| Word / Roman | Gender | Meaning | Details | Reference link (PDF) |
|---|---|---|---|---|
| अभवन्मतसम्बन्धः Abhavanmatasambandhaḥ |
redundance | This is a poetic defect occurring where redundant words are used (S.D. 7.7). Mammaṭa calls it abhavanmatayoga (K.P. 7.54), i.e., ‘the failure of an intended connection’, or lack of harmony between what is said and the words expressing it. Examples: (i) Pallavākṛtī-raktoṣṭhī, i.e., (a body) with lips red like the shape of a foliage. Here the world ‘akṛti’ (shape) is redundant and is, therefore, not required at all. (ii) sadāśivaṃ naumi pināka-pāṇim, i.e. I bow to sadaśive who holds a bow in one of his hands. Here the adjective ‘pināka-pāṇi’ is redundant as there is no reference to any warfare. Insiead, another epithet ‘bhakta-vatsala’ ‘(kind to the devotees) would be more appropriate. K.B. | ||
| अभवन्मतयोग abhavanmatayoga |
See - ABHAVANMATASAMBANDHA | |||
| अभिधा Abhidhā |
denotation, denotative capacity | The primary capacity or function of a word, used to denote its literal sense, which belongs to it by common convention. It covers the kind, the characteristics, the particular thing it denotes and its activity. In case of homonyms, it is the context that determines their denotation. Kuntaka makes denotation immensely comprehensive to include in it indication, suggestion, etc. But as a rule one capacity ends and another beings as soon as it accomplishes its function. Denotation cannot, therefore, extend itself to indication or suggestion. S.K. | ||
| अभिधामूलाध्वनि abhidhāmūlādhvani |
denotation-based suggestion or suggestion con-veying the denotation extended to some other sense. . | Also known as vivakshitādanyaparavācya dhvani, it is the second of the two main types of DHWANI. Here the predominant suggested sense does not nullify the denotation it incorporates it and directs or extends it to some wider, deeper implication. The denotation acquires its real significance through suggestion and is, therefore, subsidiary to it. When a sentiment is suggested, the process or the stages of suggestion—denotation describing the situation, its ensnants and accessories —are not perceptible. The suggestion of subject-matter or a figure of speech is a perceptible process. Both represent the first type of predominantly suggestive poetry. S.K. | ||
| अभिधामूला व्यंजना abhidhāmūlā vyaṃjanā |
denotation-based suggestion (direct). | Only one of the denotations of a homonym can be relevant in a particular context, while the others are implied through suggestion. The relevant denotation can be fixed on the basis of association (Hari with the Disc = Viṣṇu), dissociation (Hari without the Disc = a lion), companionship (Hari with Arjuna = kṛṣṇa), hostility (Hari against Vṛtra (a demon killed by Indra = Indra), motive (1 bow to Hari = Viṣṇu), circumstances (Drove in a chariot with seven Haris = horses), a characteristic quality (Narahari = Nṛsiṃha who killed Hiraṇyakaśipu), juxtaposition (Hari and Hara = Viṣṇu), power (Hari protects the world=Viṣṇu), congruity (Hari rules over the forest= Lion), place (Hari in the sky = The Sun), Time (Hari during the day = the Sun), gender, accent, etc. But the poet’s skill brings home to the reader the other denotations too, this capacity is the denotation-based suggestion which gencrally forms the basis of some figures of speech. S.K. | ||
| आभिजात्य ābhijātya |
grace, dignity. | (i) Dignity or Grace is a poetic quality. It is sweetly delightful to the ear and comforting to the heart by its soft touch and the natural polish of its appearance. In the Delicate manner, it gives mental as well as sensuous delight by regaling the ear and enrapturing the heart, (2) In the Ornate or Variegated manner, dignity is a kind of rich elevation (in composition)—neither too soft nor too harsh. It is charming on account of the profound skill manifest in the proper balance of softness and harshness. This term does not occur in earlier texts. | ||
| अभिलाष abhilāṣa |
longing, pining. | The first stage in a lovelorn condition. When physical love is aroused in a person at the very first sight or acquaintance, direct or indirect, it creates an acute longing for quick union. R.G. | ||
| अभिमानः Abhimānaḥ |
ego | (i) Abhimāna is more or less equivalent to the ‘Ego’—the consciousness of the ‘I’ in man—the Ahaṃkāra.* Bhoja regarded this consciousness as the source from which every other emotion is generated. A resultant of the experiences collected during many births, it is the man’s love for his own self which is projected into his love for other objects in due course. Love, therefore, is a form of abhimāna. It enables a man to experience even pain as pleasure. (ii) abhimāna is also used in another sense, viz., identification. Initially, the actor’s and subsequently the spectator’s identification with the dramatic character has been referred to as abhimāna by Sanskrit critics, Lollata and Jagannātha, etc. N.J. | ||
| अभिनयः Abhinayaḥ |
acting, imitation. | Acting is defined in Sanskrit dramaturgy as the imitation of a situation or action. It is treated under a four-fold division, viz., āṅgika (physical, where the action is conveyed through movements of the body), Vācika (vocal or expressed through the voice or language), āhārya(communicative, one which is communicated through-the medium of clothes, ornaments, etc.) and lastly sāttvika (emotive, one in which the actor imitates the emotions of the hero as warranted by the situation). Thus through these four types of acting an actor imitates the situation or action of the hero (Rama, Yudhishthira, etc.) and this four-fold acting constitutes a vital part of Sanskrit stagecraft. I.N.C, | ||
| अभिसारिका Abhisārikā |
variety of hefo:ne | It is the eighth variety under Bharata’s eight-fold classification of the heroine (NAYIKA) based on the situations she may be placed in. Being infatuated with love, when the heroine either sends for her beloved, or herself goes to meet him at an appointed place, she is called an abhisārikā: ‘‘The two bracelets were raised upwards, the girdle was fastened tight, the ringing anklets were somehow quietened: thus I prepared myself to set out on love’s errand unnoticed but, O dear friend! look at this wretched moon it has just come out at the wrong moment removing the mantle of darkness which I needed so. badly. (S.D. 3.76) R.G | ||
| अभिव्यक्ति abhivyakti |
revelation. | The term has been used by Abhinavagupta* to explain the peculiar condition of the mind of the spectator in his experience of RASA. According to him, rasa is revealed through the VYANJANA or suggestion inherent in word and sense. Abhinava equates abhivyakti with carvāṇa which is the realisation of bliss freed from obstacles. According to this theory rasa is not the creation of anything new. On the contrary, it is the revelation of something already existing. Illustrating his point, Abhinava gupta cites the example ofa jar anda lamp. The’ existence of a jar in darkness is revealed only in the light of a Jamp. Similarly, the basic sentiment which already exists in the spectator’s consciousness is revealed becomes a subject of relish when he comes in contact with the objective constituents of an aesthetic situation. N.G. | ||
| अभिव्यक्तिवाद abhivyaktivāda |
theory of revelation. | Abhinavagupta’s theory based on the revelation (ABHIVYAKTI)of RASA. | ||
| अद्भुतः Adbhutaḥ |
the sentiment of astonishment. | It is one of the nine sentiments (RASA) enumerated in Sanskrit. Poetics. Wonder or astonishment (VISMAYA) is its basic impulse. Its colour is described as yellow and its presiding deity is Gandharva. Anything that is wonderful, astonishing and supernatural constitutes its stimulating object. Stupefaction, prespiration, horripilation, hoarseness, confusion, widened eyes, etc., represent its consequents and agitation, excitement, confusion, ecstasy, attempt to guess, etc., are its accessories. R.G. | ||
| अधिक adhika |
exceeding. | A figure of speech in which either of the two, the container and the contained, has been narrated to be in excess: ‘What more shall we speak of the vastness of this ocean wherein dwells Hari, the god Viṣṇu, unknown, after having withdrawn the worlds within his stomach. (S.D.10.72). Here the container, the sea, has been shown vaster than the contained, Hari, the god Viṣṇu. S.D.C, | ||
| आधिकारिक ādhikārika |
the primary plot. | The subject matter is of two kinds: vastu ca dvidhā(D.R., 1.17). The main theme is known as the principal subject (ādhikārika), the subordinate is known as the incidental subject (PRĀSAṂGIKA).The word Adhikārī implies authority over the main result or fruit (phala) and consequently Adhikārī or the owner is the principal recipient of the same and the story related to him is said to be ādhikārika (S.D., 6.43). I.N.C. | ||
| आगमविरोधी āgamavirodhī |
see VIDYAVIRUDDHA, | |||
| अगूढ व्यंग्य काव्य agūḍha vyaṅgya kāvya |
unconcealed or explicit suggestion. | This is the first kind of second-rate poetry having a suggestion which is too manifest or explicit to make an appeal to imagination. It resembles the denotation itself. Excellent suggestion has to be veiled or concealed, like the breasts of a charming damsel. "I am not alive"? in the mouth of a living person indicates that "I am as good as dead’’, which in turn suggests that “The person is suffering from the agonies of living death’’. This suggestion is too evident to have any aesthetic appeal. S.K. | ||
| आहार्य Āhārya |
communicative acting. | It is one of the four major types of acting (ABHINAYA) defined in Sanskrit Dramaturgy. I.N.C. | ||
| अकाण्डे रसप्रथन akāṇḍe rasaprathana |
violation of sentimental propriety. | It is a poetic defect caused by an untimely insertion of another sentiment. (K.P. 7.61 S.D. 7.14). For example, in Veṇīsaṁhāra, Duryodhana says to his queen Bhanumati: Kuru ghanoru padāni śanaiḥ śanairayi vimuñca gatiṁ parivepinīm Sutanu bāhulatoparibandhanaṁ mama nipīḍya gāḍhamuraḥsthalam. (V.S. 2.21) (O lady with tight thighs, move on with a slow pace, and give up the wavering gait. O slender-bodied lady, put your arms around my neck and then forcibly press your breasts against my chest). These words are meant to be spoken on the field of battle in Kuruksetra when the great war was going on. On such an occasion, people of high position are engrossed in talks about defending their own camp or about attacking the enemy. But Bhaṭṭanārāyaṇa, the author of Vveṇisaṃhāra, has shown Duryodhana engaged in erotic embrace with his wife, queen Bhanumati. This untimely insertion of a love-affair in the vicinity of a hostile camp is a defect. K.B. | ||
| अकाण्डे रस-विच्छेद akāṇḍe rasa-viccheda |
abrupt interruption of sentiment. | It is a poetic defect caused by sudden interruption ofa sentiment (K.P. 7.61 S.D. 7.14). Example: devyaḥ kaṅkaṇamocaṇḍāya milita rjanvaraḥ preśvaraḥ . i.e., The Chamberlain— The queens have assembled, your majesty, the groom is to be sent. Here the dialogue between Rāma (son of DaSaratha) and paraśurāma (son of Jamadagni) was marked by heroic sentiment. The reader’s joy is marred by the abrupt entry Of the Chamberlain who first informs king Janaka that the ladies (of the harem) have gathered together and then requests him to send the bridegroom (Rāma) for unfastening the matrimonial bracelet, a request which suits the description of a love scene. The Chamberlain’s words approved by Janaka and later acted upon by Rāma have interrupted-rather abruptly-the heroic sentiment.K.B. | ||
| आख्यायिका Ākhyāyikā |
narrative written in prose. | It is a short story in prose. The word is derived from the root “khyā’’, ‘to tell", and as such story-telling is the chief feature of this form of composition. The ākhyāyikā is probably an offshoot of the old ākhyāyikānas or ancient annals and is romantic in its theme. It genesally deals witha historical or tradition: story describing the life history and romances of the kings of India. Bhāmaha describes it as a prose composition, divided into chapters called ucchvāsas, the story being narrated by the hero himself, with verses forecasting future events and interspersed with some stories introduced by the poet himself. But, as Vāmana later on declared, it was not always necessary for the hero to relate his own story. Dandin and Bhoja have also defined ākhyāyikā though, of course, with some difference in detail, especially regarding the divisions and the narrator. Dandin considers Kathā and ākhyāyikā to be identical (Kav.1.28) but later rhetoricians (viśvanātha, etc). make a distinction between them. They regard Bāina’s Harsacarita as an ākhyāyikā and kādambarī asa Kathā. But all of them (including Anadavardhana and Abhinavagupta), however, agree that it is invariably written in prose. N.J. | ||
| अक्रम akrama |
syntactical irregularity, | This poetic defect is caused by syntactical irregularity or by absence of order (K.P.7.55 3.0.7.7). Bhāmaha (Kāvyālaṅkāra (i)4.20), Dandin K.A. 3.144) and Vāmana (K.V. II. 2.22), however,name it is apakrama For example: samaya eva karoti bālābalaṃ praṇigada itīva śaririṇām . śaradi haṃsaravaḥ paruṣīkṛta svaramayūramayūramanīyatām. “Time is the main source of strength and weakness of all living beings. The cries of the swans appear to be attractive in the season of mild winter whereas the peacock’s voice appears to be: harsh.’ (S.D., after 7.8) Here the word ‘iti’ ought to be placed after ‘bālābalaṃ’In the example given above it occurs after ‘pranigadantah’, which is not in order syntactically. Though there are no hard and fast rules governing word-order in Sanskrit prose and poctry, yet sometimes putting an apt word in a particular place makes the statement more distinct and perspicuous If it is misplaced, it is considered to be a defect . K.B. ‘ | ||
| आक्षेपः Ākṣepaḥ |
paralipsis. | A figure of speech in which with a view to conveying some special meaning ap apparent denial is made of what was originally intended to be said. Example: ‘I shall speak something in the interest of my friend, i.e. your beloved, but what shall I say to a cruel-hearted fellow like you’ (S.D.10.65). Here the speaker intends to inform the lover that she would Gie of his separation, but this special] or important statement has been conveyed through an apparent denial, i.e., without saying any thing about it. S.D.C, | ||
| अलंकार alaṁkāra |
poetic ornament, figure of speech. | Literally it means that which beautifies an object or by which an object is beautified. According to Candin the characteristics which lend charm to a poem are called alarmkāras or ‘figures of speech’ (K.A.2.1). Dandin uses the word ‘alaṃkāra’ in a wider sense and includes in it not only śabdālaṃkāras like alliteration (anuprāsa) etc., and the arthālaṃkāras like simile (upamā), etc., but also sentiment (rasa),suggested sense (dhvani), etc., all these being elements which constitute the charm of poetry. But lateron Mammata and Viśvanātha, who followed ānandavardhana in this respect, modified the definition as follows: Such unstable qualities of words and their meanings as add to their beauty and thus reinforce the sentiment are called figures of speech (S.D.10.1). It means that the figures of speech beautify, though not always, the body of poetry consisting of words and their imports, and by doing so, they ultimately enrich the sentiment, i.e. the soul of poetry The figures of speech (alaṃkāras) are mainly of three varieties (i) Śabdālaṃkāra, i.e, figures based on word, (ii) Arthālaṃkāra, i.e., figures based on meaning, and (iii) Ubhayālaṃkāra, i.e., figures based on both | ||
| अलंकार ध्वनि Alaṁkāra dhvani |
predominant suggestion of a figure (of speech) | It is the second broad variety of predominant denotation-based suggestion of perceptible sequence. The denotation may represent (1) a fact or (2) a figure. The suggestion may be through (1) an expression, (2) its sense, or (3) both. A pun (SLESA) generally suggests a simile or metaphor. vivid description may suggest the figure ‘Sublime’ (Udāta) or a natural description (Svabhāvokti) s.k. | ||
| अलंकार शास्त्र Alaṁkāra śāstra |
science of poetics. | This is one of the oldest terms used for poetics the earlier works in Sanskrit poetics were called Kāvyālaṃkāra, e.g., the works of Bhāimaba, Vāmana and Rudrata. These works were so named probably because Alamkāras (figures of speech) were given the most important place in their treatises. In modern times Kāvya- śāstra has replaced Alamkāra śāstra as a synonym for poetics, and Alaṃkāra - śāstra is being used ina limited sense for a treatise dealing mainly with rhetorics or figures of speech. N.J. | ||
| आलस्य Alāsya |
indolence, lethargy. | It is the seventh among thirty-three transitory feelings (VYABHICĀRI BHĀVAS), as enumerated by Bharata. Ālasya is a state of mind in which one is averse to any kind of movement or activity due to weariness, pregnancy, and the like. Its external manifestations are yawning, sitting at the same place for long, as if one is tied down to it, and so on. (S.D.111.155) R.G. | ||
| अमर्षः Amarṣaḥ |
indignation, impatience, wrath. | It is the twenty-fifth among the thirty-three Vyābhicārī bhavā*, as enumerated by Bharata. Amarṣa is the feeling of indignation, being a less intense degree of Krodha* or anger, excited when one is censured, blamed or insulted by someone. Redness in the eyes, shaking of the head, knitting of the eyebrows, violent threatening, etc., are its external manifestations. (S.D. 111. 156) R.G. | ||
| अमत्परार्थ Amatparārtha |
undesirable second intention, | This is a poetic defect noticeable where the second meaning is opposed to the contextual meaning. (K.P.7.55S.D.7.7) According to N.S, it is called bhinnārtha. (N.S.17.90) Example : Rāma-manmatha-sarenā taditā duḥsahena hṛdaye nisadcāri Gandhavadrudhirā-candanoksita jīvite Savasatiṃ jagadmāsa (K.P.7.255 Raghu11.20) i.e., ‘That female monster (named Jādākd), being hit in the heart by an unbearable arrow of Rāima’s, who isas a attractive as Cupid, and thereafter being smeared with blood—red in colour and obnoxious in odour—repaired to the city of the god of life and death.’ This is the meaning suiting the context. The second mzaning suggested by the words is as follows: ‘That female monster being hit by an unbearable arrow of the Cupid’s who is none else than Rāma, anointed herself with fragrant, red sandalwood-paste, and then went to the residence of the lord of her life.’ It is in the second meaning that this poetic defect, called Amataparārtha or undesirable second intention is noticed, for it suggests the erotic sentiment which is not compatible with the sentiment under reference, i.e., the sentiment of disgust (Bibhatsā).K.B. | ||
| आमुख Āmukha |
