeded another (breasts and attractiveness), another to two things which are
one another with complete flatness, they felt, involved and supported always complimentary (man's unfaithfulness and woman's sorrow),
by the colossal tedium, that their confidence was finally assured" the third to two things which are merely contemporary, never con-
(Lytton Strachey; Lord Hartington is quite a bore). (5) Rudrala tigent. Dal),Qin's three examples show contemporaneous association,
gives many examples showing not different kinds of accumulation, either through qualities (as: "saha dirghii mama Svasair imab sa'll-
but differences in the kinds of things accumulated. In general, his prati ratrayab", 'the nights are long, and my sighs'), or through
distinctions follo;y, the canonical fourfold pattern of jati, kriya, actions (as: "yiinti siirdharrz jananandair vrddhirrz surabhiviisartib",
gUlla, and dravya.' The accumulation of states, events, or adjuncts is, 'the spring days are fulfilled, along with the peoples' joys'). Mam-
of course, desigued to re-enforce the tone of a description, as in mala has taken the obvious step of inventing a figure vinokti ('exclu-
parikara ala'llkara, where the qualifications or epithets alone of a sion').
thing are multiplied. Formally, samuccaya is the same as dipaka
ala'llkara, but in fact the motives underlying their use are diametrically siidl"lya
opposed: here the emphasis is on the quantity of adjuncts; in dipaka, siidrsya, 'similitude': (1) a generic term for simile (upama) and those
it is on the single word which bears the syntactical force of the figures based upon it. (2) AP 344.5 (6-24). (5) See aupamya, a term
whole sentence. used by Rudrala with the same intent. The term here refers to
upama, riipaka, sah8kti, and arthiintaranyasa.
sah6kti
sahOkti 'speech coutaining the word "with"': (I) a figure in which two siimiinya
separate things or ideas are represented as conjoined or occurring siimiinya, 'identity': (I) same as ananyatva atiSayokti. (2) M 202.
at once. (2) B 3.38 (3Q), 3.17, D 2.351 (352-56), V 4.3.28,U 5.15,
GLOSSARY 323
322 GLOSSARY
sequence of related comparatives; here the comparative degree of
samya
the adjective connects the series of terms as, in eklivali, they were
samya (I), 'likeness': (I) a figure in which the subject of comparison is connected through the notion of qualification and, in kiira(lamiilii,
represented as fulfilling the function of the object of comparison. through the relation of cause and effect. See also the various similes
(2) R 8.105 (106). (3) abhisara rama(la1fl kim imii1fl diSam aindrim and metaphors extended into sequences (miilii).
iikula1fl vllokayasi ! saSinal; karoti kiirya1fl sakala1fl mukham eva te
mughde (Rudrata: "Go to your lover! Why are you gazing distract- siik~ma
edly at the eastern sky? 0 foolish girl, your face is accomplishing siik~ma (I), 'subtle': (I) a figure in which an intention or idea is said to be
the work of the moon!"). (4) "0 saw ye not fair Ines?! She's gone conveyed through a gesture, glance, or means other than language.
into the West,! To dazzle when the sun is down, ! And rob the world (2) B 2.86, D 2.235, 260 (261-64), M 189. (3) p~dm~sa1flm~an~d
of rest" (Thomas Hood). (5) Cf pihita ala1flkiira, where one quality atra siicito niSi sa1flgamal; ! ii§Viisayitum icchantya przyam angaJa-
superimposes itself upon another. Here the two subjects are not piditam (DalJ4in: "Putting a lotus on, she indicates a rendez-vous
confused, though their functiqns make them interchangeable. th~t night, desiring to comfort her love-lorn favorite"). (4) "~e
samya (II): (I) a figure in which the subject and object of comparison voice was Southern and gentle and drawling; and a second VOice
differ only modally. (2) R 8.107 (108). (3) mrga1fl mrglifikal; sahaja1fl came in immediate answer, cracked and querulous :-'It ain't again.
kalafika1fl bibharti tasyiis tu mUlj;haip. kadiicit ! iihiiryam eva1fl Who says it's again? Who told you, anyway?' And the first voice
mrganiibhipattram iyiin ase$e(la tayor vise$al; (Rudrata: "The rabbit- responded caressingly:-'Why, your Sunday clothes told me, Uncle
marked moon is inherently spotted; her face, however, is only oc- Hughey. They are speakin' mighty loud 0' nu.ptials"~ (Owen
.casionally marked with lines of musk. This is the only difference Wister). (5) The Sanskrit example is literal, the English attnbutes an
between them"). (4) "Far more welcome than the spring; ! He that intention to an inanimate object. This figure is one of several
parteth from you never ! Shall enjoy a spring forever" (William dealing with communication (see paryiiya, vakrokti: lesa). It ~ay
Browne). (5) In these examples, one of the terms compared is seem curious that a figure of speech could be defined III an area which
represented as existing continuously, while the other exists only is specifically non-verbal or extra-verbal. In the first place, the figure
temporarily. The figure is thus distinguished from catu upamii is a representation of such an occurrence in words and may be com-
in that the difference there is simply overlooked, and from atisaya patible with figurative usage. Secondly, taken in the context of the
upamii in that the difference is there reduced to the bare fact of other figures indicating an intention of the speaker, the present
separate existe(ice. All three figures agree in ignoring the concrete figure has a certain place in the system and may not be ignored.
difference between the things compared, that is, their sharing the siik~ma (II): (1) same as utprek$ii of DalJ4in. (2) R 7.98 (99).
common property in different degrees.
smaraJ}.a
sara
smarana 'recollection': (I) a figure conveying a recollection based on
sara, 'pith': (I) a figure wherein is expressed a concatenated series such
si~;litude. (2) M 199. (3) nimnaniibhikuhare$u yad ambhal; pliivita1fl
that each succeeding term expresses a characteristic improvement
caladrSiim laharibhih ! tadbhavail; kuharutail; suraniiryal; smiiritiil;
in relation to the preceding. (2) R 7.96 (97), M 190. (3) riijye siira1fl
surat~ka~tharutiinii;" (Mammata: "The water of the waves laps
vasudhii vasu1fldhariiyii1fl pura1fl pure saudham ! saudhe talpa1fl talpe
in the deep navels of the swift-glancing nymphs, reminding one of
varlifiganlinangasarvasvam (Rudrata: "In the kingdom, the earth is
goddesses making love and the throaty murmurings of their pas-
best, on the earth, the capital, in the capital, your palace, in the
sion"). (4) "Her presence brought memories of such things as Bour-
palace, a bed, in the bed, the entire wealth of the Love God-that
bon roses, rubies and tropical midnights; her moods recalled lotus-
beautiful woman"). (4) "The mouth seemed formed less to speak then
eaters and the march in 'Athalie'; her motions, the ebb and flow
to quiver, less to quiver than to kiss, (some might have added) less
ofthe sea; her voice, the viola" (Thomas Hardy). (5) The point of
to kiss than to curl':C(Thomas Hardy). (5) This figure amounts to a
