A Glossary of Indian Figures of Speech

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 " D, I,I~)

pratyanika pratyanika, 'counter-attack': (I) a figure in which the object of comparison is represented as taking revenge for a set-back initially suffered at 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 tapasi sita'flso yad eva'fl mtim (Rudra,a: "The beauty of the cool-

pratipa pratipa,'against the grain': (1) a simile in which an affected pity or blame is directed at the subject of comparison in the presence of the object, or vice versa. (2) R 8.76 (77-78), M 201. (3) garvam asa'flvtihyam

rayed moon, contesting my beloved's glance, has been claimed away; how does it happen then, 0 moon, that the sight of you consumes me?"). (4) "Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief / That thou her maid art far more fair than she" (Shakespeare). (5) This is a vyatireka with the tables turned. The term on whom the revenge is wreaked is ordinarily a neutral, but may also be the subject of comparison. The English example is perhaps wide of the mark in that the object of comparison itself is not only set back initially (by the girl to whom the remark is directed) but is also finally dishonored (by the sun); but the intent is the same as that of the Sanskrit: the speaker is disturbed by the suggestive beauty of the pale moon. Cf pratfpa, where the object is determined as resentful, but where no element of riposte is present.

ima'fllocanayugalena vahasi ki'fl bhadre / santidrstini diS! dlSi sarabsu nanu nf/ana/lntini (Rudra,a, Mamma,a; interpreted differently, see

below: "How can your eyes bear such insupportable arrogance? There are hundreds of blue lotuses in all the ponds"). (4) "Cupid and my Campaspe played / At cards for kisses-Cupid paid: / He stakes his quiver, bow and arrows, / His mother's doves, and team of sparrows; / Loses them too; then down he throws / The coral of his lip, the rose / Growing on's cheek (but none knows how); / With these, the crystal of his brow, / And then the dimple of his chin: / All these did my Campaspe win. / At last he set her both hiseyes, / 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 pities himself as he watches his rival, Cupid). (5) This figure seems to be a minor variation on vyatlreka in which the outright distinction between the two terms compared is qualified or mediated by an expression of affected pity or blame. In the two examples given above, the lotuses am!- Cupid are depicted as exciting the envy ofthe

prasasti prailasti, 'flattery': (1) skill at employing words capable of melting the resistance of others. (2) AP 345.3-4. (5) Prasasti may be divided into prem8kti ('speaking kindnesses') and stuti ('praise'). Ktinti, the next sabdarthtilamktira, is described as the use of such flattery in appropriate circumstances.

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210

GLOSSARY

prasna prasna, 'question': (I) a figure wherein a question or remark suggests its answer or reply. (2) R 7.93 (95). (3) kirrz svargiid adhikasukharrz bandhusuhrtpalJlJitail;z samarrz lak~mil;z I sauritjyam adurbhik~arrz satkitvyarasamrtdsvitdal;z (Rudrata; poetry is preferable to salvation: "Is the nectar-like taste of true poetry-a prosperous empire which knows no famine and the good fortune of relations, friends, and teachers alike-more agreeable than salvation?"). (4) "Was this the face that launch'd a thousand ships, I And burnt the topless towers of Ilium?" (Christopher Marlowe). (5) The rhetorical question. Rudrata calls this also uttara (g.v.), but since it is the reverse of the first type, we give it here. Prasna differs from parisarrzkhyit in that the answer alone is intended, not the nature of the concept. praheliki> prahelikli, 'riddle': (I) a puzzle, riddle, conundrum; a phrase, statement, or question constructed deliberately so that its meaning shall be misconstrued, but in some way intimating a solution to the difficulty thus created. (2) B 2.19, D 3.96-124, AP 343.22, 25-26, R 5.25 (29). (3) katham api na drsyate'sitv anvak~arrz harati vasanitnl (Rudrata; answer: viiyul;z; "He is not at all visible though he seizes most obviously their clothing" ; answer: the wind). (4) "What is that which is often brought to table, often cut, but never eaten?" (Robert Merry; answer: a pack of cards). (5) Prahelikit is first mentioned by Bhamaha as an illegitimate extension of yamaka ('cadence'); serving no poetic purpO$I', this topic was apparently soon adopted into the growing rag bag citrakitvya. Dal)