prologue. | Āmukha is a passage, uttered by the STHĀPAKA, that refers to the main incident of the drama by means of a paranomasia or in figurative manner. Having observed the Pūrvāṅga, the producer (Sūtradhāra) makes his exit and then entering immediately after him, the sthāpaka, the introducer of the subject-matter of the drama, who is as accomplished as the stage-manager, introduces the dramatic theme which is known as āmukha. In the later period of the development of Sanskrit plays the Sūtradhāra was performing the duty of the sthāpaka also and āmukha became the part of pūrvaranga, As a matter of fact, the āmukha is PRASTĀVĀNA. Sometimes the āmukha is introduced with the help of sutradhāra, nati and the clown (Vidūṣaka). I.N.C. | ||
| अनङ्गाभिधान Anangābhidhāna |
see Anaṅgakīrtana | |||
| अनङ्गकीर्तन Anaṅgakīrtana |
inorganicism, description of the irrelevant. | This defect is caused by delineating a theme which is not helpful in the delineation of the sentiment concerned (S.D.7.14). Mammata refers to it as ‘Anangābhidhāna’ (K.P. 7.62). The instance of this defect is found in Rājaśekhara’s Karpūramañjarī, after the first act where the king and the queen congratulate each other on their own verses depicting vernal charm. Thereafter, two royal bards, Ratnacaṇḍa and Kañcaṇḍa, also recite a verse each—the theme of their poetry also being the spring. On hearing them, the king ignores the verses indited by himself and by the queen. In this context literary critics are of the view that the king’s ignoring his own and his wife’s verses and praising those of the bards does not in any way help in developing the main sentiment. K.B. | ||
| अनन्वयः Ananvayaḥ |
comparison of an object with itself or its own ideal form | A figure of speech in which, in one sentence, the same object has been conceived of as both, the subject (upameya) and the standard of comparison(upamāna). Example: With the full advent of the autumn season the lotus became as brilliant as the lotus (S.D. under 10. 26). Here the lotus has intentionally been compared to itself in order to convey the idea that nothing else can match it. S.D.C. | ||
| अनौचित्य Anaucitya |
impropriety. | Although anaucitya or impropriety mars RASA in general, yet in comic writings it is the very essence of the principal rasa humour (HĀSYA). Normally, it forms the basis of RASĀBHĀSA, (see AUCITYA). K.B. | ||
| अनवीकृतः Anavīkṛtaḥ |
wanting in novelty, monotonous repetitio | Monotonous repetition of a word causes this defect of meaning (a = not navīkrta=made new). If the same word is used time and again in a verse, one finds the monotony irksome (K.P. 7.56, S.D.7.9). Example: Sadā Carati khe b bhānuḥ sadā vahati marutah Sadā dhatte bhuwain sesah sada dhiro’vikatthamah. (S.D.,after7.11) i.e., “The sun always moves in the sky, the wind always blows, Sesa (the mythological serpent), always upholds the earth, and a man of fortitude is always free from bragging Here the word ‘sadā’ (always) used four times in the verse, causes monotony. K.B. | ||
| अंगज अलंकार Aṅgaja alaṁkāra |
One of the three classes into which the SĀTTVIKA ALĀMKARAS have been divided. This particular category refers to the physical gestures of the amorous heroine. R.G. | |||
| अङ्गातिविस्तृति Aṅgātivistṛti |
dilation, | This is a poetic defect caused by excessive dilation upon a subordinate theme (K.P. 7.61 S.D. 7.15) An example of this is the long description of the sports of celestial mymphs in 57 stanzas of the 8th Canto of Kirātārjunīyam by Bhāravi. K.B. | ||
| आङ्गिकः Āṅgikaḥ |
physical (acting). | One of the four major types of acting (ABHINAYA) defined in Sanskrit dramaturgy which is performed by the movement of the body. I.N.C | ||
| अङ्गयननुसन्धान Āṅgyananusandhāna: |
see Aṅgayupekṣā | |||
| अङ्ग्युपेक्षा Aṅgyupekṣā |
digression. | This is a poetic defect caused by the neglect of the principal factor (S.D. 7.14). In Kāvyaprākaśa (7.52) it is, however, called aṅgyanamusaṅdhdāna aṅka II For example : Udayana, the hero of Ratnāvali (a drama by Sri Harṣa or Harṣadeva), is depicted in Act IV as engrossed in talking to Vidūṣaka about his love for Ratnāvali (known as Sāgarikā in the play). In the meantime, the General’s nephew, Vijaya Varma, comes to the king with a message that his enemy, the chief of Kośala, had been defeated by their army. On hearing this about, Udayana forgets Ratnāvali,and enquires about the details of his victory. This slighting (of the queen) on the part of the hero is a defect in the eyes of literary critics. K.B. | ||
| अङ्कः Aṅkaḥ |
act. | It is thematic division of the play, in which the character and exploits of the hero are clearly manifested. An act visibly represents the doings of the hero, and is based on purposes, contrivances and sentiments of various kinds (D.R.3.35). The incidents described in an act do not cover a long period and here the occurrences like calling from a distance, killing, fighting, revolution, sexual enjoyment, etc., are to be avoided and in which all the actors leave the stage at the end (S.D.6.7). This is equally applicable to the practice of the classical French theatre. The exact division of a Sanskrit play into acts is a feature which distinguishes it from the Greek compositions in which division into acts was unknown. The first act is in the nature of a keynote which foreshadows the whole story. The ensuing acts carry on the business of the story to its final development. The piece closes as it began with a characteristic benediction or prayer known as BHARATĀVAKYA. A regular Nāṭaka (play) has five acts, one having ten acts is called Mahānaṭaka (D.R.3.43). I.N.C. | ||
| अङ्कः Aṅkaḥ |
one-act play. | An Aṅka is a one-act play. Its plot is usually well-known but it may sometimes be otherwise. The hero isa mortal ora common man—not a god ora supernatural being. The predominant sentiment is pathetic exhibited in the wailing of many women. A short play within a play is also often designated as aṅka (N.S.XVIIt,138.145). It is also referred to as utsṛstikādṅka simply to distinguish it from the regular aṅkas. I.N.C. | ||
| अङ्कावतारः Aṅkāvatāraḥ |
continuation scene. | Aṅkavātara is the continuation scene which is indicated by dramatic persons at the end of an act and which connects the act following, as a part of its own. The Aṅkavātara comes between two acts or within an act and relates the purpose of the seed (bīja). In other words it indicates the subject-matter of the act following which thus appears as a part of the same. According to George Hass the continuation scene is evidently a continuation of the action by the same characters in a succeeding act, without any other inter-ruption than the technical separation between the acts. A remarkable instance of the application of this device on the modern stage is to be found ina Drama by Charles Rann Kennedy, The Servant in the Howa, published in 1908, in which every act is thus continued in the following one. I.N.C | ||
| अनुभावः Anubhāvaḥ |
physical manifestation of sentiments. | The physical changes consequent on the rise of an emotion,which in real life are regarded as the effects of an emotion, are called Anubhāvas in the technical jargon of Indian aesthetics. They are called Anubhāvas because they follow the basic emotion and communicate it to the characters present on the stage and to the spectators as well. These physical changes are of two kinds: (i) voluntary, such as coquettish movements, etc., and (ii) involuntary, e.g, tremors,choked voice, etc. The involuntary ones are called the SĀTTVIKA BHĀVAS. N.G. | ||
| अनुचितार्थ Anucitārtha |
improper signification. | Anucitārtha is unsuitable or improper signification. What is not appropriate to the context is to be avoided. If an expression requiring dignified words is given an undignified colouring, it looks inapt and indecorous (K.P.7.50S.D.7.2) Examples: (i) Occurring in a word - Tapasvibhiryā sucireṇa labhyate prayatnataḥ satribhiriṣyate ca yā, Prayānti tāmāśugatiṃ yaśasvino raṇāśvamedhe paśutāmupāgatāḥ . (K.P.7.146) i.e., ‘The state (of emancipation) is attained by the anchorites after a long time, and those interested in sacrificial rituals desire to reach it after prolonged endeavours but the renowned people of valour get it erelong, having accepted beasthood in an aśvamedha—like battle. Here the expression ‘paśutā’ (beastiness) lacks in decency and dignity as it is used in relation to ‘renowned people’. (ii) Occurring in a sentence Kuvindastyvam tāvatpatayasi guṇagrāmamabhito, Yaśo gāyantyete diśi diśi ca nagnāstava vibho Sarajjyotsnā-gaura-sphuta vikaṭa sarvāngasubhagā Tathāpi tvatkīrtirbhramati vigatācchādanamiha., (K.P.7.173). i.e., As a ruler of the globe, you are spreading a large number of good qualities in all directions. These bards are singing your fame on all sides. Yet your reputation, which is as lustrous and attractive as the moon in autumn, is moving uncovered. Here a king is praised but by reparsing the syntax and taking into account the ambiguity of some words one may arrive at a different meaning. On account of the use ‘kuvinda’=a weaver, guna=a thread, ‘paṭaysi’=preparing a cloth, ‘nagna’=naked, ‘yaso,—infamy, and ‘vigātacchādana’= destitute of clothing. The king may be metamorphosed into a weaver, thus, stripping him of all the dignity proper to a royal personage. The author of the stanza has at the surface praised the king so that he and his favourities feel flattered but it seems that the poet did not hold the king in high esteem for one reason or another. He has, therefore, composed the lines in such a way that at a deeper level it might be construed altogether differently. Poetry such is this ‘is easily possible in Sanskrit on account of its richness in puns and varieties of word-formation. The poet has, thus, advantageously resorted to this peculiar style in which he is successful by giving vent to the feelings pent up in his subconscious mind. Since it has been consciously designed, the improper signification here is not an unconscious lapse. K.B. | ||
| अनुकार्य Anukārya |
object of imitation. | The term is used for dramatic personae. Bhatta Lollata, one of the earliest commentators on Bharata’s Nātya-śāstra, created a confusian about the identity of the Anukārya. He was not clear whether the word Anukārya meant the dramatic character or the historical person. The later commentators in their discussions, however, made it clear that the word Anukārya refers to the dramatic character and not to the person in real life. N.J. | ||
| अनुकूलः Anukūlaḥ |
favourable(hero). | One of the four varieties of the erotic hero— NĀYAKA, as mentioned by Dhañajaya, Viśvanātha and others. Anukūla has been defined as one who is devoted to a single heroine and is ever faithful to her. Example: “I put on only simple garments, 0 dear friend! my necklace too is not shining even my gait is just straight I do not laugh excessively,nor do I exhibit any pride. Yetthey areall heard saying that my beloved, even though he is exceedingly handsome, never looks at another woman. What other lady in the whole world can be as happy as I am?’ (S.D. III.37) R.G. | ||
| अनुकूलः Anukūlaḥ |
favourable. | A figure of speech in which that which is unfavourable turns out to be favourable. For example: ‘Oh slender lady! If you are displeased, then firmly catch hold of the neck of your lover with your noose-like arms.’ (S.D. under 10.64). Binding a man is generally an unfavourable act, but here it has been described as favourable. S.D.C. | ||
| अनुमान Anumāna |
inference. | A figure of speech in which something to be established (sādhya) is realized in a poetical way through some indicator or reason (sādhana). ‘The lip of young ladies is sucked because nector resides in their speech.” Here the sādhya has been established through sādhana. S.D.C. | ||
| अनुप्रासः Anuprāsaḥ |
alliteration, | It is a figure of speech in which there is repetition of the same consonantal sounds even if the vowels are different. It is of five kinds: (1) Chhekānuprāsa is a single repetition of consonants in the same order, e.g. Ayameti mandamandam Kāverivāripāvanaḥ pavanaḥ, (S D. under 10.3). This breeze purified by the water of the river Kāveri blows gently. Here in ‘Kāveri’ and ‘vāri’ the two consonants ‘v’ and ‘r’ and in ‘pāvana’ and ‘pavana’ the three consonants ‘p’, ‘v’and ‘n’ have been repeated only once. The word ‘Cheka’ means cultured. This figure of speech is used by cultivated poets, i.e. poets of taste. (2) Vṛityanuprāsa is the single or manifold repetition of (i) a single consonant, (ii) of more than one consonant, exactly in the same order or in a reverse order, e.g. kokila-kākali-kalakalatḥ (S.D.under10.4).(sweet notes of the cuckoos). Here the letters ‘k’ and ‘I’ have been repeated more than once exactly in the same order. (3) śrutyanuprāsa is the repetition of letters which are pronounced from the same point of articulation: such as the palate, the teeth, etc., e.g. Tāstu mahādevaya jīayiniḥ, yāḥ jīvayanti dṛśaiva manasijam (those ladies can conquer Mahādeva who can revive cupid with their eyes). Here letters `j’ and ‘y’ having the same point of articulation,i.e. the palate, have been repeated. (4) Antyanuprāsa is the repetition of a consonant along with the preceding vowel at the end of a word or a foot: e.g. mandam hasantaḥ pulaukaṃ vahantaḥ, etc. (S.D.under10.6), (smiling gently and feeling a thriil). (5) Laṭānuprāsa is the repetition of a word along with its meaning,though the difference in the meaning is noted after the realization of the purport of the complete sentence, e.g. Smera-rājīva-nayane,nayane kiṃ nimīlite, (S.D. under 10. 69). (O dear, with eyes like a full-blown lotus! Why have you closed your eyes?) Here the repetition of the word nayane constitutes the Laṭānuprāsa: the word ‘nayane’ appears to be conveying the same mvaning in both the positions, but while in the first position it is & vocative case, in the second it is an accusative case. S.D.C. | ||
| अनुसन्धान Anusandhāna |
realization, recollection. | It is a term used in Abhinavagupta’s Abhinavbhārati in the context of Lollata’s interpretation of Bharata’s famous dictum about RASA, to explain the mental state of the actor while acting. Literally it signifies recollection or recovery or recapturing. It is used to signify the state of mind in which the actor imaginatively recaptures the mental or physical behaviour of the original character and thus identifies himself with him. N.J. | ||
| अनुष्टुप् Anuṣṭup |
name of metre or a class of metres consisting of four padas of eight varnas each. | This is a VARNIKA metre of semi-even (ARDHASAMA) type with eight (VARNAS) in each of its four feet (PADAS). It can also be placed under the category of MUKTAKA type in as much as it has no hard and fast rules either in respect of MATRAS or of GANAS. The fifth varna is short (hrasva) and the sixth is long (dirgha) in all the four feet and the seventh varna is short in the second and the fourth feet (Pingalaṣāstra 3.23 Suvṛtta-tilaka 1.14 śruiabodha 4 Chandaḥ Prabhākara 9.126). The term anuṣṭup has two meanings: geneic and specific. The former stands for all varieties of metres having eight varṇas in a foot whereas the latter indicates a particular variety named ŚLOKA. It was in this metre that Vālmīki. wrote his Rāmāyaṇa which is considered to be the first poetic work in post-Vedic Sanskrit. Example ma niṣāda pratisṭham tvam agamah Sasvatīḥ samaḥ yat kraurhica-mithunādekam avadhīḥ kāmamohitam. K.B | ||
| अनुवादायुक्त Anuvādāyukta |
improper in attribute | This defect is caused by the impropriety of an attribution or, in other words, by the unsuitability of an adiunct (K.P. 7.57 S.D. 7.11). Example : “(0 moon, you are an ornament of the matted hair of the spouse of Pārvatī (viz.Śiva). You dispel the darkness of the World (after sunset), and you also deprive lovelorn men of their lives. Do not torment me in vain.’ (S.D.,after 7.11). Here a lover separated from his spouse is requesting the moon not to torture him any more. This statement is verified in the first, second and fourth quarters of the stanza. The third quarter is a sort of a filler with an adjunct. The adjunct killer of lovelorn men is not justifiable in the context. If the moon kills the lovelorn, then no lovelorn person should make a request to save him. Hence, the impropriety of attribution has made the verse defective. K.B. | ||
| अन्योन्य Anyonya |
reciprocity | A figure of speech in which two things perform the same act towards each other. ‘The moon becomes lustrous by night and the night by the moon.’ (rajanyā Śobhate candraścandreṇāpi nisśīthinī).(S.D.lu,73 a, vr.). Here the night and the moon have been described as adding to each other’s beauty. S.D.C. | ||
| अपदस्थपद Apadasthapada |
see ASTHĀNASTHĀPADA. | |||
| अपदस्थसमास Apadasthasamāsa |
see ASTHANASTHASAMĀSA | |||
| अपहसित Apahasita |
silly or unprovoked laughter. | Bharata in Nātya śastra has divided mirth or humour (HĀSYA) into three categories: (i) the excellent (uttama), (ii) medium (madhyama), and (iii) base (adhama). Apahasita is the first of the two types of the adhama hāsya, the second one being ATIHASITA which transcends even apahāsya in its physical manifestations and crudeness, Indulged in by persons of low birth and culture, it shakes the whole body and causes tears to appear in the eyes. No attempt is made to restrain it. N.J. | ||
| अपह्नुतिः Apahnutiḥ |
concealment. | A figure of speech in which the standard of comparison (upamāna) is highlighted after denying or concealing the object of comparison (upameya). ‘This 15 not the sky but the ocean. These are not the stars, but the fragments of fresh foam’. (Nedam nabhomanḍalamamburāśirnaitdāśa tārāḥ navaphenabhangāh). (S.D. after 10, 39a). Hereafter denying the objects of comparison, i.e. the ‘sky’ and the ‘stars’, the standard of comparison, viz. the ‘ocean’ and ‘fragments of foam’ have respectively been highlighted. S.D.C. | ||
| अपक्रम Apakrama |
see AKRAMA and DUSKRAMA | |||
| अपराङ्ग व्यंग्य काव्य Aparāṅga-vyaṅgya-kāvya |
poetry with subservient suggestion. | The second type of second-rate poetry wherein the suggested emotions, sudject-matter or figure is subservient to some other predominant factor. A lady lamenting for her husband remembers, the sexual pleasure enjoyed with him, thus making eros subservient to pathos. Most varieties of expression which are suggestive of emotion are of this kind. S.K. | ||
| अपस्मारः Apasmāraḥ |
epilepsy | The twenty-second among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Apasmāra or epilepsy is a mental disease characterized by excess of suffering due to separation, or the excess of any other kind of grief, or even the excess of the feelings of fear or disgust, or caused by the evil influence of the planets (R.G.I.) Falling to the ground, trembling, sweating, frothing at the mouth, etc. are the symptoms of this disease (S.D. HI. 153). R.G. | ||