this figure is that one of the relations upon which recollection can ora genus, such as a hawk diving on a scrap of food or a village
be based is similitude, (the ,others are ,contiguity, contemporaneity, woman drawing water from the well (Subhii#taratnako~a, verses
etc.), and such recollection constitutes, an implicit simile. Another 1148-92). Here the charm lies precisely in the completeness of the
name for this figure is kiivyahetu. description within the limits imposed by the verse, and not on any
figurative usage. Yet that charm is undeniable. Daw;lin includes
svabhiivilkti in his definition of the figure not merely that it is descriptive, but that
svabhiivilkti, 'telling the nature (of a thing)': (I) a figure in which a natural that description reflects the 'different aspects' (niiniivastha) of the
or typical individual is characterized. (2) B 1.30, 2.93, D 2.8 (9-13), thing. Rudrata, likewise, is far from thinking svabhiivokti mere
U 3.5, R 7.30 (31-33: jati), M 168. (3) dhulidhUsaratanavo riijyasthi- description; his criteria specify that the rendering be appropriate
tiracanakalpitiiikanrpii/:z / krtamukhaviidyavikiirii/:z krit/anti suni- to the time and characteristic of the thing (avasthOcita). Some con-
rbhararrz t/imbhii/:z (Rudrata: "The children are intent at their play, , texts are simply more interesting than others; his description of the
bodies gray with dust, one among them chosen to occupy the station young woman being made love to, though clinically exact, illustrates
of a king, assuming grave miellsand voices"). (4) "On the day this appropriateness of subject, detail, and occasion perfectly.
when I first learned of my father's journey, I had come back with Da;l<;Iin gives four examples of svabhiivokti, as the description
two companions from 'a satisfactorY,afternoon in the weeds near emphasizes one of the four metaphysical categories jiiti ('type'),
Kay's Bell Fonndry,shootinga sIlrtgshQI,at the new bells, which kriyii ('act'), guVa ('attribute'), or dravya, ('individual'). The
were lying out in the yard and strung tip on rafters. Struck with distinction is arbitrary in the sense that any good example of
rocks, they made a beautiful. sound, although it seemed to upset svabhiivokti will express that perfect blending of type, action,
Mr. William Kay, the proprietor. 'His sign, "Maker of Church, attribute, and individual which we tend to call "characteristic unity".
Steamboat, Tavern and Other Bells", hung over the doorway of his But the emphasis may vary from one case to another.
barnlike shop and had a row of little brass bells swinging beneath, A speculative discussion of the rationale for including this figure
squat and burnished, but these were hard to hit, and if you missed within fignrative usage will be found in the Introduction" pp. 42ff.
them, you were apt to hit one of the men working inside, and this kriyii, 'verb': (I) a type of svabhtivokti in which the behavior of the
was what seemed to upset Mr. William Kay most of all. So toward subject is emphasized. (2) D 2.13 (10). (3) kalakvavitagarbheva
the end of the afternoon he pranced out with a double barreled kavtheniighurvitek~avai/:z / piiravata/:z paribhramya rirarrzsus cumbati
shotgun loaded with pepper and blistered Herbert Swann's seat as priyam (DaJ.l<;lin: "A pigeon wanders about with eyes rolling and
he zigzagged to sar~ty through the high grass" (Robert Lewis Taylor). soft cooings coming from its throat and, desiring its mate, kisses
(5) Both examples describe children at play. The poetic nature of her"). (4) "Save yow, I herde nevere man so synge / As dide youre
this figure constitutes one of the longest standing disputes of the fader in the morwenynge. / Certes, it was of herte, al that he song. /
alarrzkiirasiistra. In fact, the oldest writer, Bhamaha, specifically And for to make his voys the moore strong, / He wolde so peyne
objects to this figure on the ground that it does not involve vakrokti hym that with bothe his yen / He moste wynke, so loude he wolde
or the figurative turn of phrase essential in any poetry. This point cryen, / And stonden on his tiptoon therwithal, / And streeche forth
of view is taken up in more detail much later by Kuntaka (Vakro- his nekke long and smal" (Geoffrey Chaucer). (5) See jiiti, guva,
ktijivita 1.11). DaJ.l<;lin, however, followed by most of the other dravya.
alarrzkiira writers, has included svabhtivokti, although in a much gul}a, 'attribute, adjective': (I) a type of svabhtivokti in which the contex-
discussed verse (2.363), he seems to distinguish that figure from the tual or descriptive attributes of the subject are emphasized. (2)
rest of the alarrzkiiras. The poetic basis of the figure is probably D 2.13 (II). (3) badhnann afige~u romiificarrz kurvan manasi nirvrtim /
to be sought in the genre calledjiiti: short verses, extremely condensed netre ciimilayann Na priyiisparSa/:z pravartate (Dal}<;Iin: "The touch
yet full of minute detail, each one attempting to seize the instantane- of the beloved provokes a tingling in the limbs, happy release in
ous totality ofa certain event, or an individual as wholly characteristic the mind, a closing of the eyes"). (4) "The open hills were airy and
/
326 GLOSSARY GWSSARY 327
clear, and the remote atmosphere appeared, as it often appears on a svariipa
fine winter day, in distinct planes of illumination independently
svariipa, 'nature': (I) probably the same as svabhiiviJkti. (2) AP 344.3-4.
toned, the rays which lit the nearer tracts of landscape streaming
(5) The figure is divided into siiyt!siddhika (nija) and naimittika
:visibly across those further off; a stratum of ensaffroned light was
(iigantuka). It is the first arthiilayt!kiira of the Agni Puriilla.
Imposed on a stratum of deep blue, and behind these lay still remoter
scenes wrapped in frigid grey" (Thomas Hardy). (5) GUlJasvabhaviJkti hetu
is to be distinguished from jiiti svabhiiviJkti, where the constitutive
hetu, 'cause': (I) a figure in which an effect is described along with its
or generic aspects of the subject are emphasized.
cause. (2) D 2.235-59, AP 344.29, R 7.82 (83); refuted by B 2.86,
jatl, 'genus': (I) a type of svabhaviJkti in which the generic aspects of
M 186. (3) aviralakamalavikiisa1;z sakaliJlimadas ca kokiliJnanda1;z /
the subject are emphasized. (2) D 2.13 (9). (3) tUlJgair iitiimrakutilaih
ramyo'yam eti sayt!prati lokiJtkallthiikara1;z kiila1;z (Rudrata; descrip-
pak~air haritakomalai1;z / trivan:Ulriijibhi1;z km:zthair ete mailju~irah tion of the springtime and its several effects: "The delightful season
sukii1;z (DaJ:l4in: "With beaks bent and reddish, with wings yello~
progresses; men fall in love, nightingales rejoice, drnnken bees
and soft and throats bearing thrlOe-colored stripes, the parrots call
hover about the unbroken spread of lotus blooms"). (4) "Beueath
s~ftly"). (4) "She was an egregious fOwl. She was huge and gaunt,
this slab / John Browu is stowed. / He watched the ads / And not the
WIth great yellow beak, and she st90d. straight and alert in the
road" (Ogdeu Nash). (5) This is the most controversial alayt!kiira.
manner of responsible people. There;'Was·.gomething wrong with
It would seem to be nothing but literal description, like the figure
the tail. It slanted far to one side, one feather in it twice as long
svabhiiviJkti, and it has been rejected by Bhamaha and Mammata
for that reason, for they feel that an alayt!kiira must repose upon so~e
as the rest. Feathers on her breast there were none. These had been
worn entirely off by her habit of sittillg upon potatoes and other
figurative usage (Mammala does in effect resuscitate the figure hetu
rough objects.... Her legs were blue, long, and remarkably stout"
as kiivya!iiiga, q. v.). But, as usual, such objections miss the point:
(Owen Wister). (5) See kriyii, gulla, dravya.
those authors who accept hetu are far from thinking it mere literalism,
dravya, 'material': (I) a type of svabhiiviJkti in which a typical individual
judging by the examples which they give. All involve some striking,
is characterized. (2) D 2.13 (12). (3) kallthekiila1;z karasthena
though not necessarily deformed or unnatural (cf. vyiighiita, asayt!gati,
kapiilenendusekhara1;z / jatiibhi1;z snigdhatiimriibhir iivir iisfd vrsadhva-
etc.) instance of the cause-effect relation. Though the cause of John
ja1;z (DaJ:l4in: "Siva comes into view atop his bull, with d~~k blue
Brown's death is given literally, it touches upon other issues which
neck, a skull in his. hand, the moon on his brow, and matted locks,
strike a responsive chord in the reader's mind, and he is pleased.
reddish and greasy:"). (4) "And on her legs she painted buskins
It would be said by Anandavardhana that in this instance, the figure
wore, / Basted with bands ofgold on every side, / And mails between,
hetu was nothing but a means to the expression of a dhvani (sugges-
and laced dose afore: / Upon her thigh her scimitar was tied, / With
tion) regarding the ubiquity of billboards, etc. In such considerations
an em?rOldered belt of mickle pride; / And on her shoulder hung
may be said to reside the alayt!kiiratii of the figure hetu. DaJ:l4in gives
her shield, bedecked / Upon the boss with stones, that shined wide /
an extensive inventory of examples based, oddly enough, ou the
As the fair moon in her most full aspect, / That to the moon it m;te
philosophical analysis of cause: it is a cause either of knowledge
be like in each respect" (Edmund Spenser; of Radigund). (5) This
(jiiiipaka) or of work (kiiraka); it may increase (upabrhalla) or
type of svabhiiviJkti is doubtless desigued to cover that large category
dimiuish (nivrtti); the cause may be non-existent (abhiiva), simulated
of exceptional individuals whose attributes in Indian story have
(priipya), immediate (tatsahaja), or mediate (diirakarya). Within the
become standardized. The stotra literature abounds in such descrip-
figure, the cause may be appropriate (yukta) or inappropriate (ayukta)
tive verses of gods and godlings. Presumably the description of
to its effect. This last amounts to a mixed metaphor.
ordinary individuals would fall into the category jiiti svabhaviJkti.
abhava, 'non-existence': (I) a type of hetu in which a certain cause is
absent, and the effect is the appropriate contrary. (2) D 2.246
(247-52). (3) gata1;z kiimakathiJnmiido galitoyauvanajvara1;z/ k~ato mohaS
GLOSSARY 329
328 GLOSSARY
brings pleasant change to all, swaying the buds of the bursting
cyutii tr~Qii krtarrz pUQyiisrame manab (Dal)gin: "Gone is the fascina- sandal trees"). (4) "Here lies the body of Mary Ann Lowder, I She
tion of the tales of love, slipped away the fever of youth; error is burst while drinking a seidlitz powder" (Anon.). (5) Cf nivrtti
ended, desire lost; my mind is fixed on the holy retreat"). (4) '''And (diminution); these are the two types of nirvrtya 'transformation'),
yet you incessantly stand on your head- I Do you think, at your which is, in turn, a sub-variety of kiiraka helu (see helu).
age, it is right?' I 'In my youth', Father William replied to his son, I karaka, 'productive': (I) a type of helu wherein the effect described has
'I feared it might injure the brain; I But, now that I'm perfectly the form of a work or thing. (2) D 2.235. (3) See under upabrhaQa,
sure I have none, I Why, I do it again and again'" (Lewis Carroll). nivrlli, vikiirya, or priipya. (4) "There was a young belle of old
(5) Dal)giu, with careful scholarship, illustrates the four kinds of Natchez I Whose garments were always in patchez. I When comment
non-existence which are recognized by the logicians: priigabhiiva arose I On the state of her clothes, I She drawled, 'When Ah itchez,
(non-existence preceding becoming),pradhvarrzsiibhiiva (non-existence Ah scratchez'" (Ogden Nash). (5) The two principal subspecies
following cessation), anyonyiibhiiva (difference), and atyantiibhiiva of helu are this and jniipaka, wherein the effect is knowledge; for
(unqualified non-existence). Both.J.he examples given are ofpradha/}'l- example: "The Grizzley Bear is huge and wild I He has devoured
siibhiiva. the infant child. I The infant child is not aware I He has been eaten
ayokta, 'inappropriate': (I) a type of het.l(wherein the cause is expressed by the bear" (A. E. Housman). Aristotle's two orders are meant.
figuratively and in such a way that,~~.Yohd the figure, the cause is kary;lnantaraja, '(cause) produced after the effect': (I) a type of hetu
improperly related to the effect. (2) D~2.253 (258). (3) riijnii/}'l in which the order of cause and effect is reversed. (2) D 2.253 (257).
hastiiravindiini ku¢malikurute kutab I deva tvaccaraQadvandvariiga- (3) pasciil paryasya kiraQiin udiYQa/}'l candramaQ¢alam I priig eva
biiliitapab sprsan (Dal)gin; lotuses do not normally close during harlQak~iQiim udirQo riigasiigarab (Dal)gin; first came woman's
the day, but the hand-lotuses of the COl!l't do, in the presence of the passion, then the moon: "Last arose the moon's full orb, sC\lttering
Sun-King; "King, why do the hand-lotuses of your court close when its rays, but first of all, the passion-ocean of young women, doe
they have been touched by the red suns of your lac-anointed feet?"). eyed"). (4) "For the leaf came I Alone and shining in the empty
(4) "To Daisies, not to shut so soon: I ... I Stay but till my Julia room; I After a while the twig shot downward from it; I And from
close I Her life-begetting eye, I And let the whole world then dispose I the twig a bough; and then the trunk, I Massive and coarse; and
Itself to live or die" (Robert Herrick; the "inappropriateness" is last the one black root. I The black root cracked the walls .. ."
only in the poet's wish that the "sun" of Julia's eye should cause the (Conrad Aiken). (5) This is the third term in the trilogy durakiirya
daisies to bloom illto the night). (5) See yukta. In these two cases, (effect produced long after cause), lalsahaja (produced simultane-
the figurative expression, in the sense of a non-natural representation, ously), kiiryanantaraja (effect produced before the cause). Compare
does not attach to the cause itself, but only to the terms which serve purva, which is the same as kiiryananlaraja except that the end of