| अप्रमेया Aprameyā |
see Bhujaṅga-prayāta | |||
| अप्रस्तुतप्रशंसा Aprastutapraśaṃsā |
indirect description, | A figure of speech in which 3 reference is made to ‘aprastuta’ i.e. to an item which is not the subject-matter in order to convey the ‘prastuta’ or the subject-matter proper. It is of five kinds: (i) when a particular is understood by a general instance, (ii) a general by a particular, (iii) a cause by an effect, (iv) an effect bya cause, and (v) one thing by another similar to it. Example : ‘Balarāma says to Lord Krsna after being insulted by Siupala,“The dust, that rises over the head, when trampled under one’s feet,is better than the human being who rests content even when insulted.” (Padādhatam Yadutthādya mūrdhādnamadhirohati svaythādeva—pamānepi dehinsstadvaraṃ rajaḥ). (S.D.10,60a vr.). Here the word ‘human being has been used generally for all mankind in place of ourselves’, denoting something particular.S.D.C. | ||
| अप्रतीतार्थ Apratītārtha |
not clearly intelligible. | A poetic defect, which occurs when a writer uses such expressions as are current in some particular branch of learning. The word ‘āśaya’, for instance, generally means in Sanskrit “purpose or intention’’ (vide Amara kośa, 3.2.20) or a spot or a place as in ‘Jalāśaya’—a reservoir of water. If somebody uses this word in the sense in which Pātanjali, the author of Yoga-sūtra, used it, then the usage becomes a poetic fault.“This blemish can, therefore, be termed as ‘unintelligibility’(K.P.7.55.70.7.2).Vāmana, however, terms it as ‘gūḍhdārtha’ (K.V. III 1.13). According to Rudrata, however, the term ‘apratīta’ means the use of a word which, etymologically signifies a sense but not a particular object, e.g., the word ‘himahā’ means ‘the destroyer of ice or snow’. The word conveys a meaning, but does not indicate whether it is the sun or the fire or something else (Kāvyālaṅkāra, VI,11-12,vi 11-12). K.B. | ||
| अप्रयुक्त Aprayukta |
unusual or unconventional usage. | Use of an unconventional word is aprayukta (K.P.7.50S.D.7.2). Example: (i) Occurring in a word Yathāyaṃ dāruṇācāraḥ sarvadaiva vibhāvyate tathā manye daivatosya piśāco rākśasothavā. (K.P.7.143).. i.e., ‘This man is always seen performing offensive acts. It seems to me that his adorable deity is either an imp or a goblim.’ Here the centre of interest is the word ‘daivataḥ” which can be used both in masculine and neuter genders (vide Amara-kośa 1.1.9),yet has never been used by any poet of eminence in masculine gender. Here the use of ‘daivata’ in masculine gender is considered to be a poetic deviation. (ii) Occurring in a sentence sa rātu vo duścyavano bhāyukānadṃ paramparām aneḍamūkatādyaiśca dyatu dosairasammatān. (K.P. 7. 172) ‘May that Duścyavana (Indra) bestow upon you a series of blessings and destroy your enemies by giving them ailments such as deafness and dumbness!’ Here the words ‘Duśscyavana’ for Indra, ‘Bhāvika’ for blessing and ‘Anedamūka’ for deaf and dumb are unusual. Vāmana in his Kavyālankārasutravrtti (2.2.21) has stated that this defect is due to māyā (i.e jugglery of words) and adds that the instances of it are very scanty. K.B. | ||
| अपुष्ट Apuṣṭa |
not feeding or assisting the meaning: superficial, irrelevant. | ‘Apuṣṭa’ is one of the defects of sense or meaning caused by the use of irrelevant words or phrases (K P.7.55S.D.79). (i) ati-vitata-gagana-saraṇi-parimukta-viśrāmanandaḥ marudullāsitasaurabha-kamalākara-hāsakrd ravirjayati. (K.P. 7.256) i.e., ‘Victorious is the sun. He opens the lotuses whose fragrance is wafted by the air. He has foregone all rest and repose during his journey through the azure vault of heaven which is exceedingly extensive.’ Here some words such as ‘ati-vitata’ are not relevant, for even if they are not used, the idea is quite clear. K.B. | ||
| आरभटी वृत्ति Ārabhaṭi-vṛtti |
the fierce mode. | The fierce mode adopted by the vehement hero consists of magic, conjuration, conflict, rage, frenzy, etc. It has four spects: (a) withdrawal (samkśhipti): withdrawal of previous hero and substitution of another, (b) conflict (sampheṭa): encounter between angry or excited persons (c) production of something (Vastuthāpana) through magic, and (d) Tumultuous disturbance (avāpata) consisting of sudden entries and exits, indicating flight out of terror. The fierce mode has its origin in the Atharva Veda. S.K. | ||
| आरम्भः Ārambhaḥ |
Initial incident. | Ārambha is the first stage of action. This beginning of action indicates mere eagerness to obtain the more important result. (Daśa Rupaka 1.29). According to Viśwanātha, it is the eagerness for the achievment of the principal object of the action. The eagerness is in fact followed by showing determination and some sort of effort. This, in fact, constitutes the beginning of the first act. Ārambha pertains to that part of the plot which is connected either with the hero or the heroine or some other principal characters. It is analogous to the ‘initial incident’ of the action propounded in western Dramaturgy. I.N.C. | ||
| अर्धान्तरैकपद Ardhāntaraikapada |
displacement. | This poetic defect is caused where the sentence of the first half is completed by the word placed in the second half. (S.D. 7.6). Mammata, however, terms it ardhantaraikaircaka (K.P. 7.54). Example: indurvibhāti Karpūragaurairdhavalayan karaiḥ, jaganmā kuru tanvangi mānam pādānate priye. (S.D. 7.6) i.e., 0 lady of slender form, the moon is shining and whitening the globe with her beams which are as white as camphor. Do not show anger or annoyance towards the lover who is bowing down at your feet. Here the word ‘jagat’(globe) in the second quarter has its proper place in the first one. K.B. | ||
| अर्धान्तरैकवाचक Ardhāntaraikavācaka |
see ARDHĀNTARAIKAPADA. | |||
| अर्धसम Ardhasama |
see Anustupa. | |||
| अर्थचित्र Arthacitra |
Vatiegated meaning or striking import meaning. | Non-suggestive poetry representing a striking idea conveyed through denotation constitutes this variety which is generally illustrated In single verses. These fit well into the grand pattern of a longer narrative and lend an added charm toit. Most of the Sanskṛt aphoristic sayings (Subhāṣitas) and many other figures of speech belong to this variety. S.K. | ||
| अर्थालंकार Arthālaṁkara |
figures based on meaning. | One of the three main varicties of ALAMKARA or figure of speech. Here the poetic charm lies in the import or the meaning of asentence. In an arthālaṃkāra, the charm does not vanish even if a word ora set of words is replaced by their synonyms. Examples: simile (upamā), metaphor (rupaka), etc. S.D.C. | ||
| अर्थान्तरन्यासः Arthāntaranyāsaḥ |
corroboration. | A figure of speech in which there is corroboration either through similarity or dissimilarity of a general statement by a particular one and vice versa, and of the effect by the cause and vice versa. For example - ‘‘Hanuman crossed the ocean. What is imposible for the highspirited people” (Hanumānābdhimatarad duṣkaram Kiṃ mahātmanām), (C.A. 5.68). Here a particular statement has been corroborated by a general one through similarity. S.D.C. | ||
| अर्थान्तरसंक्रमितवाच्यध्वनि Arthāntarasatikramita-vācya-dhvani |
indication based predominant, suggestion, with the denotation transformed into different sense. | The first variety of indication based predominant suggestion wherein the incompatible primary denotation is construed as indicative of some different but related sense. The denotation is not desired to be accepted, but is deliberately used to. indicate a secondary sense, the purpose underlying being the predominant suggestion. In “go to hell’, ‘hell? and the living person to whom the sentence is addressed are incompatible. But it is construed to indicate the impicty, filth and suffering one is said to experience in hell. The intention is to suggest that the person addressed is a filthy, impious sinner destined to suffer in the end. Thus only one word in the whole sentence is suggestive and the basis of suggestion is a purposeful indication. S.K. | ||
| अर्थापत्तिः Arthāpattiḥ |
necessary conclusion. | A figure of speech in which one thing is concluded from another. e.g, ‘Even iron, when strongly heated, becomes soft. How can men be different? (abhitaptamayopi mārddavam bhajate kaiva kathā śarīriṇām). (S.D. after 10.83), there it is concluded that men, whose bodies are not as hard as iron, melt definitely under afflictions. S.D.C. | ||
| अर्थप्रकृतिः Arthaprakṛtiḥ |
Causation | Arthaprakrti implies the cause which serves the main purpose of the Drama. It is known as an element of the plot. The drama is taken to be a big tree and its purpose or end the fruit. Theretore, Arthaprakṛti is the cause, element of ingredient which helps to achieve the end. Every plot has five causes or elements. These five elements of the plot, are BIJA, BINDU, PATĀKĀ, PRAKARI and KĀRYA. Having them as the basis the five stages of the plot grow one after another ultimately realizing its fruit. The job ofthe satidnis is to effect synthesis among these elements and the dramatic stages. Therefore, the plot should contain five elements corresponding to the five Dramatic stages of the action which is again divided into five junctures. The junctures are the structural divisions of the drama, which correspond with the elements of the plot and the stages in the hero’s realization of his purpose. I.N.C. | ||
| अर्थश्लेष Arthaśleṣa |
see ŚLESA. | |||
| अर्थव्यक्ति Arthavyakti |
expressiveness, explicitness of meaning. | Bharata regards expressiveness as a natural realistic description of activity in well-known predicates or the capacity to make the content intelligible simultaneously with the hearing of the word. Vāimana defines (a) Verbal expressiveness as the capacity to carry home an idea without the slightest delay and (b) explicitness of sense : a quick and clear manifestation of the nature of things. Danḍin describes it as freedom from farfetchedness. S.K. | ||
| आर्थी व्यंजना Ārthī vyaṅjanā |
sense-based suggestion | After the comprehension of the denotation of an expression, the reader is incited to read between the lines, as it were, for some different, broader or deeper implication which is conveyed to him by way of suggestion. In this search one is guided by his knowledge of the speaker, the listener, the context of the sentence, proximity of words, purport, occasion, place, time emphasis or innotation, gesture, etc. The sentence “‘The sun has set’’, for example, in the mouth of a sage would suggest ‘the time for evening prayer’, to a cowherd ‘milking time’, in the context of awar ‘time for temporary half cessation of hostilities’, with a bee hovering on a sun lotus, it would suggest ‘the bee may get entrapped’, etc. S.K. | ||
| आर्या Āryā |
a variety of metre. | This isa MĀTRIKA metre of the uneven type with twelve MĀTRĀS in the first and the third quarters, eighteen in the second quarter, and fifteen in the fourth. There is no cacsura within the some quarter. It has been termed as Gāhā (Gāthā) in Prākṛta-paingalam, according to which the first hemistich has thirty mātrās and the second one, twenty-seven. (N.S.16.170-171 D.S.4.14) Prākṛta-paingalam 1.57 C.P.,9.99) There are five kinds of Aryas viz., Pathyā, Vipulā, Capalā, mukhacapalā and jaghana-capalā (N.S.16.153 V.R.2.3-7). Govardhana composed seven hundred verses in this metre. The authology is called Āryā saptaśatī. The following is an example from. Bhāsa’s Svapnavāsavadattam: Udayanavendu-savarṇā-vāsavadattābalaubalasya tvām, Padmāvatirṇa-pūrṇau vasantakarmrau bhujau pātām. (1.1): K.B. | ||
| असंगति Asaṁgati |
incongruity, disconnection. | A figure of speech in which there is an obvious violation of the: relation between cause and effect. Example : ‘She is after all a woman, but weak we have grown’: sā strū vayaṃ kātarāḥ (S.D.,after10.69). Generally to grow weak is the nature of women, but here in her separation the lover (a man) has grown weak. S.D.C. | ||
| असंलक्ष्यक्रम ध्वनि Asamlakṣhyakrama dhvani |
The predominant denotation-based sugges-tion with imperceptible sequence. | It is the highest type of predominantly suggestive poetry. This (second) variety of denotation-based suggestion consists essentially of sentiment, and is also known as rasa dhvāni. The reader comprehends the suggested sehtiment almost simultaneously with the denotation, viz., characters and circumstances (vibhāvas), consequent effects (anubhāvas) and accessory sensations (vyabhicārī bhāvas). In the Uttararāmacaritam, for instance, Sītā and Rāma, their remarks, the background of the Paṇhavaṭī forest, their gesticulations, etc., combine to suggest the sentiment of love in separation instantaneously. Besides pure sentiments, pseudo sentiments, mere subsidiary feelings not fully developed into sentiments, etc., also fall under this category. None of these can be denoted or indicated. S.K. | ||
| अश्लील Aślīla |
indecorous. | Aślīla is profane or indecorous. An expression which implies or suggest an obscene object is considered as such. This poetic blemish is three-fold: being the cause of (i) bashfulness, (ii) disgust, or (iii) inauspicious reaction in the mind of the reader or the listener (K.P.7.50: S.D. 7.2 K.V. 11 14). Examples: (i) Occurring in a word— drptarivijaye rājan sādhanaṃ sumahattava. i.e., ‘O king, great is your organ in conquering the proud enemies.” Here the use of the word sādhanaṃ (resources) is not in good taste on account of its phallic associations. (ii) Occurring in a part of a word— atipelavamatiparimitavarṇaṃ laghutaramudāharati śathaḥ paramārthataḥ sa hṛdayaṃ vahati punah kālakūṭaghatiṭamiva, (K.P. 7.203) i.e., ‘A villain speaks slowly, softly and briefly, though actually his heart seems to be full of venom.’ Here the use of ‘pela’ in ‘pelava’ is vulgar as the expression is used for a testicle in the dialect of Lāṭa province. (iii) Occurring in a sentence- bhūpaterupasarpantī kampanā vāmalocanā tatrat praharaṇotsāhavatī mohanamaādadhau. i.e., ‘The advancing army of the king with soldiers who had slanting eves and who were infused with courage to use their missiles suppressed (the forces of the enemy).’ Here the words ‘upasarpaṇa, ‘praharaṇa’ and ‘mohana’ are not indicative of good taste. On account of these words, the verse can be construed by the listener like this : A lady of beautiful eyes, shrugging and shuddering while making advances, was bold in erotic sport. She made the king fall in love with her, (iv) Occurring in meaning— hantumeva pravrttasya stabdhasya vivaraiṣiṇaḥ yathāśu jāyate pāto na tathā punarunnatiḥ. i.e., ‘He who is bent upon striking and is seeking for holes does not rise up again as soon as he falls down’. Here the second sense implies organs of sex, both male and female, the mention of which is indecent. K.B. | ||
| अस्फुट व्यंग्य Asphuṭavyaṇgya |
obscure or not quite evident suggestion. | This is the fourth type of second-rate poetry in which one has to exert his mind in order to comprehend the underlying suggestion. The effort and consequent delay mars its charm. Though necessarily veiled, the suggestion should manifest itself promptly and easily as in — ‘‘I experience intense craving during separation and fear of separation during union: neither way do [ have any pleasure.’’ Here the suggestion “‘to arrange for a quick union free from fear of separation’’ is too obscure to be comprehended easily. S.K. | ||
| अश्रुः Aśruḥ |
tears, flow of tears. | The seventh and the most universal of natural physical sensations. A sudden outburst of excessive wrath, grief or ecstasy causes a gushing outflow of tears from the eyes. R.G. | ||
| अस्थानस्थपद Asthānasthapada |
transposition. | This poetic defect occurs due to transposition of a word or Words (S.D. 7.8).Mammaṭa, however, calls it apadasthapada (K.P.7.54). Example: priyeṇa sangrathya vipakṣasannidhāvupāhitam yvaksasi, Pivarastane sragam na kācidvijahau jalāvilām vasanti hi premṇi gunṇā vastuṣu. (K.P. 7.237) i.e., ‘None of the ladies took off her wet garland which prepared and placed, by the lover on her plump breasts in the presence of his cowives. Value lies in love, not in objects: i.e. it is the love which is valuable and not the objects.’ Here the letters ‘na’ in the third quarter should come after ‘kaāit’. In its present form, it is transposed.` K.D. | ||
| अस्थानस्थ समास Asthānastha samāsa |
misplaced compound. | This defect arises when a writer uses a compound out of place in his composition(S.D.7 B). In Kāvyaprakāśa (7.54) it is called apadastha samāsa. Example: adyāpi-stana-śaila-durga-visame Sīmantinīnām hṛdi sthātum vaṅechati māra eṣa dhigiti krodhādivalohitaḥ prodyan duratara-prasārita-karaḥ karṣatyasau tatkṣaṇāt phullat-kairava-koṣa-nissaradaliśreṇi krpāṇam śaśi, (K.P. 7.238 S.D. after 7.8) i.e., “Even now this pride intends to stay on in the ladies, hearts which are inaccessible on account of the fortification raised by their hill-like breasts: fie upon me—“exclaiming thus, the rising moon, red with wrath, as it were, instantaneously stretching forth his hand is drawing a sword in the shape of the stream of black bees coming out of the blooming water-tiles’. Here more compounds (in the first and second feet) would have been appropriate to the occasion in the speech of the indignant moon but they are conspicuous by their paucity. Instead, a very long compound has been used by the poet in his own statement, which is not wanted. It is absolutely a misplaced compound. K.B. | ||
| असुन्दर व्यंग्य Asundara vyaṇgya |
charmless suggestion | In eighth and last kind of second-rate poetry wherein the suggested meaning has no explicit charm or appeal. Example: “there were horripilations on her limbs to have the rustle of the leaves.’? The expressed denotation is much more charming than the suggestion of the lover’s entry into the creeper-grove. S.K. | ||
| असूया Asūyā |
envy jealousy. | The fourth among the thirty-three VYABHICĀRI BHĀVAS enumerated by Bharata. Asūyā or envy is the state of intolerance for another’s merits and prosperity, due to one’s arrogance. Proclaiming another’s faults, frowning, showing contempt, expressing anger through wrathful gestures, etc. are the external manifestations of this mental state. (S.D.III.166) R.G | ||
| अतद्गुणः Atadguṇaḥ |
that which does not assume the quality of another. | A figure of speech in which one thing does not assume the quality of another, though there is a reason for it. Thus, Oh beautiful one, though you are of fair (white) complexion, yet you have smeared my heart with red colour, i.e. attracted it towards yourself.’ (dhavalosi yadyapi sundar tathāpi tvayā mama rañjitam hṛdayam.) (K.P. 10. 565). Here the heart of the lover is represented as not assuming the quality (i.e., whiteness) of the fair complexioned beloved it has rather become red. S.D.C. | ||