as cause and effect. In this, they are d.ifferent from such figures as the inversion need not be exaggeration of a quality. In Aiken's
vyiighiita, asarrzgati, etc., where the nature of the relation of cause to example, the exaggeration is used simply to assert an introspective
effect is expressed differently. The "inappropriateness" of ayukta mood.
consists in the wrong effect being said of that cause, and it is excused jiiapaka, 'causing to know': (I) a type of helu in which the effect has the
by both cause and effect serving as objects of comparison to other form of an idea or of information learned. (2) D 2.235 (244-45).
terms, onto which the relation of canse-effect is thereby transferred. (3) galo'slam arko bhiilindur yiinli viisiiya pak~iQab I itidam api
These terms, as subjects of comparisou, cau support the non- siidhv eva kiiltivaslhiinivedane (Dal)gin: "The sun has set, the moon
literalness or inappropriateness inherent in the basic expression. smiles down, the birds have gone to rest; this is enough to tell the
upabrhal;ta, 'augmentation': (I) a type of hetu wherein the modality of time of day"). (4) "Roy's club was sedate. In the ante-chamber
the cause is increase or augmentation. (2) D 2.237 (236). (3) ayam were only an ancient porter and a page; and I had a sudden and
iindolitaprau¢hacandanadrumapallavab I utpiidayati sarvasya prfti/}'l melancholy feeling that the members were all attending the funeral
malayamiirutab (Dal)ghi; "produces" pleasure: "The southern wind
1
-
330 GLOSSARY
GLOSSARY 331
_ o~ the ,head waiter" (Somerset Maugham). (5) See kiiraka hetu.
durakarya, whose effect is at a distance': (I) a type of hetu in wWch the 'I should say, "Mr. Kitson, I think it better to be direct with
I cause (or condition)
. is materially separated from its effiect·,werem
h . you'." 'Good', said Humphrey, 'And next ... ?' 'Then he will say,
the two terms Imply different levels of reality or differ as to sub- "Excellent. Go ahead, Mrs. Pelham, go ahead." I shall take my
stratum. (2) D 2.253 (255). (3) tvadapafigahvayalp jaitram anaiiga- time: I shall give him a long look, then say ... "Why did you do
stralp yad afigane / muktam tWs thing, Mr. Kitson?''''' (pamela Hansford Johnson). (5) This is
. ' tad anyatas tena so'py aham . manaSI.
k~atal; (Dan4:~; the lady shoots her glances elsewhere, and my heart a ktiraka hetu in wWch no transformation at all takes place, that is,
IS wounded: 0 woman, the well-aimed arrow of Love-that goes in which simulation takes the place of action. Cf. nirvartya and
by the name of yonr sidelong glance-was shot elsewhere bnt I viktirya.
here, am struck in the heart!"). (4) "I sent thee late a rosy ":reath,; yukta, 'appropriate': (1) a type of hetu in which a cause is represented in
Not so much honourmg thee / As giving it a hope that there / figurative terms, but in such a way that, within the figure, the cause
It could ~ot wlther'd be; / But thou thereon didst only breathe, / is appropriate to its effect. (2) D 2.253 (259). (3) ptilJipadmtini
And sent Stlt back to me; / Since when it grows, and smells,lswear,/ bhuptintif[l saf[lkocayitum /Sate / tvatptidanakhacandrtilJtif[l arci~al;
~ot ~f itself .but thee!" (Ben Jonson). (5) See kiiryanantaraja; kundanirmaltil; (DaJ:l4in; here the [foot]-moon of the king closes the
durakarya IS eVidently the same asa~alpffati alaf[lkiira and virodha II, [hand]-lotuses of the retainers: in fact, the moon does cause tWs
but a nuance deserves to be noted. "'If the ','cause acts at a distance" type oflotus to close; it blooms only during the day: "The jasmine-
then '''I blow my breath', said the old ma~, 'and the stream stand~ white rays from the ten moons of your toenails, 0 King, make
stilI .. .'. 'I breathe', said the young man, 'and flowers spring up the hand-lotuses of your courtiers to close'). (4) "Suddenly, as if
over the plain'" would serve as an example. But it lacks the "ap- the movement of his hand had released it, the load of her cumulated
pearance of contradiction" which Vamana deems essential. impressions of him tilted up, and down poured in a ponderous
nirvartya, 'to be accomplished': (I) a type of kiiraka hetu in which a avalanche all she felt about him" (Virginia Woolf; outside the figure,
transformation of quantity or intensity is reflected. (2) D 2.240. the hand does, in fact, actuate the mechanism of dump trucks, etc.).
(3) (4) See. the two subtypes, upabrhalJa and nivrtti. (5) Nirvartya (5) The contrasting term is ayukta, where the relation of cause and
IS dlstmgUlshed from viktirya hetu, where a qualitative transforma- effect is, in literal terms, impossible. Cf. yukta and ayukta rupaka,
i
tion is intended. to which the present terms are but the addition of a causal relation.
~ik;;rya, 'to be transformed': (1) a type of ktiraka hetu wherein the modality
i
niVj'tti: '~ess~tion': (I) a type of hetu wherein the modality of the cause is
j
I; ~lIn~nutlOn o~ G~ssation. (2) D 2.237 (238). (3) candanaralJyam ofthe cause is alteration of quality. (2) D 2.240 (242). (3) utpravtiltiny
adhuya spr~tva malayanirjhartin / pathiktintim abhtiviiya pavano'yam aralJytini vtipyal; saf[lphullapafikajtil; / candral; purlJas ca ktimena
upasthital; (DaJ:l4in: "The wind out of the south, touching springs ptinthadr~ler vi~af[l krtam (Dan4in; the traveller is separated from
and sandal forests III the southern mountains, is destined to relieve his lover: "The forests are sending forth new shoots, the tanks are
I
I
i:
the weary wanderer"). (4) "The world is too much with us' late and
soon, / Getting and spending, we lay waste our powers','(WilIiam
full of lotuses, the moon is full; but love turns all this to poison in
the eyes of the traveller"). (4) "All good Englishmen go to Oxford
_ Wo;dsw~rth)., (5) See upabrhalJa; both are types of nirvartya hetu. or Cambridge and they all write and publish books before their
prapya, acquirable: (I) a type of ktiraka hetu in which the cause and graduation, / And I often wondered how they did it until I realized
effect are simulated. (2) D 2.240 (243). (3) mtinayogyiif[l karomfti that they have to do it because their genteel accents are so developed
priyast~tinasthittirr:,~akhim / biilti bhrubhafigajihmak~i pasyati sphuri- that they can no longer understand each other's spoken words so
tiJ.dhara (Dan4m: I shall pretend I am angry', she said to her friend the written word is their only means of intercommunication" (Ogden
who stood before her in the place of the lover, and her brows arched, Nash; the written word replaces the spoken word). (5) See hetu;
her. eyes narrowed, her lovely lips trembled"). (4) "This was one of viktirya is distinguished from nirvartya, where the modality is aug-
their old games, this ~laborate envisaging of situation and outcome mentation or diminution (change of quantity). Here the effect
reflects a change of nature (quality as opposed to quantity).
332 GLOSSARY
sahaja, 'congenital': (1) a type of hetu in which the cause and effect
appear simultaneously. (2) D 2.253 (256). (3) avir bhavati nari!U'if[l
vayal.z paryastasaiSavam I sahaiva vividhail.z pUf[lsam aiigajonmada-
vibhramail.z (DaJ:l4in: "Maidenhood appears in girls, their childhood
passed, and with it, in yonng men, the several passionate confusions
of love"). (4) "All iu green went my love riding Ion a great horse of
gold I into the silver dawn. I four lean hounds crouched low and APPENDIX
smiling I my heart fell dead before" (e. e. cmnmings). (5) Sahaja
forms the middle term in the triad diirakarya ... karyanantaraja.
In all three, the cause and the effect are vyadhikaraJ;!a, different as to
suhstratum. The cause operates figuratively or through mental
processes; hence DaJ:l4in has iJlcluded the three terms in jiiapaka Figures Defined for the First Time in the Encyclopedic
hetu. They do not necessarily imply deformations of the relation of Writers after M ammata
cause-effect, although other writers would say so (cf. notably the
figure asaf[lgati). '. . The number in parentheses refers to the serial order of the figure in the
Kuvalayananda of Appayyadiksita, from which we take the examples.
atyukti (96): the representation of great nobility, compassion, etc.
(variation on udatta); as: "by your gifts, King, beggars become
horns of plenty!"
anugtII}a (78): a second quality augments or sets off the first (a variety
of tadguva, the modality is association rather than imposition); as:
"the blue lotuses appear a deeper blue in the presence of her sidelong
glances".
anujna (71): an affected desire for a defect, setting off a quality (a virodha
in which the contraries are specified as guva and dO$a; the example
is also an iiSi$); as: "may our sufferings be prolonged, that we may
praise Hari the more fervently".
anupalabdhi (115): a poetic application of the mimaf[lsaka pramava
'abhava' (cf. pratyak$a (108)); as: "your delicate waist, clearly
unable to support the weight of your full breasts, is deemed not
to exist by all observers".
arthapatti (59, 114): the mimaf[lsakapramava 'afortiori' (cf. pratyak$a
(l08», the only one generally considered a figure before Appayya,
and undonbtedly the analogical source for the others; as: "the moon
himself has been conquered by your face; what hope is there for the
lotuses?"
alpa (42): the support exceeds the supported in minuteness (inversion of
adhika); as: "the jeweled finger ring on your hand seems more like a
rosary".
avajna (70): the description of an absent quality or defect by means of
334 APPENDIX APPENDIX 335
one present (a variety of ulliisa (69); apparently a vinokti determined the object of comparison; in effect, a vikriyii upamii; as: "she of the
as gUiJa or dO$a); as: "let tlIe lotuses close; what harm will there be intoxicated glance was looked at by the calm eyes of lotuses".
for the moon?" (ex.: dO$a). piirvariipa (76): a tadgu1)a followed by reappropriation of the lost
unmilita (81): a mflita followed by the distiuction reborn; as: "tlIe Gods, quality; as: "though blue iu reflection of Siva's neck, you regain
seeing the Himalaya hidden behind your accumulation of glory, whiteness from your own glory" (addressed to Parvati).
o King, gave it new life as ice" (i.e., indistinguishable in whiteness, pratyak~a (l08): the mimii,!,saka pramii1)a 'perception' (Appayya appends
the mountain is again made distinct as cold). to the Candriiloka of Jayadeva 17 figures, 10 of which are poetic
upamana (110): the mimii'!'saka pramii1)a 'comparison' (this one accepted applications of pramii1)as 'modes of true apprehension' or quasi-
also by other schools): in exemplification indeed difficult to distin- pramii1)as such as aitihya, 'tradition', admitted in the mimii'!'sa. This
guish from the ordinary upamii. Here the encyclopaedic spirit may innovation probably dates from Bhojaraja; as: "the five senses
be seen to have come full circle, with all sense lost for what in fact attain perfection [in the presence of] tlIis liquor, reflecting the
was being catalogued. M ,... beauteous faces of young women, smelling of fresh sahakiira blooms,
ulliisa (69): description of a quality or defect by means of an associated sweet tasting, surrounded with buzzing bees, and cool".
one (ef avajiiii (70); a sahokti determined as gu1Ja or dO$a); as: prastutiiiikura (28):· a relevant subject illuminates another relevant subject
"the Ganges, as it were, desires to bejntt"ified by your batlI". (instead of an apparently irrelevant subject; a variety of aprastuta-
ullekha (7): the description of one thing as·· many, in many contexts prasamsii); as: "you have the miilatiflower, bee! What do you want
(in effect, a miilii riipaka; in intent, perhaps a samueeaya); as: with the ketaki, full of thorns?" This seems but a repeated aprastu-
"he is indeed a Cupid witlI women, a wishing-tree to his suitors, taprasamsii, as the aprastuta-tlIe girl he is wooing in the pleasure
death to his enemies". garden-is still obliquely referred to.
aitihya (117): tlIe quasi-pramii1)a 'tradition' (allowed as authoritative in prahar~al}a (67): the attainment without effort of a desired goal (id.,
mimii'!'sii aud other systems when it does not conllict with Veda); samiidhi); as: "eveu as he thought of her, came Ii messenger suggest-
as: "in the words of this old song, 'Joy accompanies tlIe man living ing rendez-vous".
even for a hundred years'''. hhiivodaya, etc. (105-107): the dramatic moments ofaugmenting, diminish-
gii~~kti (87): veiled reference in the presence of the person really ing, and muting an emotion. A late reaction showing an attempt to
referred to (a possible specialization of several figures: paryiiyokta figurize the rasa theory. Cf Ohv. 2.3.
personalized; or $amiisokti with presence of implicit term specified; mithyiidhyavasiti (65): an arthiintaranyiisa in which an impossible
or lesa (1), again liihited to persons. The figure, as defined, resembles proposition is justified by another impossible proposition (ef
the anyokti of Rudrata); as: "bull, leave this strange field! Here nidarsanii (II)); as: "he who would gain the fidelity of a prostitute
comes the gamekeeper" (reference is to the lover of an adulteress). does indeed wear the celestial lotus".
uirukti (97): one word pun on a name; resembles tattva sle$a; as: "by ratniivali (74): the use of several descriptive epithets, each suggesting a
your actions [infiaming tlIe separated lover] you [Moon] are rightly different object of comparison (in effect, a miilii samiisokti); as:
called "do$iikara" ['mine of defects, nightmaker']". Following "0 !(jng, you are of clever mien [four-faced], the master of good
atyukti, this figure would seem to have some relation to it, such as fortune [husbaud of Lak~mi], knowledgeable [omniscient]" (refer-
"ironic description of great iniquity" or the like; but none is apparent ences are to Brahma, Vi~J:lu, and Rudra).
in the definition. lalita (66): the description of a similar situation (id. anyokti); as: "now
parikariiiikura (25): accumulation of epithets distinguishing not the that the water has flowed away, she seeks to build a dam" (she