| अतिहसित Atihasita |
excessive Jaughter. | The second of the two types of the adhama hāsya (the base or vulgar type of laugh), the first one being APAHASITA. It is a roaring laugh, the meanest type of laughter indulged in by ruffians. The whole body is rudely shaken into distorted movements and a loud noise accompanies the laugh. It is beyond the control of the laughing person and indicates absence of culture and decorum. R.G. | ||
| अतिशयोक्तिः Atiśayoktiḥ |
hyperbole. | A figure of speech in which the identity of the object of ccomparison (upameya) with the standard of comparison (upamāna) is taken to be an established fact. This figure of speech has five varieties: (i) negation of difference in the case of difference (ii) difference in a case where is no difference (iii) negation of relation in the case of relation (iv) relation in a case there is no relation and (v) reversed order of cause and effect. An example of the fourth variety where relation in case of non-relaticn is established: ‘If a pair of blue lotuses be attached to the lunar orb, then it can be compared to her face with beautiful eyes.’ (yadi syānmaṇdale saktamindorindivaradvayam,tadopamīyate tasyā vadanaṃ cāru-locanaṃ) (S.D. after 10.47). Though no relation is possible between the lunar orb and lotuses, yet here it has been fancied by means of a supposition indicator by the word ‘if’.S.D.C. | ||
| अत्यन्ततिरस्कृतवाच्य ध्वनि Atyantatiraskṛtavācya dhvani |
indication-based predominant sugges-tion utterly regardless of denotation. | The second variety of indication-based predominant suggestion where the primary denotation has to be entirely discarded, being contrary or irrelevant to the context. he word is then construed as indicative of just the opposite sense. It is asort of ironical expres sion. “I am thankful to you"? when addressed to a wrong-doer is most Irrelevant and is construed as indicating hatred or hostility. S.K. | ||
| औचित्य Auchitya |
i propriety | What befits a particular thing is proper, and the state of being proper is Propriety or aucitya. It is the very life of poetry endowed with RASA. It is means of lending charm poetry. In fact, it can be called the very soul of RASA. Nothing mars the aesthetic sentiment, as Anaucilya or Impropriety dose. Alaṃkāra (Embellishment A Figureof Speech) serves as a real embellishment of poetry if applied at the proper place Guṣas are qualities in the real sense when they are not divested of propriety. Aucitya, as the very life of poetry, pervades every component of poetic composition: the word and the meaning, parts of speech, sentence, discourse, etc. According to Prot. S.Kuppuswami, all the poetic elements like DHVNI (Suggestion), Rasa, Anumiti (Inference) Guna (merit), Alaṃkāra (figure of speech), RITL (Style or Diction) and VAKROKTI (Deviation) are governed by aucirya. N. J. | ||
| औचित्य Auchitya |
propriety | Propriety consists of an appropriateness or fitness of words and ideas. Kuntaki accepts it as an essential quality. Ānandavardhana was the first to insist on all other factors being appropriate in relation to sentiment. Kṣemendra elaborated it in all its aspects. It does not occur among the earlier ten qualities. Kuntaka relates it to sentiment as its guiding factor. (1) It is the life-breath ofa narrative composition wherein the magnanimity of the nature of things is appropriately manifested in a perfectly clear manner. (2) The intended denotation is veiled under the charm of maturity in the depiction of an object through strikingly significant expression. N.J. | ||
| औदार्य Audārya |
generosity, magnanimity | One of the twenty SĀTTVIKAALAMKARAS of the Heroine as enumerated by Bharata, and the last among the seven AYATNAJA ALAMKĀRAS i.e. natural graces. It consists in polite and courteous behaviour at all times (D.R. ii. 36). iii ‘Even when my offence is quite manifest, she does not utter any harsh words, nor does she exp. ess her anger in any other way she only looks at her female friend with tearful eyes.” R.G. | ||
| औत्सुक्य Autsukya |
impatience | The twentieth among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Autsukya is the feeling of impatience in respect of attaining the desired gain or advantage without the slightest loss of time. It is occasioned by the absence of what is desired: flurry, anxiety, etc. are its external manifestations (R.G.I) R.G. | ||
| अवाचक Avācaka |
imprecision. | Avācaka is a poetic defect found where the literal sense is inexpressive or inadequate or unidiomatic (K.P.7.50 S.D. 7.3). It May occur in a word, in a part of word or in a sentence. Examples: (i) Occurring in a word — gīteṣu karṅāmdatte (S.D.7,3) Here the sense to be conveyed is that he or she listensto the songs. The idea could have been well ‘expressed by saying, ‘He or she gives ear to the songs!’ But the expression has been rendered faulty by putting the idea thus: ‘He or she takes ear to the songs’. The root dā with the prefix ā means, to take and not to give. Hence the defect. (ii) Occurring in a part of a word — cāpācāryastripuravijayī kārtikeyvo vijeyaḥ. Śastravyastaḥ sadanamudadhirbhūriyaṁ hantakdrāḥ (K.P.7.202) i.e., (Ravana śays to Paragurāma), ‘Lord Śiva, the conqueror of the three cities, has taught you archery. (His son) Kārtikeya is to be defeated by you)’. Here the use of ‘Vijeya’ in place of ‘vijita’ is inexpressive.Kārtikeya has already been defeated by Paraśurāma. The past participle ‘kta’ should, therefore, have been used instead of the affix ‘yat’ which indicates an act to be done in future, (iii) Occurring in a sentence— prābhrabhrāḍ viṣṇudhāmāpya viṣamāsvaḥ karotyayam nidrāṁ sahasraparṇānānī palāyana paradyaṇaṃ. (K.P. 7.174). “The sun (whose chariot is drawn by a team of horses odd in number) having reached the sky (known as the abode of Viṣṇu) looking beautiful with clouds is dispelling the sleep of the lotuses (which are considered to have a thousand petals each), Here the words ‘prābhrabhrāt’, ‘viṣṇuchāma’,’ viṣamāśva’, ‘nidrā’ aud ‘parṇa’ have been used in the sense of ‘shining with clouds’,‘sky’, ‘sun’, ‘closing’, and ‘petal’ respectively but they do not denote these objects in common parlance. Hence their use is defective. K.B. | ||
| अवहसितम् Avahasitam |
a broad laugh while ridiculing somebody. | It is indulged in by people of lesser culture and is accompanied by louder noise and shaking of the shoulders and head. It indicated that the queer actions, appearance or dress, etc. of a character are ridiculous, on which account people are making fun of him. R.G. | ||
| अवहित्था Avahitthā |
dissimulation. | The twenty-sixth among the thirty-three VYABHICĀRĪ BHĀVAS. as enumerated by Bharata. Avahitthā is a state of mind in which one makes a voluntary attempt to dissemble the expression of joy and similar other feelings, due to fear, dignity, modesty, etc. The. state is externally manifested by engaging oneself in some other work, or in talking about something quite different, or in looking astray, or in engaging oneself in an activity not connected with the feeling which is to be conceuled (S.D. 3. 1538). R.G. | ||
| आवन्तिका रीति Āvantikā-rītī |
the Avanti style or RĪTI. | The fifth style added by Bhoja to the traditional list, the Āvantikā falls midway between the VAIDARBHĪ and the PĀNCĀLĪ. Like the Pāṅchāhi, it is sweet and delicate, but possesses a few other qualities in addition. S.K. | ||
| आवेगः Āvegaḥ |
agitation. | The sixteenth emong the thirty-three VYABHICĀRĪ BHĀVAS transient feelings), as enumerated by Bharata. Āvega is a confused -and agitated state of mind, accompanied by some quick reflex action,-and resulting from the sudden and unexpected appearance of something desirable or undesirable. When such a State is caused by some joyful happening, it manifests Itself in contraction of the body when it is caused by some public calamity, it is manifested in relaxed limbs when the cause is fire, one is distressed because of smoke, etc. when the royal army has to retreat, one prepares one’s weapons and the elephants in haste when one has suddenly to face a wild or excited elephant, the state is manifested in paralysis and trembling, etc. when there is a strong gale, one is afflicted because of dust, etc. when the state of Āvega is occasioned by something desirable, it results in joy, and when it is occasioned by something undesirable, it results in distress. (8.7.111. 143-44) R.G. | ||
| अविमृष्टविधेयांश Avimṛṣṭa-vidheyāṁśa |
transposed predicate. | It is that poetic defect which occurs when the predicable sense (to be specially conveyed to the reader or listener) is not given due consideration. In other words, it is non-discrimination of the predicate: a=not, viniṛṣṭa=considered, vidheyāmśa=that part of the statement which is contained in the predicate. (K.P. 7. 51 S.D.7.3). Mahima Bhaṭṭa, however, calls it vidheyāvimarśa (V.V. after 2.2). Examples : (i) Occurring in a compound word— srastāṁ, nitambādayvaropayantī punaḥ punaḥ kesaradāmakāñcīm. nyāsikrāṁ sthānavidā smareṇa dvitīyamaurvīmīva kārmukasya. (K.P.7.169) i.e., Pārvatī was putting on a girdle made of mauliśñ flowers. As it was sliding down her waist, she repeatedly tried to fix it. It looked like another string of the bow of Cupid who is conversant with the correct position of objects (of ornamentation). Here the word ‘dvitiya’ (another) is predicate, and hence it needs a stress which is lost in the given verse owing to the ‘tatpuruṣa’ compound. The correct sentence would have read: mauryini dvitiydmiva karnukasya,. K.B. | ||
| अयत्नज अलंकार Ayatnaja alaṁkra |
natural, spontaneous, caused without effort. | One of the three classes into which the SĀTTVIKA ALAMKARAS have been divided. They, in a natural manner, enhance the beauty and attraction of the heroine. R.G. | ||
| भग्नप्रक्रम Bhagnaprakrama |
inconsistency. | This poetic defect is caused by violation of the uniformity of expression (K.P. 7.55 S.D. 7.7). Example: nāthe niśāyā niyaterniyogādustaṅgate hanta niśāpi yārā. i.e., ‘The lord of the night (moon) set, alas, the night also passed away following the mandate of destiny.’ Here the root ‘gam’ is used for the setting of the moon and the root ‘yā’ for the night’s end. This is violation of the uniformity of expression. The Correct expression would be — nāthe niśāyā niyaterniyogādastangate hanta gatā niśāpi. Such violation may occur not only in the expression of a verbal root as shown above, but in the use of a prefix, a suffix, a pronoun, a case, and a number also. K.B. | ||
| भाणः Bhāṇaḥ |
monodrama. | The bhāṇa, according to technical definition, is a monologue in one act. In this only a single actor appears who narrates dramatically a variety of occurrences as happening either to himself or to others. He uses the monologue (ākaśabhāsita) and pretends to see and hear others. Love, war, fraud, intrigue are appropriate topics and the narrator acts, speaks, asks questions and answers on behalf of the imaginary persons. The erotic and heroic sentiments are appropriately expressed. The language must be polished, and music and singing should precede and close the performance. It is clear that the bhāṇa has developed from the pantomime or the musical dance, and this explains why lāsya (a kind of dance accompanied with singing and instrumental music) is employed in it. It is not impossible that ventriloquism was used to give effect to the imaginary dialogue, as the art was not unknown in India. I.N.C. | ||
| भाणिका Bhāṇika |
a comic one act play. | The bhāṇika is a comic piece in one act. The heroine belongs to a higher and the hero to a Jower order. According to the Avaloka on the Daśarūpaka: bhāṇi is a kind of musical dance (Avaloka on Daśanīpaka 8.0.2). I.N.C | ||
| भरतवाक्य Bharatavākya |
The benedictory verse or verses of a play said to be in honour of Bharata, the founder of Indian amaturgy the epilogue of a play. | Bharatavākya generally consisted of a benedictory verse after the happy re-union at the end of the play. The happy end (a rule in Sanskrit plays) brought about joy to the hero and others, and then the most elderly person present in the Jast scene of the play asked the hero in an almost routine phrase, “What further joys shall I confer On you?” The hero having attained all that he desired had no further personal pleasures to ask for, and so the elderly person would utter a general benediction for peace for the king and the country and the good of mankind and the world. This wasaset epilogue for a play which this ended on a happy note for everybody. R.D. | ||
| भारती वृत्ति Bhāratī vṛttī |
the eloquent mode. | The Eloquent mode of the magnanimous hero is peculiar toa Nāṭaka. Mainly in Sanskrit, it is adopted by males and has four varieties: (a): Prarocanā Laudation for arousing expectancy through praise (b) Vṛthī: adopted in the Vṛthī type of play, it isa gay mode indicating eros mixed with other sentiments. It begins with an abrupt dialogue (Udghājyaka) (c) The Prahasana: adopted in the Prahasana or farce, it resembles the mode of a Bhāa, consisting of song, dance, recitation with or without dance, etc and (व) āmukha or introduction is a device of introducing the writer, the theme, etc. at the beginning Of a drama. This eloquent mode is used by renowned actors and is derived from the ṚgVeda. S.K. | ||
| भावः Bhāvaḥ |
i a single undeveloped emotion | It is suggested without perceptible delay and is relishable. Hence it is grouped with sentiment. But the Alaṅkāra school generally included it under figures of speech. It is primarily three-fold: (i) an accessory sensation or feeling, predominantly suggested (ii) a basic impulse that is aroused, but not fully developed into the corresponding sentiment: (iii) devotion to gods, kings, elders preceptors, sages, etc. Later rhetoricians regard the third variety as the sentiment of devotion, the highest of all sentiments. ( Madhūstidana-Sarasvatī and Rūpgosvāmin). N.J. | ||
| भावः Bhāvaḥ |
gesture or expression of sentiment. | One of the twenty SĀTTVIKA ALAMKĀRAS of the heroine,as enumerated by Bharata, and the first among the three Angaja AlaṁKārs It has been defined as ‘the first touch of erotic emotion in a mind which had no such experience in the past’ (S.D. 111. 93).111. “It is the same spring season, the same Malaya breeze and the maiden is also the same but she looks as if she is now quite different’’As is evident, the maiden is having her first experience of the erotic feeling. This is bhāva. R.G. | ||
| भावाभासः Bhāvābhāsaḥ |
illusion of a emotion—pseudo-emotion. | An emotion or feeling which is inapproriate in a particular context. The feeling of detachment (ṅirveda) arising in the heart of a lover, or of fear (trāsa) in the heart of a warlike hero are illustrations psuedo-emotion. Viśvanātha regards it as belonging to the class of sentiments. It characterizes a particular verse or a group of verses, but cccupies a subordinate position in the scheme of the whole composition. N.J. | ||
| भावकत्व Bhāvakatva |
universalization. | Bhattanāyaka in his exposition of Bharata’s famous rasa-sūtra has maiaotained that the poetic language has three powers: (1) abhidhā, (2) bhādvakatyva or bhāvanā, and (3) Bhoza or bhogikaraā. The first is the power of denotation and the second the power of universa lization. The core of Bhattanayaka’s doctrine is his concept of universalization. which is his most significant contribution to Indian aesthetics. This power frees the aesthetic object from allits mundane concomitants and thus presents it in a universalized form. Abhinavagupta has criticized Bhattanāyaka’s theory and argued that assumption of this additional power in the poetic language is unnecessary, for its purpose is served by the two other commonly accepted powers of Janguage, namely, LAKŚANĀ and VYANJANĀ. N.J. | ||
| भावशबलता Bhāvaśabalatā |
chain of emotions, mixture of feclings | It occurs when different accessory sensations or feelings arising in quick succession. This cycle is highly relishable in a particular verse or group of verses or a passage. It. helps in turn to bring out the fascinating appcal of the sentiment concerned. N.J. | ||
| भावसन्धिः Bhāvasandhiḥ |
conjunction or conflict of feelings. | It occurs when two mutually contradictory accessory feelings are described through suggestion as being aroused and pacified by each other. They should be predominantly appealing and quickly grasped and should ultimately fit themselves into the desired pattern. N.J. | ||
| भावशान्तिः Bhāvaśāntiḥ |
pacification or calming down of feeling. | It occurs when an accessory feeling already aroused is described through suggestion, as calming down all by itself, or being calmed down by another feeling or situation. This pacification or calming down is predominantly apealing in a particular verse, group of verses or prose passage, and ultimately takes its proper place in the sentiment scheme of the whole composition. N.J. | ||
| भाववैचित्र्य वक्त्रता Bhāvavaicitrya vakratā |
striking deviation of roots or verbs. | In this variety of Vakratā or deviating speech an act yet to be accomplished is described as already accomplished, thus bringing out in a striking manner, the efficacy of the circumstances leading to or responsibdle for that accomplishment. S.K. | ||
| भाविक Bhāvika |
vision. | A figure of speech in which some striking object, either of the past or of the future, appears as one before the eyes. ‘I look at your cyes which were once smeared with collyrium, and along with it I perccive your person to be adorned with the profusion of ornaments (in future) (āsīdañjanamatreti paśpāmi tava locane, bhāvibhūṣaṇasambhāram sākṣāi kurve tavākṛtim), S.D. after 10.94-a. Here both the collyrium (a past object), and the profusion of ornaments (the future object), have been mentioned as if they are simultaneously present before the cyes. S.D.C. | ||
| भावोदयः Bhāvodayaḥ |
rise of a feeling, the suggestion of an accessory feeling being predominantly aroused. | The feeling not being an important basic impulse cannot and is not developed into a fullfledged sentiment. Its rise is meant to deepen the effect of another major sentiment, but it seems to characterize only a particular verse or group of verses. N.J. | ||
| भयः Bhayaḥ |
fear,terror. | It is one of the eight or nine basic emotions. This inborn instinct latent in all minds, is aroused at the sight of beasts such as tigers and lions that cause extreme disaster. It may also be aroused on noticing a disastrous calamity of a terrific power. It is the basic instinct in the BHAYĀNAKA RASA, the sentiment of terror. N.J. | ||
| भयानकः Bhayānakaḥ |