subject (ef parikara) but the object of the reference; as: "giver seeks to restrain a lover already bound to another).
h of the four goals of men, tlIe God is four armed" (his four arms
i vikalpa (54): a virodha determined as a choice; as: "bend, 0 Kings, either
relate not to himself, but to what he does). your heads or your bows!"
pariJ1iima (6): a property of the subject of comparison is transferred to vikasvara (62): an arthiintaranyiisa in which the justification is stated as a
.~
,j 336 APPENDIX
m
J:i
simile; as: "he is unconquerable, for the great are as difficult to
:1 tame as the sea".
vicitra (40): the cause, though having a contrary attribute, yet produces
II
tl the desired effect (cf. vi$ama (III); as: "the pious bow down in
order to obtain exaltation from on high".
i vidbi (99): pleonasm; the establishment of what is already established;
iIf, as: "on hearing the fifth tone [a particularly sweet one], the kokila BIBLIOGRAPHY
bird becomes truly a kokila bird!" Iroulc contrary of mimtimsti
usage?
vivrtokti (88): a giiifhokti (87) which the poet clarifies in other terms.
vi~lidana (68): the attainment of a goal contradicting that desired (inverse
of prahar$aJ:Ul (67)); as: "as he ",as about to light the flame, the wind Abbinavagupta. See Bharata.
blew it out". Agni PuriiQa, cd. G. B. Kale. (= Anandiisrama Sanskrit Series, 41.) (1957).
Anandavardhana. See Jacobi, H. and Dhvanikara.
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pramiilJa 'verbal authority' (cf. Snlrtt (112), sruti (113)). It seems Series, 55.) 2nd ed. (Poona, 1963).
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(Bombay, 1955).
sruti (113): the mimiilflSaka pramiilJa 'verbal authority' (viz. sruti as BadaraYaIJ.a. The Vediintasutras of BiidariiYOf)a, with the Commentary by 8aiikara,
opposed to smrti); as: "you are truly called 'Varada' ['giver of trans. George Thibaut. (= Sacred Books of the East, 34.) (Oxford, 1890).
boons']". Bhamaha, Kiivyalamkiira. Appendix VIII to The Pratiiparudrayasobhu$a1j(l of Vidya w
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krishna Kavi. 4 vols. (= Gaekwad Oriental Series, 36, 68.) (Baroda, 1926, 1934).
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INDEX 341
AVISE$A, 123 upanagarika anuprasa, 103
avyakt3.Ipsa sarpsf$ti, 309 upahrhaQa hetu, 328
avyapeta yarnaka, 226 UPAMA,I40
as1iWl rOpaka, 244 upama riipaka, 246
ASAMGATI, 123 upama sl~a, 297
asat nidarsana, 202 UPAMANA*,334
asamasta rfipaka, 245 upamana dharmadyotakalupta upama,
INDEX asamasa riipaka, 245 152
ASAlyIBHAVA, 123 upamanalupta upama, 152
asarpbhava upama, 149 UPAMARDpAKA (1), 170
asarpbhiivita upama, 149 UPAMARDpAKA (TIl, 171
asadharaJ)a upama, 150 UPAMAsAMUCCAYA,171
AHETU,I24 upameyadyotakalupta upama, 153
ahetu vyatireka, 277 upameyadharmadyotakalupta upama,
153
Entries in capitals are major figure~; the others are subfigures. Figures iiklipla vyatireka, 277 UPAMEYOPAMA,I71
AK~EPA, 124 ubhaya upama, 153
followed by * appear only in the Appendix. ubhaya rOpaka, 247
iiklepa rOpaka, 245
ak$epa vyatireka, 277 ubhaya vyatireka, 278
ak$ara yamaka, 225 apiitva~atpasokti, 318 aklepa slela, 297 ubhayacchanna prahelika, 210
aiig§.ngi SaQlSf$ti, 308 aprastiivabhaj tulyayogita, 192 acara upama, 150 UBHAYANYASA,I71
acintyanirnitta vise$6kti, 273 APRASTUTAPRASAMSA (I), 111 acikbyasa upama, 150 nbhayfivrtti av;tti, 128
ATADGWA,97 Al'RASTUTAPRASAlyISA (TI), 116 iidi dipaka, 195 ULLAsA', 334
ATISAYA,97 APRASTUTAPRASAMSA (III), 116 am yamaka, 226 ULLEKHA',334
atisaya upama, 147 apriikaraJ;lika tulyayogita, 192 adimadhya yamaka, 226
ATISAYOKTI,97 abhava hetu, 327 iidyanla yamaka, 226 DRJASVI,171
ATYUKTI',333 abhinnakriya sl~a, 295 iidhikya atisayukti, 99
adbhuta upama, 148 abhinnapada sle$a, 295 adhikya vyatireka, 278 eka vyatireka, 278
adhyavasana atisay6kti, 98 ABHIVYAKTI, 117 amreQita yamaka, 227 ekacchanna prahelika, 211
adhyaropa aprastutapra.sRIPSa, 112 abhi1ta upama, 149 arthi apahnuti, 110 ekadeSavivarti riipaka, 248
ADHlKA (I), 102 ambuja citra, 178 mill upama, 151 ekadeSin upama, 153
ADHIKA (TI), 102 aynkla rfipaka, 243 avali yamaka. 227 ekababu upama, 154
ananyatva atisay6kti, 99 aynkta hetn, 328 avrti yamaka, 227 ekasabdfibhidhana satllsr~li, 310
ananvaya upama, 148 ayuktakiiri arthantaranyasa, 118 AVJl.TT1, 128 ekanga rOpaka, 248
aniyama upama, 148 ARTHA,117 ASI~, 129 ekantarapada yamaka, 228
aniScaya sarpdeha, 313 artha citra, 178 aharyariipaka,246 ek1irtha dipaka, 195
anuktanimitta vise$okti, 273 artha vyatireka, 277 EKAVALI,I72
ANUGWA',333 artha slela, 295 ukta ak$epa, 125
anugrahyanugrahaka sarpsf$ti, 309 ARTHANTARANYAsA, 118 uktanimitta vis~6kti, 273 AITIHYA',334
ANUJ1'<A',333 ARTHAPATTI*, 333 UKTI,129 AUClTYA,I72
ANUPALABDHI', 333 artMvrtti av;tti, 128 UTTARA (1), 130 AUPAMYA,173
ANUPRASA, 102 ardhaparivrtti yamaka, 226 UTTARA (TI), 130
ANUMANA, 108 ardhabhrama citra, 178 utpadya upama, 151 kalpapprabhrti upama, 154
anulomaviloma citra, 178 ALPA*,333 UTPRE~A (I), 131 kalpita upama, 154
anla dipaka, 194 AVAJ1'<A*, 333 UTPREK~A (TI), 133 kakn vakrukti, 261
anta yamaka, 225 AVAYAVA,122 UTPREK~A (TIl), 134 kafici yamaka, 228
antadika yarnaka, 225 avayava (l) rnpaka, 244 UTPRE~A (IV), 135 KANTI,173
ANY6KTI, 108 avayava (II) rOpaka, 244 UTPREK~A (V), 136 k1iraka dipaka, 195
ANYONYA,109 avayavi riipaka. 244 UTPREK~A (VI), 137 karaka hetu, 329
anyonya upama, 148 AVASARA,122 UTPREK~AVAYAVA, 138 k1irakagfidha citra, 179
APAHNUTI (I), 109 avirnddhakriyii sl"'la, 296 utprek$ita upama, 152 KARA~AMALA, 173
APAHNUTI (TI), 109 avirodhin sle$a, 297 UDATTA,139 karaJ)antara vibhavana, 264
APAHNUTI (TII), 110 avivak$ita d!'$tdnta, 200 UNMILITA',334 karya aprastutaprasarpsa, 112
342 INDEX INDEX 343
karyakaraI;lapaurvaparyaviparyaya jiiti vyatireka, 279 nimittadr~ti vyatireka, 280 prakrti sieja, 300
atisay6kti, 100 jiiti svabhav6kti, 326 niyama upamii, 159 pratiloma yamaka, 232
karyanantaraja hetu, 329 jfiapaka hetu, 329 niyama citra, 184 pratilomanuloma citra, 185
KAVYAD~$TANTA, 174 niyamavat sle$a, 298 prativastu upama, 160
KAVYALIl'lGA,174 J;laInul upama, 155 niyamilkjepariipa sleja, 299 PRATIVASTOPAMA, 208
KAVYAHETU,175 niravayava riipak~ 249 prati$edha upama, 160
kirp.citsadrsi upamii, 155 TATTVA,190 NIRUKTI*,334 PRATIPA, 208
kamala anupnlsa, 103 tattv§.khyana(I) upama., 156 nirQaya atisayokti, 100 pratiyamana vyatireka, 280
KRAMA,175 taltvil.kbyiioa (II) upamii, 156 nirJ;laya upama, 159 PRATYAK$A*,335
kriyii dipaka, 196 tattvapahnava riipaka. 249 nirvartya hetu, 330 PRATYANlKA,209
kriya virodha, 266 TADGUl:lA, 191 nivrtti hetu, 330 pratyaya upama, 160
kriyii vise~okti, 271 taddhita upama, 156 niScaya upama, 159 pratyaya sle$a. 300
kriyii sIeja, 297 tadvacisarpk$epa upama, 156 niscayagarbha saJ:Pdeha, 314 pramulita prabelikii, 214
kriyii svabhiivokti, 325 turagapada citra, 182 niscayanta saJ:Pdeha, 314 prasaxp.sa upama, 160
kriyiigfio;lha citra, 179 tulya aprastutaprasatpsa, 113 nyfina parivrtti, 204 PRASASTI, 209
kriqii citra, 179 ittulyayoga upama. 156 PRASNA,210
TULYAYOGlTA,191 paiikti yamaka, 229 praSna citra, 185
kba4ga citra, 180 tu1?,§.karavise$al)a samas6kti, 318 pada sieja, 299 prasiddba iikJ;epa, 126
padilrthavrtti upamii, 159 prastiivabbiij tulyayogitii, 192
gajapadapa"tha citra, 180 da64acitra, 183 padilvrtti iivrtti, 129 PRASTUTAl'lKURA*, 335
gamana upama, 155 datla citt\(; 183 padma citra, 184 PRAHAR$A!l!A*, 335
gamyamana vyatireka, 279 DIPAKA,193 pararp.parita riipaka, 249 PRAHELIKA, 210
garbba yamaka, 228 DU$KARA, 199 paraspara upama, 159 prabelikii yamaka, 232
guJ)a dlpaka, 196 dUjkara citra, 183 PARIKARA,203 priikaflu;tika tulyayogitii, 193
guQa virodha, 266 du¥kara yamaka, 229 PARIKARAl'lKURA*, 334 prapya hetu, 330
gu~a vi§~t)kti, 271 diirakarya hetu, 330 P~AMA*,334 PREYAS (I), 217
guJ)a sieja, 298 D~~TANTA, 199 PARIV~TTI, 203 PREYAS (11), 218
I gUJ;la svabhav6kti, 325 drlliiota vyatireka, 279 parivrtti yamaka, 229 prauQ.b.a anuprasa, 104
guJ;lakriya virodha, 267 dyotakalupta upama. 157 PARISA1',1KHYA,205
gupta citra, 181 dravya dipaka, 197 parihiirikii prabelikii, 212 bandha citra, 186
GUMPHANA, 175 dravya virodha, 267 paru$a anuprasa, 104 bahu upama. 161
GOJ;>HOKTI*,334 dravya visej6kti, 272 parn", prabelikii, 213 bahveka upama, 161
gomiitrika citra, 181 dravya svabhavokti. 326 PARYAYA (I), 205 binducyuta citra, 186
gramya anuprasa, 103 PARYAYA (11), 205
dhanu citra, 184 PARYAYOKTA,205 bbaiiga yamaka, 232
cakra citra, 181 dharma upamii, 157 padamadhya yamaka, 230 bhadra anuprasa, 104
cakraka yamaka, 228 dhannadyotakalupta upama, 157 padayor ... yamaka, 230 bbavijyat iikjepa, 126
cakravala yamaka, 229 dbarmalupta, 158 padasamudgaka yamaka, 230 BRAVA (1),218
cakrilbjaka citra, 182 dhann6pamanalupta, 158 piidildi (I) yamaka, 231 BHAVA (11), 219
catu upama, 155 piidildi (II) yamaka, 231 BRAVlKA, 220
caturvyavasita yamaka, 229 nanatva atisay6kti, 100 padanuprasa anuprasa, 104 BIIAV()DPc,(Pc*,335
CITRA, 175 naman sIe$a, 298 piidiiota (I) yamaka, 231 bbiil)ii sle"" 301
cyuta citra, 182 niimilotarita prabelikii, 212 piidilota (II) yamaka, 231 bhinnapada sieja, 302
cyutadatta citra, 182 NIDARSANA (I), 201 piidilbhyiisa yamaka, 231 bhinnilbhinnaviSej_ samiis6kti, 319
NIDARSANA (II), 202 piidaikade§aja yamaka, 231 bbedabbiij rilpaka, 251
CRAYA,190 nindii (I) upamii, 158 PIHlTA,206 bbedamiitra vyatireka, 281
cheka anuprasa, 103 nindii (II) upamii, 158 puccba yamaka, 232 bbedilouktisarpdeba,314
CHEKANUPRASA, 190 ninda tulyayogitii, 192 PUNARUKTABHAsA, 207 bbed6kti sarpdeba, 314
nibbrta prabelikii, 212 piin;la upamii, 159 BHRANTIMAT,220
JATI,190 nimitta aprastutaprasarpsa.. 113 PORVA (I), 207
jiiti dlpaka, 197 nimittadr$ti vise$okti. 273 PORVA (I1), 208 MATA,221
jiiti virodha, 267 nimittadr$ti vyatireka, 280 PORVAROPA*,335 madhura anuprasa, 105
jati vise;:okti, 271 nirnitt&dr$ti vise{lokti, 274 prakalpita prabelikii, 213 madhya dipaka, 197
344 INDEX INDEX 345
madhya yamaka, 233 varpSa yamaka, 234 vi~ aprastutaprasarpsa, 113 srauti upama. 166
madhyanta yamaka, 233 vaktra yamaka. 234 vise{ja1).a riipaka, 253 SLIsTA,288
mahiiyamaka (I) yamaka, 233 VAKRA, 260 viSe{lastha arthantaranyasa, 121 ,liW' dipaka, 198
maMyamaka (Il) yamaka, 233 VAKft()KTI(I),260 visvavyiipin arthfintaranyasa, 121 ,lilla riipaka, 255
matracyuta citra, 186 VAKROKTI (Il), 262 VISESOKTI (1), 270 SLESA,288
millii (I) upamil, 161 vaklyamiiua iiklOpa, 126 VISESOKTI (II), 272 sle{la aprastutapra.§arpsa, 114
millil (II) upamil, 161 vacana slel$a, 302 VISESOKTI (III), 274 sle$a, upama, 166
malii dipaka, 198 vaficita prahelika, 214 VISAMA (1), 275 ,lela vakrokti, 262
m~ila nidarsana, 203 vati upama, 163 VISAMA (II), 275 sIe{la vyatireka, 282
millil dipaka, 198 VaI1).a sle{la, 303 VISAMA (ill), 275 sl~aviddha arthantaranyasa, 121
mala nidarsana, 203 vaI1).iinuprasa anuprasa. 106 VISAMA (IV), 275 ,Iokdbhyilsa yamaka, 236
millil (I) yamaka, 233 var.Q.avrtti anupnl.sa, 106 vi~ama rupaka, 253 Si\l\1Si\"i\(I),306
millil (Il) yamaka, 233 vartamana alqlepa. 127 vi!aya apahuuti, 110 SAl\1SAYA (Il), 306
millil riipaka, 251 vastu upama, 164 VIsil.DANA*, 336 sarp.§aya atisay6kti, 101
mala vyatireka, 281 VAKOVAKYA,263 vrtta ilklOpa, 128 sarpSaya upama, 166
MITHYADHYAVASITI*, 335 ,.>.,vakya upama, 164 vrtti anupriisa, 107 SAl\1S~STI, 307
MlLITA,221 vakyarthavrtti upama, 164 vaidharmya arthantaranyasa. 121 sakaIa riipaka, 255
mukha yamaka, 234 vadilopa upama, 165 vaidharmya drl$tilnta, 200 SAl\1KARA, 312
MUDRA,222 Vil.STAVA,263 vyaktiJJ]l,a saljlSllli, 310 sarpkara sarpsT~ti. 311
muraja citra, 187 VIKALPA*,335 VYATIREKA (1), 276 SAl\1K1RJ:lA, 312
musala citra, 187 vikalpa citrii, 188 VYATIREKA (II), 284 sarp}cin;ta prahelika, 215
moha upama, 162 VIKASVARA*, 335 vyatireka upama, 166 saIJl1dn;la riipaka, 255
vikarya hetu, 331 vyatireka rupaka, 254 saIJl1dn;la sarpsr~li, 311
YATHAsAl\1KHYA,222 vikranta yamaka, 235 vyatireka ,Iel', 305 SAl\1KSEPA,312
yath8vasabha upama, 162 vikriyil upamil, 165 vyapeta yamaka, 235 sarpk$epa upama, 167
YAMAKA,223 VICITRA*, 336 vyapetavyapeta yamaka, 235 sarpkhyilta prahelikil, 215
YAVADARTHATA,238 VIDARSANiI., 263 vyasta yamaka, 235 sat nidarsana, 202
yukta riipaka, 251 VIDHI*, 336 vyasta riipaka, 254 sadrsa vyatireka, 283
yukta hetu, 331 VINOKTI, 264 vyasta vystireka, 282 sadrsapada uparna, 167
yuktAtman arthantaranyasa, 119 viparita arthantaranyasa. 119 vyutkranta prahelika, 215 sadrsi upama, 167
yuktayukta arthantaranyasa, 119 viparlta upama, 165 VYAGHATA (1), 285 sarpdarp§a yamaka, 236
YUKTI,238 • viparyaya (1) arthiintaranyasa, 119 VYAGHATA (Il), 285 sarpdal!' (I) yamaka, 236
yugrnaka yamaka, 234 viparyaya (Il) arthiiutaranyilsa, 120 VYil.JA,285 sarpda1\a (II) yamaka, 236
viparyasa upama, 165 VYAJASTUTI,286 sarpda$taka yamaka, 237
RATNAVAU*, 335 vibhakti ,lela, 304 VYAJOKTI, 286 SAl\1DEHA,312
rathapada citra, 187 V1BHAVANA, 264 vyilhrtiirtha citra, 188 sarpdeha SaQ1ST~ti, 311
rasana upama, 162 viruddha ak$epa, 127 SAMA,315
rasana rfipaka, 252 viruddha rupaka, 253 sakti citra, 188 sarna parivrtti, 204
RASAVAT, 239 viruddhakarman slel$a, 304 SABDA,286 samakak$ata sarpsfl$ti, 311
RDpAKA,239 viruddhiirtha dipaka, 198 sabda vyatireka, 282 samasta yamaka, 237
riipaka riipaka, 252 VIRODHA (I), 265 sabda sle~a, 305 samasta riipaka. 256
riipaka ,IO$a, 302 VIRODHA (II), 268 sabdacitra citra, 188 samasta vyatireka. 283
VIRODHA (III), 268 SABDAPRAMilJ:lA*, 336 samastapiida (1) yamaka, 237
LALITA', 335 virodha upama, 165 SABDARTHA, 287 samastapilda (II) yamaka, 237
Ialita anuprasa, 105 virodhavat arthantaranyasa, 120 sabd&rthavarti SarpST$ti, 311 samastapadaja yamaka, 237
Hifa anuprasa, 105 VIRODHilBHASA, 268 ,abdopildiiua vyatireka, 282 samastavastuvi$aya rfipaka, 257
LATANUPRASA, 259 virodhin ,Iel', 305 SAVYA,288 samastavi$aya upama, 167
lliiga ,lela, 302 vivakl$ita dT$tanta, 200 sara citra, 188 samastavyasta riipaka, 258
lupta upamii, 163 VIV~TOKTI*, 336 'abdi apahnuti, I II sarnasya citra, 189
LESA (1), 259 visi$ta parivrtti. 204 sikhii yamaka, 235 samagata prahelika, 216
LESA (II), 260 VISESA (1), 269 suddha rupaka, 254 samadhiina rupaka, 258
LESA (III), 260 VISESA (II), 269 silla citra. 188 SAMilDHI, 315
VISESA (III), 270 SRUTI*, 336 samana upama, 168
IiIlillli
346 INDEX
samanarupa prahelikii, 216 samanyftbhava upama, 169