the sentiment of terror, one of the eight or nine sentiments in poetry. | Its basic urge fright or terror (BHAYA) and its cause or object is anything that is terrific or fearful. Ladies and low-class male characters are proper subjects of the terrific. Its colour is dark. Palour, hoarseness, swoon, perspiration, horripilation, trembling, glancing away, etc., are its consequents. Disgust, agitation, unconsciousness,piteousness, distrees, fatigue, suspicion, confusion, death, etc., are its accessories. Generally it does not form the principal sentiment in a longer composition. It serves as subservient to the sentiments of pathos, heroism, and ferocity and is opposed to love, humour, and quietude. N.J. | ||
| भिन्नार्थ Bhinnārtha |
see AMATAPARĀRTHA and GRĀMYA. | |||
| भिन्नवृत्त Bhinnavṛtta |
see HATAVRTTA. | |||
| भोग/भुक्ति Bhoga / Bhukti |
enjoyment. | Bhaṭṭanāyaka has used this term to explain the term niśapatti or consummation used by Bharata in his rasa-sūtra. Rasa or the aesthetic experience is not a perception, but a feeling of intense enjoyment caused by the last of the three powers attributed to poetic language Bhaṭṭanāyaka. Bhoga is the enjoyment by the subject of the art-object which is universalised in the creative process. Based on this assumption, Bhaṭṭanāyaka’s theory has been described as bhuktivāda or the theory of enjoyment by some later scholars. N.J. | ||
| भोजकत्व Bhojakatva |
the power leading to enjoyment. | Among the three powers of poetic Janguage defined by Bhattanāyaka the third and the last is bhogīkaraṇa which has been called Bhojakatva as well. It is, according to him, the power which throws the two qualities inherent in the nature of the percipient, namely, the ‘rajas’ or attachment and the ‘tamas’ or darkness of mind ‘into the background and brings sativa i.e. purety of mind to the forefront. It enables the subject to attain the state of perfect bliss resulting ‘from the contemplation of the aesthetic object, which is universalized in the process. Abhinavagupta argues that like BHĀVAKATTVA, the conception of this third power on the poetic language is unnecessary. R.G. | ||
| भ्रान्तिमान Bhāntimāna |
misconception. | A figure of speech seen where one thing is taken for another owing to misconception. ‘Example : In the moonlight the cowherdesses place their pails under the udder of the cows taking the moonlight for milk.’(candrikāyām gopikāḥ dugdhadhiyā gavāmadhaḥ kumbhān vidadhate. Here the error, ‘obviously, is due to the similarity between the pale moonlight and milk. S.D.C. | ||
| भुजङ्गप्रपात |
variety of the VARNIKA metre. | This is a varṇika metre of the even type having twelve varnas in each of its four feet. The arrangement of the GANAS in it is simple inasmuch as it accommodates only a set of four ya-gaṇa. Its symbolic notion is ISS, ISS, ISS, ISS. The pause occurs unvariably at the end ‘of each foot (Piṁgala-sutra 6.37 Prākṛta-paingalam 2.214 Chnndānuśasana 2.170 Nṛtta-ratnākara 3.55 Śrutabobha 22 Chandamanjarī 2.118 Chandaṇ-prabhakara 9. 146). Bharata has, however, termed this metre as Aprameya (N.S. 16.55). Example : Na te kācidanyā samā dṛśyate strī guarryā advitīyā iṛtīyāpi cāsmin mameyani matirlokamālokya sarvam jagatyaprameyāsi sṛsṭā vidhātra. (N.S.16.86) K.B. | ||
| भुक्तिवाद Bhuktivāda |
the theory of enjoyment | See under BHOGA. | ||
| बिब्बोक Bibboka |
affectation of indifference towards a beloved abject through pride. | One of the twenty SĀTTVIKA ALAMKĀRAS of the heroine, as enumerated by Bharata, and the eighth among the SVABHĀVAJA ALAMKĀRAS: Showing indifference or disrespect towards one that is loved or desired due to haughtiness and pride is bibboka (D.R.2.41). “She began to converse with her sakhī (friend) standing by her side, as if not listening to what the hero was saying’’. R.G. | ||
| बीभत्सः Bībhatsaḥ |
the sentiment of disgust or abhorrence, one of the eight or nine sentiments in poetry. | Digust (jugupsa) is its basic urge and its colour is suposed to be blue. Mahākala presides over it. Stink, blood, flesh, fat, etc. constitute its causes, Insects hovering over or fallen into the above represent its excitants. Its consequents are spitting or vomitting, turning away in disgust or closing down one’s eyes, etc. Unconsciousness,distress, sickness, fatigue, death, etc. form its accessories. It always occupies a subordinate place, playing second fiddle to terror, ferocity, pathos, or quietude. It is contrary to the sentiments of love and heroism. N.J. | ||
| बीज BĪJA |
embryonic cause. | The bīja is the first cause or element from which the action arises. It is like a seed germinating and expanding in manifold ways as the action prozeeds (Duśarupaka 1.25). According to Sāhitya Darpaṇa what is at first mentioned in brief but subsequently undergoes various developments and thus constitutes the primary cause of the ultimate object of the drama is said to be bīja. Bīja acts as a base for Ārambha, the first stage of the action. ILN.C. | ||
| बिन्दुः Binduḥ |
the second of the five elemeats of plot. | The Bindu, which literally means a drop, is the second element in the plot. Like a drop of oil in water, it quickly diffuses itself and thus supplies important elements in the development of the plot. Cantrary to BĪJA (which is the source of the principal incident), it is the unintentional development of some secondary incident, which furnishes a clue to the main event. Bindu is that which preserves the continuity of the main story of the Drama when it is disrupted by incidental topics (S.D.VI). It acts like a base for Prayatna or effort, the second stage of the action. I.N.C. | ||
| बोधक Bodhaka |
indication. | One of the additions made by Keśava the twenty Sāttvika Alaṅkāras of the heroine. It has been accepted by quite a good number of succeeding Hindi writers on classification of heroes and heroines. (nāyaka-nāyikā-bheda). It consists in the clear indication of time and place of assignation by the heroine to the hero, or vice versa, through bodily movements and other signs, in a way that others present may not know of their secret Jove adventures (R.P. VI. 54-56). R.G. | ||
| ब्रह्मास्वादसहोदर Brahmāswādasahodara |
akin to the realization of the Supreme Beirg | Bhattanāyaka was perhaps the first scholar to use this term to emphasize the unique supersensuous nature of the aesthetic experience. The state of consciousness at the time of aesthetic experience transcends the limited I the subject is completely absorbed in the object and the whole reality surrounding him disappears from his vision. The same thing occurs mutatis nutaudis in a mystical experience in this sense aesthetic experience is similar to mystical experience,yet they are not identical, and that is why former is qualified by the term sahodara (real brother or very akin). N.J. | ||
| चकित Cakita |
confused. | One of the eight SĀTTVIKA ALAṀKĀRAS added by Viśvanātha to the class of SVABHĀVAJA. To be afraid and confused, for one reason or the other, in the presence of the hero is Cakita (S.D.3.110). 111 ‘While she was enjoying a bath in the pool along with the hero, a passing fish struck her thigh the fair-limbed lady felt extremely agitated. The ladies feel nervous in sports even without a cause not to say when the cause is there”. | ||
| चम्पू Campū |
mixed composition in prose and verse. | Campū is a composition employing the mixed medium of prose and verse. According to Bhoja, a Campū is similar to an AKHYĀYIKĀ in its general form. N.J. | ||
| चण्डवृष्टिप्रपात Caṇḍa-vṛṣṭi-prapāta |
see DAÑḌAKA. | |||
| चपलता Capalatā |
fickleness of mind | The fourteenth among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Capalatā is an unsteady state of mind due to envy, repugnance, passionate attachment, and the like. In this state of mind, one would threaten others, speak harsh words, or would behave wantonly (S.D. 3.169). R.G. | ||
| छंद Chanda |
metre. | Chanda stands for metre. To be more precise, the word Chanda is chandas according to Sanskrit grammarians who derive it from the root ‘cadi’ meaning ‘to please’. A Chanda pleases the person who recites it as well as him who listens to the recitation. It is an acknowledged fact that a theme presented in a metrical form is more appealing than that presented in matter-of-fact prose. Yāska, however,is of the opinion that chanda is derived from Chadi—to cover (Nirukta 7.12). The Vedic metres are said to have protected the deites from sins and death (A.A. 2.1.6 C.U. 1.42) A Chanda may be either VARŅIKA or MĀTRIKA. The Varṇika metres are called Vṛtta the mātrika, measure is also known as Jati. Composition of poetry in a varṇika metre is based upon the calculation of GANAS (triado of symbols) and that in a mātrika metre on the calculation of MĀTRĀS. A metre may, again, be either of an even (sama) type, or of semi-even (ardhasama) type or an un-even (viṣama) type. Metre is held to be of divine origin as is evident from a Ṛgvedic verse: Chandāṁsi jajnire tasmat (X 90.9). Moreover, the sanctity of Vedic literature has evoked spontaneous veneration from the Indian mind which has personified the Veda with Chandas as his feet and Śikṣa (orthography), Kalpa (Sacerdotal books), Vyākaraa (Grammar), Nirukta (exegosis) and Jyotiṣa (Astronomy-cum-Astrology) as his nose, hands, mouth, ears and eyes respectively. (Pāṇinīya Śikṣā 41).The concept of metre being the feet of the Vedas establishes the basic importance of prosody. Just asa person cannot walk without his feet, similarly a poetic idea cannot develop without prosody. Thus, on accout of its importance, its study is recommended along witn other branches of learning (M.U.I.1.5) As regards the number of metres, Vairūpa sadhri, a Ṛgvedic seer, says: Kaśchandsāṁ yogam āveda dhīraḥ (RV X.114.9) i.e., ‘who can know the aggregate of all the metres’? The reply seems to be in the negative as is corroborated by Bharata (N.S. 15.50). Chandas are mainly divided into two groups—(a) Vedic and (b) the Classical. The principal metres employed in poetry of the Vedas are seven, viz., Gāyatrī, Uṣnik, Anuṣṭupa, bṛhatī, Paṅkti, Triṣṭupa and Jagatī consisting, respectively, of six, seven, eight, nine, ten, eleven and twelve varnias in a quarter. In classical literature the number rose up to twenty-six types of VARŅIKA metres and thirty-two types of MĀTRIKA metres. K.B. | ||
| छन्दःशास्त्र Chandaḥ- śāstra |
prosody. | There are stray references to Chandas even in the Ṛgevda (90.9 X 114.9) and it is very probable that the study of metrics had its beginnings in the hoary past. The earliest extant work on prosody is Chandaḥ-sūtram by Ācārya 2158818 who cites several authors, viz., Krauṣṭiki (3.29), Yāska(3.30), Tāṇḍi (3.36), Saitava (5.18 7.10), Kāśyapa (7.9) and Māṇḍavya (7.35) who had already worked on this branch of learning Śruta-bodha, attributed to Kālidāsa, Suvrttatilaka by Kṣemendra, Vṛtta-ratnkara by Kedārabhaṭṭa and Chando-manjari by Gāngadāsa, are some of the well-known books on prosody in Sanskrit. Prāakṛtapaingalam deals with various metres in Prakṛta and Apabrarṁśa. The topics discussed in books on prosody are (a) division of metres on MĀTRĀS andVARŅAS, (b) possible number of metres based on permutation of matrās and Varṇas, (c) even (sama) semi-even (ardhasama) and uneven (viṣama) kinds of metres, (d) metric nomenclature, and (e) illustrations of various metres in literary vogue. K.B. | ||
| चिन्ता Cintā |
the ninth among the thirty-three VYABHICĀRI BHĀVAS as enumerated by Bharata | Cintā is the state of painful reflection aroused by the non-attainment of the desired object. Externally it is manifested in vacant Jooks sighs, etc.,( (S D. 3.171) | ||
| चिन्ता Cintā |
pondering, worry or anxiety. | The second stage in lovelorn condition. The person who has fallen in love begins to search for means of quick union and worries atout its possibilities. One also’ worries about the obstacles in the path of union and the means to overcome them. R.G. | ||
| चित्र Citra |
shape | An ornament arising from the arrangement of letters which are placed in such a way that either (i) they form an arrow, sword, lotus, drum, wheel, disc, plough, etc., or (ii) they can be read vertically, horizontally, crosswise, or even in reverse order giving the same or different meaning. An example of the ‘arrow figure’: (mānanāparusam lokadevim sarasa sannama, manasā sādaram gatvā sarvdā dāsyamaṁgatām (Oh placid and devoted one, you always bow to the goddess of the (three) worlds whole-heartedly (with respect and servitude, and) pacify her wrath (with worship and entreaty) : Letters of the above verse can be arranged from the figure of an arrow: | ||
| चित्रकाव्य Citrakāvya |
picture-poetry, variegated poetry | The lowest kind of poetic composition, void of the charm of Suggestion, but embellished with figures of speech. Bhāmaha describes it as a dexterous use of expression and includes in it even a natural description SVABHĀVOKTI, void of suggestiveness but vivid, pitcturesque and life-like. In a longer composition, such ornate verses may serve to enhance the effect of a sentiment. But in themselves, they, being void of suggestion, strike the reader as a dry, compliczted, expression or description. They have their own strikingness anda measure of aesthetic charm. If the word or sound is more striking, it is Verbal Variegation. if the sense makes greater appeal, it is variegation of sense. They are not mutually exclusive. All figures of speech belong to these two categories. S.K. | ||
| चित्तविद्रुति Cittavidruti |
see DRUTI | |||
| चूलिका Cūlikā |
intimation scene | Cūlikā is an intimation scene. A male figure in a theatrical company, who gives an explanation of an event stationing himself behind the curtain, is known as Cūlikā (Daśartūpaka, 1.119). It consists of voices behind the curtain relating various facts. I.N.C. | ||
| दैन्य Dainya |
miserable state | It is the eight among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata: a disposition of the mind which makes one speak disparagingly about one’s ownself. Such a disposition is occasioned when one is in distress, or when one is subdued with the pangs of poverty, or when, having committed a crime, one feels guilty and repentant. (R.G.I) R.G. | ||
| दक्षिणः Dakṣiṇaḥ |
courteous, impartial (lover) | One of the four varieties of the erotic hero, as mentioned by Dhanañjaya, Viśvanātha and others. Dakṣiṇa, according to Dhanañjaya, is one who, even though now attached to another woman, continues to behave affectionately his previous love (D.R.II.7). Viśvanātha defines him as one who makes love to a number of women and is devoted to all of them equally (S.D.III 35). R.G. | ||
| दानवीरः Dānavīraḥ |
sentiment of charitable heroism | It is best illustrated in Paraśurāma who gave away the whole earth to Brahmins. It is developed from the basic impulse of enthusiasm for charity (Dānotsāha). Recipients of charity are its objects. Extreme generosity, sublimity and magnanimity are its excitants. Its consequent is manifested in the generosity or giving away all of one’s possessions. Ecstasy, courage, etc. are its accessories. N.J. | ||
| दण्डक Daṇḍaka |
a variety of Varṇika metre. | Metres containing more than twenty-six syllabus in a quarter are called DAŅḌAKA. Piṅgala has defined a caṇḍaprayāta Daṇḍaka of twenty seven varṇas as consisting of two nagaṇas followed by seven ragaṇas (C.S. 7.33). Bhaṭṭa Kedāra and Gaṇgādāsa term it as Caṇḍa-ṛṣṭi prapāta (V.R. 3. 1 C.M. 2.1). Its symbolic notation is III, III SIS, SIS, SIS, SIS, SIS, SIS, SIS. Example: iha hi bhavati daṇḍakaraṇyadeśe sthitiḥ puṇyabhādjām munināṁ manahāriṇī tridaśavijayivīryadṛpyaddaśagrīvalakṣmīvirāmeṇa rāmeṇa saṃsevite Janaka-yajana-bhūmisambhūta-simantinī sīma-sītapadasparśapūtaśrame bhuvana-namita-pāda-padmābhidhānāmbikātirthayātrā gatanekasiddhākule, A Daṇḍaka coxsisting of two nagaṇas followed by eight ragaṇas is called arṇa. If two nagṇas are followed by nine rāgaṇas it becomes arṇava. Lf ten ragaṇas are preceded by two nagaṇas, it is vyāla, Jīmūta has two nagaṇas and eleven ragaṇas. Two nagaṇas and twelve ragaṇas make it līlākara. Uddādma has two nagaṇas and thirteen ragaṇas. Fourteen ragaṇas preceded by a couple of nagaṇas give it the name of śaṁkha, The general term for all such names is pracita or pracitak (C.S.7.36 V.R. 3,1, 2 C.M. 2.2.) K.B. | ||
| दयावीरः Dayāvīraḥ |
the sentiment of compassionate heroism | The zeal to lay down one’s life in order to relieve the suffering of others. It is best illustrated in the words of Jīmūtavāhana— Blood still oozes out of my arteries. Flesh yet exists on my body, I find you are not satiated yet, Why then, Oh Garuda, have you stopped eating? N.J. | ||
| धैर्य DHAIRYA |
self-control, fortitude. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the fifth among the seven AYATNAJA ALAṀKĀRAS. Self-control or a state of mind free from inconstancy and boastfulness is Dhairya (D.R.II. 37). iii “Let the full moon blaze in the sky with all her fury let Cupid scorch me as he likes, separated as I am from my lover the worst that thev can do is to kill me I am not afraid of death I have no love for my life.” R.G. | ||
| धर्मवीरः Dharmavīraḥ |
sentiment of riteous heroism | It is best illustrated in Yudhiṣṭhira who accepted the challenge to gamble though it was forbidden, just because a king is not allowed to refuse it. His words define this sentiment at its best: “Kingdom, richess, body, brothers, sons or wife, whatever in this world doth belong to me is ever ready for surrender to a king’s duty.” R G. | ||
| धीरललितः Dhīralalitaḥ |
the hero or nāyaka of a poetic composition who is firm and brave, but romantic in his disposition | One of the four varieties of the NĀYAKA or the principal ch aracter of a drama. He is brave and firm, but romantic by nature. According to Dhanañjaya he is free from all cares, devoted to the fine arts, gay and jolly. and gentle by temperament. King Udayana of the play Ratnāvalī has been cited as an example (D.R.II.3). R.G. | ||
| धीर प्रशान्त Dhīrapraśānta |
the hero of a drama or epic who is firm and calm | One of the four varieties of the NĀYAKA as the principal character of a drama. He is brave and firm, but also of cool temperament. He is supposed to possess all the general characteristics of the hero, viz. generosity, contentment of having done his duty, high descent, grace, ardour of youth and physical grace, competence, popularity, brilliance, shrewdness and virtuous conduct. Mādhava of the play Māltī Mādhava has been cited as an example. (S.D. III. 30&34). R.G. | ||
| धीरोदात्तः Dhīrodāttaḥ |
the hero of a play or narrtive poem who is brave, firm and noble | One of the four varieties of the NĀYAKA as the principal character of a drama. He is brave and firm, and also dignified and generous. According to Viśvanātha, he would never indulge in selfpraise, would forgive even his adversaries, is gifted with the quality of deep discernment, is not carried away by emotiogs but is steady by nature, would maintain decorum though he is full of self-esteem, and would never give up his vow. Rāma of the Rāmāyana has been cited as examples (S.D. III. 32). R.G. | ||
| धीरोद्धतः Dhīrodāttaḥ |
a hero who is brave but haughty. | One of the four varicties of the NĀYAKA the principal character of a drama. He is brave but haughty. According to Viśvanātha, he is deccitful, unsteady, full of egotism and arrogance, and addicted to self-praise. Bhīmasena of the Mahābhārata has been cited as an example (5.70. 111. 33). R.G. | ||
| धृष्टः Dhṛṣṭaḥ |
an erotic hero who is rude and insolent. | One of the four varicties of the erotic Nāyaka, as mentioned by Dhanaṅjaya, Viśvanātha and others. Dhṛṣṭa has been defined as one who is not afraid even when he has done an offence, who is unashamed even when he is reproached, and continues to speak lies even when his fault is manifest. iii Such a hero narrates his own doings to a friend, ‘‘Her face was red with anger intending to kiss her I approached her she hit me with her foot but catching hold of the foot, I only laughed the maiden then knit her eyebrows and shed tears in utter helplessness. It is still pleasant to remember the anger of that beautiful damsel’, (S.D.3.36). R.G. | ||
| धृतिः Dhṛtiḥ |
self-command, contentment. | The twelfth among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Dhṛti is the feeling of contentment springing from the attainment of the knowledge of Truth, or the desired object, or power it is attended by a feeling of complete satisfaction, delightful utterances, a sweet smile, and clear understanding, - etc. (S.D 3.168 & D.R. IV. 12) R.G. | ||
| ध्वनि Dhvani |
the suggested sense. | The suggested sense blossoms, as it were, out of the primary denvtation or secondary indication. The concept is based on the eduntic idea of sphoṭa, the manifestation of something inherent in the eternal it denotes a mysterious entity, a sort of hypostatization of sound through which speech is manifested in the form of a letter, a word or a sentence. It was accepted by Ānandavardhana in the context of a prominent or predominant suggestion, an aesthetically effective implication of sentiment, subject-matter ora figure of speech which constitute the very soul of excellent poetry. Poetry possessing these ts also called DHVANI KĀVYA. S.K. | ||
| ध्वनि काव्य Dhvani-kāvya |
suggestive poetry or literature. | A composition wherein the suggested content is the most prominent, appealing and forceful. The denotation or indication is relegated to the background as a mere tool orembellishment of poetic expression. It is of five types, the classification being based on the predominant suggestion: (i) denotation or denctation-based: (a) through perceptible stages of (i) an idea or subject-matter and (ii) a figure cf speech (b) instantaneously, (iii) of sentiment (2) indication-based suggestion: (a) inclusive of the denotation transferred into scme better sense, (b) utterly regardless of denotation. S.K. | ||
| डिमः Ḍimaḥ |
horror-play. | Ḍima is a kind of RŪPAKA, the subject of which must be willknown. It is changed with gloom and is limited to the representation of terrific events, such as portents, incantations, sieges and battles. There are four acts and sixteen heroes consisting of demons, demigods or Deities. It contains all the sentiments except the comic and erotic, though the principal sentiment is Roudra. According to the commentary on the Daśarūpaka, the name ḍima is equivalent to saṁghāta (injury), in as much the heroes always come to blows among themselves (Daśarūpaka iii. 57-60 a). IN.C | ||
| दीपक Dīpaka |
illuminator. | A figure of speech in which both direct and indirect objects are related to each other through somec ommon attribute. For example: ‘A chaste wife as wellas a firm disposition follows man even in his re-birth’. (sati ca yoṣīta prakṛtiṣca niścalā pumāṃsamabhyeti bhavanāntareṣvapi) (S.D. 10, 42, vr.). Here both the unchanging nature, the direct object, ie. the object of description, and the chaste wife, an indirect object, have been related to each other by means of a common attribute, i.e. following man in his re-birth. S.D.C. | ||
| दीप्तिः Dīptiḥ |
extreme loveliness of the heroine. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the third among the seven AYATNAJA ALAṀKĀRAS. A higher degree of KĀNTI, or the natural loveliness of the heroine at its highest, is dipti (S.D. III. 96). iii “0 beautiful lady! your face is radiating lustre all around the darkness of the night has vanished. Pṛay, go home. Why should you disturb those Abhisārikās, covered all over with dark clothes and ornaments etc. who are going to the rendezvous to mect their lover in the pitch-black night, by shedding light on them and thereby disclosing their secret love?R.G. | ||
| दोहा Dohā |
a variety of mātrika metre | This is a MĀTRIKA metre of the semieven (ardnasama) type, with thirteen mātrās’ in the first and the third quarters and eleven in the second and the fourth. There is no pause within a quarter. The rhyme occurs in the second and the fourth quarters (p.p. 1.78 C.P.p. 82) Dohā has, however, been termed as ‘Dohaḍikā’ (C.M. 5.31), Dohā has been one of the most favourite metres in Hindi poetry. Such celebrated poets as Tulasīdāsa, and Bihārī have employed it copiously. It enjoys approximately the same position in Hindi as the śloka (onuṣṭupa) in Sanskrit. K.B. | ||
| दोषः Doṣaḥ |
poetic defect. | It is derived from the root duṣ meaning to sully, defile or dis-Ygure. When the principal meaning—and that is sentiment—is supressed, the poem becomes defective (K.P. 7.49 S.D.7.1). Doṣa or defect is of five kinds according as it occurs in: (i) a word, (ii) a part of a word, (iii) a sentence, (iv) sense or meaning, and (v) sentiment. Originally it had-a ten-fold classifications, but with the passage of time the number rose to seventy-six, The historical development of the concept of poetic defect is summarised below : Bharata enumerated ten defects(N.T. 17.87), and so did Daṇḍin (Kāvyādarśa 3, 125-126). Prior to Daṇḍin Bhāmaka in his Kāvyālaṅkara had catalogued these defects in this manner: six in I, 37 seven in II. 39-64 and eleven in IV. 1,2. Vāmana enumerated twenty defects: five pertaining to words five with reference to the meaning of words: three relating to sentences and seven applicable to the sense of the sentences (K.V. 2.1.4 2.1.10 2.2.1 and 2.2.9). ‘ Anandavardhana points out that fundamentally all poetic flaws pertain directly to rasa and hinder its realisation. Bhoja divided poetic defects into three sections, of word, sentence, and meaning of the sentence, cach consisting of sixteen defects,the total number being forty-eight (V. Raghavan’s thesis on S.P. pp. 225, 236, 239). Mahimabhaṭṭa in his Vyaktiviveka defines a poetic defect as impropriety, which pertains to words and to their meanings. According to him, the defect in the use of a word is external, whereas that in its meaning is internal. Both are said to hinder the enjoyment of sentiments. Mamata admitted that there were in all seventy-three defects: sixteen pertaining to words and their parts twenty-one with reference to sentences, twenty-three relating to the sense or meaning and thirteen applicable to sentiments (K.P. 7.50-52 7.53-55, 7.55-57, and 7.60-62) Vīśvanātha has discussed seventy-six poetic defects: sixteen pertaining to words and their parts, twenty-three with reference to sentences, twenty-three relating to the sense or meaning and fourteen applicable to sentiments (S.D. 7.2-4 7.5-8 7.9.11 and 7.12-15). According to Bhāmaha and Daṇḍin even a slight defect should not be allowed to go unheeded ina poem (Kāvyalankāra i 1.12 and Kāvyādarśa 1.7) but Viśvanātha, realising the difficulty of writers in composing poetry without any blamish whatsoever, maintained that it is exceedingly unlikely to write absolutely faultless poetry. sarvatha nirdoṣasyaikantamasmbhavat (S.D. 1.2) K.B. | ||
| दृष्टांत Dṛṣṭānta |
exemplification. | A figure of speech in which the reflection of the following three requisites of a simile (upamā) out of four conveyed in two different entences: (i) the subject of comparison (upameya), (ii) the standard of ccmparison (upamā), (iii) and the common property (sāmānya dharma). Example: ‘When that fawn-eyed lady sees you, her affliction due to passion vanishes. Fading of water-lilies is noticed only when the moon is beyond vision. Here in the second sentence the idea corresponds with the one expressed in the first sentence. S.D.C. | ||
| दृश्य काव्य Dṛśya-kāvya |
see under KĀVYA-BHEDA | |||
| द्रुतविलम्बित Drutavilambita |
a variety of varṇika metre. | A VARŅIKA metre of the even type with twelve letters in each of its four feet. Its metrical arrangement of GAŅAS being nagaṇa bhagaṇa, bhagaṇa and ragaṇa its symbolic notation is III, SII, SII, SIs. There is no pause within a foot. The Nāṭya-śāstra has, however, called this metre hariṇaplutā whereas Prākṛta-paingalam has termed it as sundarī (P.S 6.30 N.S. 16.51 P.P. 3139, S.B. 23 S.T. 1.27 V.R.3.50 C.M. 2.129 C.P. p. 153, CMa I, 37). Examples: (i) sukha-parasya harerubhayaṁ kṛtam tridivamuddhṛta-danava-kantakṭm tava Śarairadhunā nata-parvabhiḥ puruṣa-kesariṇaśca purā nakhaiḥa. (Abhijnāna-śākuntalam 7.3) | ||
| द्रुति Druti |
dissolving, melting. | Druti or ‘Cittavidruti’ is the melting condition of the heart when one is Overpowered by emotion. It is the inherent quality of MĀDHURYA GUŅA and occurs in the realization of SṚÑGĀRA and KARUŅA rasas., R.G. | ||
| दुर्मल्लिका Durmallikā |
comedy of intrigue. | The durmallikā is a comic intrigue in four acts, in each of which the friends of the hero and himself successively lead the action. I.N.C. | ||
| दुष्क्रम Duṣkrama |
improper order | This defect of meaning is caused by the impropriety of order of objects in a statement (K.P. 7.55 S.D. 7.9). A few other rhetoricions, however, call it a phase apakrama (Kavayl. I. 4.20 Kav. 3.144 K.V. 11. 2.22) (i) bhūpāla-ratna-nirdainya pradāna-prathitosava viśrānṇya turaṅgaṁ me mātaṅgaṁ vā madālasam. i.e., ‘O jewel among kings, you are renowned for bestowing affluence (on the needy). Give me a horse, or an elephant intoxicated with.’ Here the order of the objects—a horse and an elephant—is not correct. The elephant should have been mentioned prior to the horse K.B. | ||
| दूती Dūtī |
a female messenger of the heroine, a go-between | The messenger should be as cunning and readywitted as the hero’s companions. She may be a female friend, a maid-servant, a labourer, a foster-sister, a neighbour, a femal ascetic, a craft woman or the heroine herself. S.K. | ||
| ऐकार्थ Ekārtha |
see PUNARUKTA. | |||
| ऐकावली Ekāvalī |
a necklace. | A figure of speech in which each succeeding thing is affirmed or denied as an attribute of each preceding thing. Example of the first variety: This lake is teeming with full-blown lotuses the lotuses are in contact with bees the bees are humming and their humming gives rise to passion. (saro vikasītāmbhojamambhojam bhṛṁgasaṁgatam, bṛṁgāḥ yatra sasaṁgītāḥ saṁgītam sasmarodayam). (S.D. after 10.78). Here the lotuses are the attribute of the lake, the bees of the Jotuses, the humming of the bees, and the passion of the humming. S.D.C. | ||
| गद्य Gadya |
prose. | Literature has been divided into PADYA (verse) and gadya (prose) by Sanskrit scholars according to the form it assumes. A work which is not composed in regulated, rhythmical units is called gadya. vāmana, who regards prose as the touchstone of poetic skill, has classified gadya into three styles: (a) Vṛittagandhī, (b) Cūrṇa and (c) Utkalikāprāya. He defines these as follows: Vṛittagandhī : Literally means ‘that which has the fragrance of verse.’ It is a kind of prose style which is interspersed with pieces of verse or which is rhythmical like verse. Cūrṇa : A prose style which is free from long compounds and contains beautiful phrases. Utkalikāprāya : A prose composition replete with compound words and hard letters is called Utkalikāprāya, It is the a of cūrṇa. N.J | ||
| गण Gana |
a triad of symbols. | । A ‘gaṇa’ is a triad of symbols for notation in metres. It is eightfold and has the following names and symbols: 1. Magaṇa SSI 2. Nagaṇa III 3. Bhagṇa SII 4. Yagaṇa ISS 5. Lagaṇa ISI 6. Ragaṇa SIS 7. Sagaṇa IIs 8. Tagaṇa SSI Here S stands for long sound and I ‘stands for short sound (C.S. 1.1-8 N.S.15.83-84 P.P.1.33) Bharata considered these eight triads to be of divine origin (N.S. 15.84) and some treatries on prosody have assigned a deity to each of them (vide sītārāma’s commentary on ‘Śrutabodha 3). It is maintained that the use of magaṇa Yagaṇa, bhagaṇa and nagaṇa presided over by Pṛithvī (Earth), Varuna (Water), Candra (Moon) and Svarga (Heaven) respectively. A poetic composition beginning with these triads yields monetary gain, prosperity, fame and happiness. The rest of gaṇas, viz., ragaṇa, tagaṇa, jugaṇa and sagaṇa have Agni (fire) Akāsha (sky), Surya (the Sun) and vāyu (wind) as their deites and their use is not recommended at the beginning of a poem, for they are supposed to indicate death, disappointment or failure, apprenhesion and change of place respectively. (sītārāma’s commentary on ‘Śrutabodha 3). The following statement, however, is an exception to the above rule: The mention of some Divine epithet or of an auspicious object at the very outset of a poem nullifies the malevolent effect of an Omenous triad. A jagana, for instance, is not considered auspicious with which to start a poem, but Māgha and Bharāvi started their works in Vaṃśastha metre having a jagana for its first triad. Both these poets of great eminence, therefore, used the word ‘Śriyaḥ’ (Śrī-Goddess of Wealth, in genetive case) as the initial word to ward off the evil influence of the jagaṇa. K.B. | ||
| गर्भः Garbhaḥ |
Development containing suspense. | Garbha is the third juncture which is known as Development because herein is centralised the main action of the drama or in other words it is here that the seed (bīja) attains visible development though giving way apparently to impediments yet in reality adhering to the Original intention of attaining the aim. According to Daśarūpaka, garbha is searching after the seed (BĪJA) which is seen and lost by turns (1.57). In it meets the third stage of action i.e. prāptyaśā, the prospect of success and PĀTAKĀ, the secondary episode in the plot, which if extensive scmetimes extend beyond garbhaup to the last saṇdhi, The twelve sub-divisions of the development are: misstatement, indication, supposition, exaggeration, progress, propitiation, deduction, quarrel, out-witting, dismay, consternation and revelation. Misstatement (abhūiādharaṇa) is a deceptive statement. Indication (mārga) is pointing out one’s real purpose. Surposition (rūpa) isa Statement involving conjectute. Exaggeration (udāharaṇa) is an over-Statement suggestive of excellence. Progress (Krama) is the realization of what one is thinking earnestly about. Propitiation (saṁgraha) is what is effected by conciliation. Deduction (anumāna) is inference from some characteristic sign. Quarrel (toṭaka) is an angry speech. Out-witting (adhibala) is a secret intention to cheat. Dismay (udvega) is fear caused by an enemy. Con- Sterpation (saṁbhrama) is fear and trembling. Revelation (āksepa) is the revelation of the secret of the central theme, i.e., it is the unfolding of the seed (bīja) in the Development (garbha). (See SANDHI). I.N.C. | ||
| गर्भाङ्क Garbhāṅka |
a play within a play. | An act that is inserted within an act is called garbhāṅka. It consists of raṅgadyvadra (see PŪRVARAÑGA), ĀMUKHA and in it abides the BĪJA, i.e., the nucleus of a new drama, an act of which is incorporated within the act of the main drama. For example, in the Bāla-Rāmayāṇa drama Kaṅcukī says to Rāvaṇa that a drama entitled Sitā Swayaṁyvaraṇaṁ, which is to be heard with many ears and to be seen with many eyes has been composed, as it were, for you. (S.D. 6, 8). Garbhāṅka is backed by some motive, i.e., it serves some important purpose in relation to the main drama. An example of garbhāṅka can be bound in the Hamlet of Shakespeare. I.N.C. | ||
| गर्भित Garbhita |
parenthesis. | This is a poetic defect caused by the use of a parenthesis in a sentence. (K.P. 7.54 S.D. 7.8). Examples: (i). parāpakāra-niratairdurjanaiḥ saha saṅgatiḥ: yadāmi bhavatastattvaṁ na vidheyā kathaṅcana. (K.P. 7.240). e., ‘Friendship with vicious people engrossed in doing malevolent deeds towards others—I tell you the truth—should never be entered into. Here the third quarter of the verse ‘vadāmi bhavatastattvaṁ’ is parenthetically placed, which does not sound good. K.B. | ||
| गर्वः Garvaḥ |
pride. | The eighteenth among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Garva is the feeling of pride, which one has for his radiant personality, riches, high attainments in the field of knowledge, noble lineage, etc. Showing disrespect, coquettish display of one’s person, immodest behaviour, and such other acts constitute its external manifestations. (3.7.171. 154) R.G. | ||
| गौड मार्ग Gauḍa mārga |
manner of the gauḍas, eastern style, farceful style | Rejected by Bhāmaha but accepted by Daṇḍin, the manner of the Eastern Gauḍas is distinguished by numerous compounds and verbasity, alliteration and fieriness. It is described as a grotesque or coarse manner—different from natural expression, and aims at showing off versatility S.K | ||
| गौडी Gauḍī |
Gauḍa or eastern style. | It is almost the opposite of VAIDARBHĪ RĪTI (style) except for three common qualities of expressiveness, sublimity, and balance. It is compact, pedantic, uneven, harsh, complex, abounding in exaggeration and alliteration (Daṇḍin), yet it is desirable for some sentiments, e.g. valour, ferocity, etc. Vāmana attributes only force (ojas) and brilliance (kānti) or fury to this style. To him it is not very desirable.The Gauḍas are fond of exaggeration, verbosity and blatant alliteration. Rudraṭa describes it as having compounds of any number of words. Bāṇa and Bhavabhūti were fond of Gauḍi style. S.K. | ||
| गौणी लक्षणा Gauṇī lakṣhṇā |
secondary or metaphorical indication. | The secondary indicated sense bears the relationship of semblance to the primary denotated sense. It provides scope for figures based on resemblance or similarity. As semblance is not an innate or primary relationship, it is regarded as secondary indication. S.K. | ||
| ग्लानिः Glāniḥ |