samanasabda prahelika, 216 SAMYA (1), 322
sama-sa (1) upama, 168 SAMYA (11), 322
samasa (II) upama. 168 samyatadvacisarpk§epa upama, 169
sarna-sa riipaka, 259 samyavacakasatPksepa upama, 169
SAMASOKTI, 316
samy6pameyatadvacisarpksepa upama,
samasokti aprastutaprasarpsa, 114 169
SAMAHJ:TA (1), 319 SARA,322
SAMAIDTA (11), 320 s§.vayava rupaka, 259
SAMUCCAYA,32O SlJKSMA (1), 323
samuccaya upama, 169 SlJKSMA (II), 323
samuccaya yarnaka. 237 stuti upama, 169
samudga yamaka. 238 stuti tulyayogita, 193
SAlYIBHAVA*, 336
spastapracchanndrtha citra, 189
sarpbhavasarpbhava atisay6kti, 101 SMARAljIA, 323
saljlbhiivyamiioartha alisay6kti, 101';'" SMJl.TI*, 336
saqunii<jha prahelikii, 217 SVABHAVOKTI,324
sarvatobhadra citra, 189 SVARDpA,327
savise.$aiia rtipaka, 259 svariipa apahnuti, 111
sahaja hetu, 332
--,;;; svij.1>J:1avika vibhavana. 265
sahelo vyalireka, 283
SAHOKTI, 320 hala citra, 189
.sah6kti Sle$3., 306 HETU, 327
SADJl.SYA, 321 hetu upama. 170
sadrsyamatra aprastutapraSarpsa. 115 hetu riipaka, 259
sadharmya arthftntaranyasa, 122 helo vis~6kti, 272
siidharmya dr!lllnta, 201 hetu vyatireka, 283
SAMANYA,321 helu sle!a, 306
saroanya aprastutapraSaJ11Sd, 115

A Glossary of Indian Figures of Speech PDF

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A GLOSSARY OF INDIAN

1. The definition of the figure.

124 GLOSSARY GLOSSARY 125

130 GLOSSARY GLOSSARY 131

prasna question in which the key to the solution is hidden, usnally by a

220 GLOSSARY GLOSSARY 221

\~~. h t~dt!,'rlJ; '"l"'k A 4

?~¢,""'Q&"(;},l., ('C~..,I<.f<. ,eSi' '1"(+\1 {k~rtM")

I 296 GLOSSARY GLOSSARY 297

306 GLOSSARY GLOSSARY 307

308 GLOSSARY GLOSSARY 309

316 GLOSSARY GLOSSARY 317

samanarupa prahelikii, 216 samanyftbhava upama, 169

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