excessive exhaustion, tanguar. | The second among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Glāni is the feeling of utter exhaustion due to coition, exertion, mental worry, pangs of hunger and thirst, or the like. Externally it is manifested in trembling, loss of will to work, etc. (5.7.111.170) R.G. | ||
| गोष्ठी Goṣṭhī |
a minor type of one-act play or uparūpaka. | It has all the characteristics of a general play (nāṭaka) except those specified below. This one-act play consists of nine or ten male and five or six female characters. The expanse of action being limited, there is no scope for GARBHA and VIMARŚA types of constructions (Sandhis). Goṣṭhī has KAIŚIKĪ VṚTII and s ṛṅgāra (erotic) as the dominant rasa. The dialogues do not have elevated (udātta) words. Raivatamadanikā has been cited as an example of this type of oneact play. These liberal specifications prescribed for this type of play leave enough margin for the imagination of the dramatists. R.D. | ||
| ग्राम्य Grāmya |
vulgar. | Grāmya is a poetic defect based on Vulgarism. The cultured’ people do not use indecent words which are in vogue in the parlance. of the riff-raff (K.V. II.1.7 Kavyal (ii) 7.17 K.P. 7.51 S.D.7.2). Bharata, however, calls it as bhinnārtha (N.S.17.89). Examples: (i) Occurring in a word— rākā-vibhāvarī-kānti-saṅkrānta-dvuti te mukham tapanīya śilā- śobhā-kaṭiśca harate mana ḥ. i.e., ‘Your face which is radiant as a night illumined by the full: moon and your waist whose splendour is like that of a slab of gold, entices my mind. Here the usuage, ‘kaṭi’ in the sense of ‘hips’ is considered to be vulgar in Sanskrit. (ii) Occurring in a sentence— , tāmbūla-bhṛta-gallo-yaṁ bhallaṁ Jalpati manuṣaḥ karoti khādnaṁ pānaṁ sadaiva tu yathā tathā. (K.P.7.180) i.e., ‘This man always manages anyhow to eat and drink but with betel-leaves kept within cheeks, he speaks nicely’. Here the words ‘galla’ and ‘bhalla’ indicate vulgarity. (iii) Oecurring in meaning— svapiti yavadayaṁ mikaṭe janaḥ svapimi tāvadahaṁ kimapaiti te tadayi sāmpratamāhara kūrparaṁ tvaritamūrumudaṅcaya kuṅcitam. i.e., (A lady speaks to a lover) ‘Until this man is asleep, I (also pretend to) sleep. What do you lose (if I act like this)? Therefore, (you also) place your elbow (beneath your head) and spread out your contracted things (to show that you are also sleeping).’ Here a lady is depicted as pretending to be asleep and asking her lover to do the same with a view to deluding another man probably her husband who is awake. The expression is very vulgar. K.B. | ||
| गूढार्थ Gūḍhārtha |
see (i) APRATĪTḌRTHA and (ii) NEYĀRTHA | |||
| गुणः Guṇaḥ |
quality. | Guṇas are desirable characteristics or excellences in a poetic composition which lend it a peculiar aesthetic charm. Bharata regards them as embellishments—the opposite of defects.) Bhāmaha mentions only three qualities without discussing their relation to RĪTI or style, for he rejects the classification of style. Daṇḍin regards them: as embellishments, while Pratihārenduraja and Vāmana distinguish them from figures of speech thus—qualities produce aesthetic charm to figures too poetry can exi t without figures, but not without qua'ities. Actually Vāmana was the first to attach considerable impcrtance to qualities which are the distinguishing marks of the styles that onstitute the soul of poetry. His list and definitions are somewhat different from those of Bharata and he divides each of the tcn into those (1) pertaining to word or sound and (2) pertaining to sense. The former refers to the quality of the combination of letters or words, the latter to the significance underlying the comprehension of sense. Some, however, overlap and make it desirable to accept only three. The ten qualities accepted by Vimana are: strength or force, clarity, smoothness, evenness, balance, sweetness, delicasy, grace or richness, explicitness and delightfulness. They are defined differently with reference to word or sound and sense. Ānandavardhana has recognized only three GUÑAS, or qualities.These are: sweetness (MĀDHURYA), force (OJAS) and clarity (PRASĀDA). He rejects some of the other guṅas as mere negations of defects, and includes the remaining one’s in the above three. Instead of relating them io style, he connects them with the mental state produced by the manifestation of a particular sentiment, viz., melting, expansion and equilibrium. Thus they are directly connected with sentiment which is the soul of poetry. Kuntaka accepts only six qualities of poetic expression sweetness, perspicuity, beauty, dignity, propriety and richness. His concept of qualities is guided by his own concept of the modes or styles (mārga) of expréssion which are only two: the gentle and the variegated determined by the aptitude, genius, versatility and constant practice of a poet. Sweetness, perspicuity, beauty and dignity, according to him, belong to both the modes gentle as well as varilgated. But these qualities denote different characteristics with reference to each. Propriety and richness are common to the ६५० modes. A mixture of these six leads to an intermediate kind of style. The provincial or qualitative classification and nomenclature of styles is thus not acceptable to him. Thus poeticians differ with regard to actual number of guuas. Bharata mentions ten, Bhāmaha as well as Ānandavardhana three, Vāmana twenty, Kuntaka six and Bhoja twenty-four. Some of them are positive excellence, others are mere megations of defects. Ānandavardhana bases them on the mental condition of the reade rduring the experience of a sentiment. S.K. | ||
| गुणकथन Guṇakathana |
praise, talking about the virtues of the loved one. | The fourth stage in lovelorn condition. Since mere recollection does not provide sufficient solace, one praises the beloved person to oneself or to one’s friends and relatives. R.G. | ||
| गुणीभूतव्यंग्य (काव्य) Guṇibhūta vyaṅgya |
poetry with secondary or subortlinate suggestion. | It is poetry of middling qualities which is not void of suggestion, yet the suggested content is not predominant in the composition. It may be on the same level as the expressed denotation or subordinate to it it may be too manifest or unveiled or obscure it s predominance may be dubious it may be void of aesthetic charm the suggestion may be derived from external factors like intonation or it may be that of a fact or subject-matter’-or figure of speech but void of sentiment. These varieties are not mutually exclusive nor are they exclusive of other types of meaning. A few of these may enhance the aesthetic appeal of the predominant suggestion, e.g., the subsidiary suggestion of secondary feelings, such as fear, valour, etc., enhances the depth of ‘ferocity’. S.K | ||
| हल्लीशः Hallīśaḥ |
one of the eighteen ūpariipakas, i.e., minor dramatic compositions. | The Hallīśa is a play full of erotics of singing and dancing etc. It has one act represented by one male and eight or ten female performers. The ballets of Europe may be compared to it. INC | ||
| हरिणप्लुता Hariṇaplutā |
see DRUTAVILAMBITA | |||
| हर्ष Harṣa |
feeling of joy. | The fifteenth among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Harṣa is the feeling of joy resulting from the attainment of the desired object. It is externally manifested in tears (of joy), stammering, etc. (S.D.III.165) R.G. | ||
| हासः Hāsaḥ |
laughter, merriment. | The basic urge of the sentiment of humour (Hāsya Rasa). It causes the mind to expand and is the result of a distortion of speech, face, dress, etc. The distortion may be natural or intentionally affected. Inconsistency, self-contradiction, queer behaviour, etc. are the main excitants of laughter which is described as eight-fold, according to the degree of freedom with which it occurs. Humour, wit, irony, Satire, ridicule, etc. are some of its varieties. R.G. | ||
| हसित Hasita i |
free laugh. | A polished but free manner of expressing appreciation of humour, with eyes slightly wider and teeth partly visible through the gap between lips, It indicates the superior culture of noble characters. R.G. | ||
| हसित Hasita i |
spontaneous laughter. | One of the eight SATTVIKA ALAMKĀRAS added by Viśvanātha to the category of Svabhāvaja alaṁkārad. A spontaneous Jaugh springing from one’s rising youth is hasita (5.70.111.109). iii “Since the beautiful slim lady has laughed without any reason, it is proved that Cupid now reigns over her heart.’’ R.G. | ||
| हास्यः Hāsyaḥ |
the sentimentof humour. | Its basic instinct isto laugh and merriment. Its excitants are distortion of speech, queer actions, dress, appearance, etc. Its stimulating object is a humorous character, clown or jester. It is white in colour and has Pramatha for its presiding deity. Sleep, illness, ridicule. etc., constitute Its accessories. Its consequents are: smile, winking, etc It is of three types: (i) superior or the laugh Of noble characters, (ii) medioere or the laugh of ordinary persons, and (iii) of low quality, i.e., the laugh of mean or vulgar characters. The first type of people indulge in a supressed or evident smile the second in sweet-sounding laugh, soft or loud and the last category of people express it in the form of guffaw or a roaring laugh. R.G. | ||
| हतवृत्त Hatavṛtta |
discordant unrythmical, | Hatavṛta refers to unrythmical composition. This is of three kinds: ‘ (i) Sometimes a metrical composition does not sound well, even theugh it accords with the prescribed rules of prosody. (ii) A verse becomes unrythmical, if an improper metre is used in the description of a particular sentiment. (iii) A short syllable appearing at the end of a foot of a verse renders it 19979 (K.P. 7.53 S.D.7.5) Bharata, however, terms it Visama’ (N.S.17.92) Bhāmaha, Daṇḍin and Vāmana call it bhinnavṛtta. Examples: hanta satatametasya hṛdayaṁ bhinte manobhavah kupitaḥ (S.D. 7.8). i.e., Alas! furious cupid is incessantly piercing the heart of this lady. The reading of this line does not sound pleasing. (b) ayi mayi mānni mā kuru mānam., (S.D. 7.8). i.e., O lady, do not show annoyance to me. This is spoken by a male lover to his Jady-love. The metre used here is suited to express the sentiment of mirth and laughter, and not the sentiment of love and affection. K.B. | ||
| हाव Hāva i |
any feminine conquettish gesture. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the second among the three Aṅgaja Alaṁkāras. Wheh desire for union is betrayed by the movements of the eyebrows and the eyes, it is Hāva (S.D.III.94). Iii. ‘‘The sidelong glances of the maiden do disclose that she is no longer an innocent child.’” Hāva being a developed stage of Bhāva, its external manifestations are more concrete. | ||
| हाव Hāva i |
a name for all SVABHĀVAJA ALAṀKĀRAS. | It is a general name given to the ten (or more) Svabhāvaja Alaṁkāras by Bhānudatta, and, following him, by a host of Hindi writers. R.G. | ||
| हेला Helā |
amorous sport or dalliance. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the third among the three AÑGAJA ALAṀKĀRAS. When the external manifestation of the inner desire is very clear, it is Helā (S.D.JII.95). Ill. “‘Quickly moving her eyeballs she invited Kṛṣṇa smilingly to come once again to play Holī with her.”’ Helā is the still more developed stage of Hāva in fact, it is Hāva itself in its developed form (D.R.II.34). R.G. | ||
| हेतुः Hetuḥ |
cause. | A figure of speech found where a cause is identified with an effect. For example: ‘That damsel is the subjugation of the minds of youths. (sā tu yuvajanamanso vaśīkaraṇam.) (S.D. after 3.96.). Here the heroine, who is the cause of subjugation of the minds of youths, has been described as the subjugation itself of the minds of young men. S.D.C, | ||
| हृदय-सम्वाद Hṛdaya samvāda |
emotive correspondence | The term has been used by Abhinavagupta in his analysis of the response of a cultured spectator to the aesthetic situation. According to him in such a situation the cultured spectator does not look upon the dramatic characters with a feeling of indifference. On the ‘other hand, there is a correspondence, i.e., a kind of identification, with the situation. Through this emotional identification, he relishes the objective situation on a subjective plane. N.J. | ||
| ईहामृगः Īhāmṛgaḥ |
a kind of drama consisting of four acts. | Īhāmṛga is a kind of RŪPAKA in which the subject-matter is partly historical and partly imaginary. It is divided into four acts. The hero and his opponent may either be human or divine. They should be renoward men of brave but vehement nature. The opponent of the hero commits misdeeds. He is after the heroine, who is divine, but his semblance of love ends in disappointment though not in death. There are scenes of wzath but the characters are prevented from dashing into battle under some pretext or the other. The name īhāmṛga implies that the hero hankers after the heroine whois as difficult to be obtained as a gazelle. I.N.C | ||
| इन्द्रवज्रा Indravajrā |
a variety of varnika metre. | A VARŅIKA metre of the even type with eleven letters in each of its feet. Its metrical arrangement of GAŅAS being ta-gaṇa, ta-gaṇa and ja-gaṇa followed by two long sounds. The symbolic notation is SSI, SSI, ISI, SS, The calsura is at the end of each foot alone, though the reader may find it convenient to pause atthe fifth letter within a quarter (N.S. 16.31, P.S. 6.15 P.P. 2.114: Śrutabodha 14 S.T. 1.18 V.R.3.30 C.M. 2.71 C.P. page 137 C.Ma. 1.29). Example: (i) artho hi kanyā parakīya eva tāmadya sampreṣya parigrohituḥ jāto mamāyam viśadaḥ prakāmam pratyarpitanyāsa ivāntarātmā, (Abhijnana-Śākuntalam 4.22) K,B. | ||
| ईर्ष्यामान Īrṣyā-māna |
annoyance caused by jealousy | It happens in the part of the heroine alone. The jealousy aroused in a proud heroine on coming to know that her lover has been frequenting another woman enrages her to the point of keeping away from him. The infidelity may be actually witnessed or inferred from three types of evidence: remarks in a dream as in Svapnavādsavadattam Utsvapnāyita or indications of actual sexual intercourse, e.g. marks of teeth or nails, a strange but fresh aroma etc or mixing up of names, This jealous pride could be overcome by consolation, mediation of a friend, disregard, change of topic or apologies. R.G. | ||
| जडता Jaḍatā |
stupor, regarded as one of the thirty-three subordinate feel- ings (vyabhicārī (bhāvas). | The seventeenth among the thirty-three Vyabhicārī Bhāvas, as enumerated by Bharata. Jaḍatā or stupor is a static state of mind, as opposed to Capalatā, implying incapacity for action it is caused by seeing or hearing something agreeable or disagreeable. Gazing with unwinking eyes, remaining silent, etc. are the external manifestations of this state. (D.R.1V.13) R.G. | ||
| जडता Jaḍatā |
swoon, unconsciousness, | The ninth stage in lovelorn condition. The person falls unconscious due to overwhelming passion combined with mental agitation caused by disappointment. R.G. | ||
| जाति Jāti |
a variety of mātrika metre. | A MĀTRIKA metre, i.e., a metre with a defined permutation of ‘MĀTRĀS’ is called jāti (kāvyāderśa I. 11C.M.1.4). It differs from a VṚTTA in that a Vṛtta is a varṇika metre. Each jāti has four feet as has a vṛta. A ‘jāti’, like a ‘vṛtta’, may be either of even (sania) type or of semi-even (ardiasama) type or of uneven (viṣama) type. All the four quarters are unifdrm in an even (sama) type jāti jāti of semi-even has two hemistichs adjusted in a different scheme and a jāti of uneven (viṣama) type shows variations of schemes in its four quarters (N.S.15.40:C.Su 5.2 V.R. 1.13-16 C.M. 1.5, 6). K.B. | ||
| जुगुप्सा Jugupsā |
abhorrence, disgust, hatred | Jugupsā is a basic instinct underlying the BĪBHATSA rasa, the sentiment of disgust, the nauseous or hideous. It is aroused:by the nauseating sight of loathsome actions, objects or vices and results in a queer mental repulsion. . R.G. | ||
| कैशिकी वृत्ति Kaīśikī vṛtti |
the gay mode. | The gay mode of the light-hearted hero is expressive of love through song. dance, coquetry, etc. It has four aspects: pleasantries (narma), outburst of love (narma-sphūrjā), disclosure of love (narmasphoṭa),and development of love (narma-Garbha) within. A pleasantry is clever jesting through fun, love or fear, meant for conciliating the sweet-heart. Fun may be based on words, costume or action. Love may convey desire for enjoyment or jealousy, thus it is eighteenfold. Outburst of love at first sight begins happily but ends in fear. Disclousre of love involves moderate emotion indicated through sly expressions. Development of love is manifested in the coming up of the hidden hero for fulfilment. The gay mode has its origin in the Sāma Veda. S.K. | ||
| काक्वाक्षिप्त व्यंग्य Kākvākśipta vyaṅgya |
suggestion through intonation. | Seventh type of second-rate poetry, such as an ironical or sarcastic expression which is construed in a sense directly opposite to its denotation on account of the intonation of the speaker. When Bhīma says with an angry accent, “If Idon’t drink Duśśāsana blood. Shatter Duryodhana’s thigh to pieces, may your king make truce with them’’, it is the intonation alone that suggests his intention to fight. The intonation is but an external means of suggestion. S.K. | ||
| कलहान्तरिता Kalahāntaritā |
a variety of nāyika who is separated from her lover consequent upon a quarrel with him. | The fourth variety under Bharata’s eightfold classification of the heroine based on the situations she may be placed in. Kalahāntarītā is one who, having repulsed out of indignation her guilty lover, who had tried his best to appease her is filled with remorse after the latter has already left. Ill.: I paid no heed to his entreaties I did not even look at the necklace presented by him, I turned a deaf ear to the sane advice given by my dear friend who wished well of us before he left, he even fell at my feet. Alas! what a fool am I that I did not clasp him to my neck detaining him with my hands". (S.D.III.82) R.G. | ||
| कालवैचित्र्य वक्रता Kālavaicitrya vakratā |
striking variety of tense or time, deviation based on ‘tense’ | This particular variety of poetic-deviation is of two kinds: (a) An appropriate tense is made subservient in a particular context, (b) skilfully used tenses indicate a strikingly delightful sequence of happenings, sometimes inclusive of probable future happenings too. The sequence or mutual order of activities so implied lends additional charm to a poetic expression. S.K. | ||
| कामदशा Kāmadaśā |
Iovelorn condition. | It is of ten kinds or phases. It represents the pining of a lovelorn person for union with the loved one. The ten kinds or phases suggest the growing intensity of feeling: abhliāṣa i.e. longing cintā i.e., worry or anxiety: smṛti i.e. recollection, remembering the love person and his virtues, pondering about him guṇakathana i.e. describing or talking of his virtues udvega i.e. dejection, agitation lamentation, wailing or incoherent talk unmāda i.e. hysteria, infatuation vyādhi i.e. illness jaḍatā or unconsciosness, swoon mṛti i.e. death which is averted or which is followed by revival through supernatural power, otherwise, it would turn into the pathetic sentiment. R.G. | ||
| कान्तिः Kāntiḥ |
brilliance, charm, grace, loveliness. | Bharata regards loveliness as delightful to the mind and ear like the moon. It pertains to descriptions of graceful movements and sport, which in turn lead to the manifestation of a sentiment. To Vāmana (a) brilliance is the fresh lustre of words, freedom from staleness or conventional usages. (b) Brilliance of sense requires a conspicuous manifestation of intense sentiment, an innate charm of simple expression free from exaggeration. Sentiment is thus included in brilliance. Danḍin defines it a delightful and loveable expression not transgressing day-to-day usage. S.K. | ||
| कान्तिः Kāntiḥ |
additional charm caused by love. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the second among the seven AYAKANAJA ALAṀKĀRAS. When the natural loveliness of the heroine is further enhanced by the feeling of love, it is Kānti (D.R. II. 35).iii. “She speaks as if nectar is raining from the heavens the splen-dour of her side-long glances is like a garland of full-blown blue Jotus flowers’. R.G. | ||
| कन्या Kanyā |
a unmarried woman, a type of heroine. | A Variety of PARAKIYA NĀYIKĀ, Kanyā is an unmarried woman who makes love to a person to whom she has not been married. Being still under the control of her- parents, she can do so only stealthily. Nevertheless, she can later be married to the person whem she loves. Hence there is no impropriety in depicting Kanyā as the principal character of a play. Mālatī in the drama Mālatī Mādhava and Sāgarikā in the play Ratnāvalī afford examples of Kanyā (D.R.II. 21). R.G. | ||
| कारक वक्रता Kāraka vakratā |
striking case inversions or inversion of cases. | It involves an interchange of cases. The instrumental case is used as the nominative case with an artistic design to give a queer turn to the expression which makes it peculiarly delightful. Freedom of will may be superimposed upon an insentient by applying a nominative case-ending. Example: ‘My hand now moves on towards the bow once again’. S.K. | ||
| करणमाला Karaṇamālā |
garland of causes. | A figure of speech in which each preceding object is spoken of as the cause of each succeeding one ‘Knowledge of the scriptures comes from the company of learned men, modesty comes from such knowledge, and affection for mankind is generated out of modesty.’ (S.D. after 10.779). Here the company of learned people has been spoken of as the cause of knowledge, knowledge as the cause of modesty, and modesty as the cause of the affection for mankind. S.D.C | ||
| करुण विप्रलम्भ Karuṇa vipralambha |
a state of separation in which the loved one pas-ses for the time being but is ultimately revived. | On the passing away of loved person the survivor losing hope of reunion suffers acute distress and grief. The sentiment is a queer mixture of eros and pathos. It is possible only when the person who has passed away is, on the assurance of some supernatural power, expected to be revived or to return from the other world in the same body. If, however, the person passes for good and the reunion is not possible, it becomes pure pathos. This is the third type of separation and is best illustrated by the plight of Mahāśvetā and Kādaṃbarī in Bāṇa’s Kādaṃbarī. R.G. | ||
| कार्य Kārya |
The final elemant of the plot. | Kārya is one of the five elements AKTHAPRAKṚTIS of the plot. It is the denoucement or the final element. According to Sāhitya Darpaṇa when the drama sets on to function with its desired end in view, the final device adopted for this function is said to be Kārya. Kārya is connected with three primary objects of human life named virtue, wealth and pleasures (Daśarūpaka 1.24). I.N.C. | ||
| कार्यावस्था Kāryāvasthā |
stages of action in a drama. | Kāryāvasthā means stages of action. According to Dhaṅanjaya, there are five stages of the action which is undertaken by those that strive after a result : beginning (ārambha), effort (yatna), prospect of success (praptyāśā), certainty of success (niyatāpti) and attainment of the result (phalāgama) (D.R. 1.28). In non-classical Western dramaturgy too the action has five stages: initial incident, rising action or growth or complication, climax, crisis or turning poixt, falling action or resolution or denouement, and catastrophe. L.N.C. | ||
| कष्टार्था Kaṣṭārtha |
obscurity. | This defect arises when the sense of a composition either in prose or poetry is obscure (K.P. 7.55). Viśvanātha, however, terms it as Kaṣṭā (S.D. 7.9). K.B. | ||
| कष्टता Kaṣṭatā |
see KASTARTHA | |||
| कथा Kathā |
a short story, | Kathā like ĀKHYĀYIKĀ means a short story generally in prose but sometimes also in verse. Bhāmaha and Danḍīn have discussed both ākhyāyikā and Kathā as prose compositions. According to Bhāmaha, Kathā is ākhyāyikā without verses, without divisions, and is written in Sanskrit or Apabhraṃśa. In Kathā, someone other than the hero relates the story. Danḍīn also emphasizes that a Kathā could be in any language and cites Bṛhatkathā by way of illustration. Bhoja, however, ados that a Kathā could be in yerse also. He gives two examples in support of his statement: Kādambari and Līlāvatī, the former being a composition in prose and the latter in verse. Hemchandra and Śāradātanaya follow Bhoja in asserting that Kathā could also be in verse. Ānandvardhana has classified Kathā into three types according to their scope, namely, parikathā, khandakathā and sakalakathā. Partikathā narrates many anecdotes to expound some basic objective of life compared to khandakathā is very much limited in scope, while sakalkathā is larger in scope than the parikathā. Of these, only parikathā can be either in Sanskrit or in Prākrit the other two are always in verse, and their medium is Prākrit. In all the three forms, the emphasis is on the narration of a story. N.J. | ||
| कथितपद Kathitapada |
see PUNARUKTA. | |||
| कविशिक्षा Kavi- śikṣā |
the poet’s training instruction in the art of poetry | This is a subject which, strictly speaking, does not directly come under poetics. The treatises written for this purpose do not deal with the theory and the topics usually connected with it. Their primary object is to instruct aspiring poets in their craft. They formulate practical rules for composing poetry, outline the subjects of poetry, point out the pitfalls to be avoided and the excellences to be attained, The origin of this tradition cannot be traced, but there exists a group of works devoted entirely to this subject, such as, Kāvya-kalpalatāvṛtti of Arisiṃha and Amarachandra, Kavi-kalpalatā of Deveśvara etc. N.J. | ||
| काव्य Kāvya |
a minor type of play or uparūpaka. | This is a one-act play in which HĀSYA (humour) as the constituent rasa pervades throughout. There is no scope in this play for the employment of ārabhaṭi VṚTTI, which consists of battles, murders, display of anger, magic, etc. The reason for exclusion of such a treatment is perhaps that in this type of play humour is the main constituent and the effect is Jikely to be nfarred by mad and obstinate activities. Various types of songs (viz. Khaṇḍamdātrā, dvipadikā and bhagnatāla) are emyloyed to add to the appeal of the play. Further a variety of fine metres (viz. Varṇa-mātrā and Chagaṇikā) are also used for the same purpose. This suggests that the play is full of music and naturally to heighten the effect of the rasa viz the hum-orous. These verses and songs must also be very humorous. However, the first and foremost rasa, viz. sṛigāra, has not been completely excluded from this type of play, and it is supposed to include ‘“Sṛngārabhāṣitas (lines of erotic dialogues) which is quite possible in view of the fact that there is no mutual conflict between the humorous {hāsya) and the erotic sentiments. Both the hero and the heroine have to belong to the noble class. Since the action is completed only in one act, there is no scope for the employment of all the five devices of construction or Sandhis. Thus according to Sanskrit theorists it contains only the first two (viz, mukha and pratimukha) and the last (viz. nirvahaṇa) saṇdhis. Yadavodaya has been cited as an example of this type of uparūpaka or minor drama. In other respects plays of this kind partake of other characteristics of a nātaka or general play. R.D. | ||
| काव्य भेद Kāvya-bheda |
classification of poetry ४९ | In Sanskrit Poetics poetry has been classified from several points of view. The first classification was made by Daṇḍin who divided Kāvya (creative literature) into Gadya (prose), Padya (verse) and Miśra (mixed) on the basis of the medium of composition. He further classified poetry into Sargabanāha (composed in cantos) which is a synonym for Mahākāvya (epic), Muktaka (stray verses), Kulaka (a sequence of loose verses), Kośa and Sanghat (a compilation of unconnected verses). Prose for him included Kathā, Akhyayikā and Campū, the first two being forms of stories and the third a mixture of verse and prose. Daṇḍin has further submitted a classification on the basis Of the language employed, namely, Sanskrit, Prākrit and Apbhraṁśa. Rudratta has expanded this list of languages to six, and added Māgadha, Piśāca and Śūrsena Bhāmaha has also referred to more than one classifications of poetry. He initially divides poetry into prose and verse and also into Sanskrit, Prākrit and Apbhraṁśa as did many others. On the basis of the source material of the story, he gives a new division of poetry into Vrittadevadicaritaśansī (that which narrates the life stories of gods, etc.), Utpādyavastu (based on an imaginary story), Kalaśraya (based on fine arts) and Sāstrāśraya (based on scriptures), Bhāmaha has further classified poetry into (i) Sargabandha (epic), (ii) Abhineyārtha (stage-play), (iii) Kathā, (iv) Akhyāyikā (stories) and (v) Anibaddha (unconnected verses), vāmana has enumerated some more varieties of prose, i.e. Vrittagandhi (resembling verse), and Chūrṇa Utkalikāprāya. Among the later writers, however, two divisions were more popular (1) Dṛśya and Śravya which were based on the sense-media of appeal, and (ii) Excellent, (urttma), (ii) Medium or of secondary value, (maddhyama) (iii) inferior (adhama), which were based on Suggested meaning. 1. Based on the sense media of appeal: It has two sub-divisions: (a) Dṛśya Kāvya is a form of poetry which appeals through the eye—viz., Drama, which is enacted and watched. The drama is called Dṛśya, that which is seen, only so long as itis acted. But when it is not acted and is capable of being enjoyed by the reader, it is simply kāvya. Bharata usesthe word kāvya often to designate the text of the drama. That is why probably Vāmana said that among compositions, drama is at the top, for it is variegated and attractive like a picture. (See Kāvya-bheda). (b) Śravya kāvya is that form of poetry which appeals through the ear—e.g. the narrative, independent verses, etc. It is a form of poetry which is enjoyed through recitation or reading. II. On the basis of the suggested meaning: On this basis Kāvya has been divided into three categories, namely. Uttama (excellent), madhyama (of secondary value,) and adhama (inferior) by the expoments of DHVANI school—Ānandavardhana, Mammaṭa, etc. Jagannātha adds another category, Uttamottama (par excellence), to these three. (a) Uttama: A poem is said to be excellent when the suggested meaning is richer than the expressed one. (b) Madhyama (of Secondary Quality): The poem, in which the literal or expressed meaning excels the suggested one in beauty,is of secondary value. This kind of word-meaning relationship is called GUÑTBHUTA VYAÑGYA in which the suggested meaning is secondary. (c) Adhama: The inferior or the lowest kind of poetry is that which is devoid of all suggestion. It is merely a word-picture containing a literal meaning alone. It is called ‘CITRA’ (picture). Citra is devoid of suggestion, though it may possess figures of speech. N.J. | ||
| काव्यहेतु Kāvyahetu |
motivations of poetry, equipment of the poet | The tradition of Sanskrit poetics generally regards three qualities as essential to the making of a poet. Mammatta in his usual compact Style has summarized them as (i) creative faculty (sakti), (ii) proficiency (nipuṇata), resulting from knowledge of the ways of the world, and a study of sciences and arts, and (iii) constant practice (abhyāsa) under the guidance of masters. Ānandavardhana, Rajaśekhara and Panditarāja Jagannātha have used the term Pratibha for Śakti and Vutparti (poetic culture) for nipuṇatā. According to Bhāmaha, Daṇḍin and Vāmana, pratibhdā is a sort of inborn creative talent or imaginative power. According to Bhatta Tota, the distinguished teacher of Abhinava, this is a sort of intuitive power, (prajñā), which is the fountainhead of new forms of artistic creation. Most of the theorists have defined this creative talent as natura or inborn but according to some, it can also be cultivated. As for literary culture and practice, Rudraṭa, Hemachandra,and others have said that they sharpen and brighten the creative faculty. Ifa poet is endowed with creative talent, he can well-nigh conceal the defects arising from lack of literary culture and practice, but the converse is not true. Broadly speaking, the term pratibhā bears close resemblance to Croce’s ‘Intuition’. , Although the relative importance of the creative faculty has generally been accepted in Sanskrit poetics, all the three cumulatively, and not severally, constitute the creative equipment of the poet. Rājaśekhara extends the use of Pratibhā to the critic also. According to him, it is twofold: (i) Kārayitrī or creative faculty which resides in the poet, and (ii) bhāvayitrī or aesthetic sensibility which is the basic quality of the critic. N.J. | ||
| काव्य की आत्मा Kāvya kī ātmā |
the soul or essence of poetry. | The question of determining the soul or the essential element of poetry has not been debated by Sanskrit scholars as such, though in their works, they have undoubtedly indicated their preference by underlining one element or the other. On the basis of the relative importance which they have given to a particular element in literature, they have been grouped under different schools. Broadly speaking, there are two major groups. The first consists of theorists who regard the inner context—emotive and imaginative as the soul of poetry, and the second includes those who look upon form, i.e. diction, figurers of speech, etc., as its essential element. The RASA & the DHVANI schools belong to the first category, while ALAṀKARA RĪTI and VAKROKTI schools belong to the second. Among these, the theory of rasa is the oldest. Bharata, who inherited the doctrine from his predecessors and built up a new system of dramaturgy, does not in specific terms raise the question of the importance of Rasa as such. But it is more than obvious that he makes all other elements of poetry, i.e. lakśana, guṇa, dośa and alamkāra, subservient to rasa, It appears that before Bharata, the supremacy of rasa was naively understood but not theoretically established. After Bharata, however, the relative importance of rasa in pvetry came to be recognized and stated more specifically. The author of Agnipurāṇa said that ‘‘though the charm of speech is a dominant factor, Rasa is the spirit of poetry.”? Rājaśekhara corroborated this view with a slight difference, for, according to him, “word and meaning are the body of poetry and Rasa its soul.”? Viśvanātha went a step further and defined poetry as “tan expression pregnant with" rasa. The position of rasa in poetry became controversial with the exposition of rīti and alaṁkāra doctrines by Bhāmaha and Daṇḍin. Both of them allowed a subsidiary place to rasa in their scheme by including it as a kind of alaṁkāra, namely the RASAVAT. Bhāmaha compared poetry to the face of a woman which does not shine forth in full splendour without ornaments in spite of its natural beauty. Dandin also defines the figures of speech as so many sources of poetic beauty. Among others who supported this view, the names of Udbhata, Rudraṭa, Ruyyaka and Jayadeva can be mentioned. Vāmana was probably the first scholar to have used the word ātmā (Soul) while determining the distinguishing attributes of poetry. He declared that rīti, i.e., poetic diction, is the soul of poetry. He defined rīti as aspecial arrangement or combination of words and`added that this speciality lies in the use of GUŅAS or poetic excelJences. For him the rasa too was but one of the several kinds of poetic excellences, and he gave a new meaning to the word ALAṀKĀRA. In the wider sense he used it as a synonym for poetic beauty in general but in the limited context he gave a subsidiary position to the figures of speech, calling them secondary attributes of poetry. On a similar pattern, Kuntaka established VAKROKTI as the soul of poetry. Like the protagonists of the alaṁkāra and riti doctrines, he also incorporated all other elements in the framework of Vakrokti. He defined Vakrokti as expression which on the one hand is different from the matter-of-fact technical statements of śāstra and on the other from the ordinary language of command parlance. It is a unique poetic expression resulting from a deviation in speech—or an oblique use of language. Broadly speaking, Kuntaka regards vakrokti as a synonym for postic art in general which extends from the intricate use of letters to the structural beauty of long narratives. The most important of these was the doctrine of ‘dhawni connotation’ (suggestion). The propounder of this theory Ānandawardbana defined dhawni as a form of expression in which the suggestion is invariably more beautiful than the denotation. According to Ānandavardhana, the beauty of a poem is always suggested rather than stated. Among the various forms of dhwani he has included all the elements of poetry in a proper system. But he regards RASA-DHVANI as the highest form of poetic composition.Thus rasa and dhwani gradually became inter-dependent and were for all practical purposes submerged into one. We could also add another doctrine to the list, namely that of AUCITYA or propriety propounded by Kṣemendra. But this does not really enjoy an independent status because, in the words of Kṣemendra himself, propriety is the very essence of poetry which is based on rasa. These are the five schools of poetics which struggled for centuries for the supremacy of content or form in poetry. But in reality there is more of interdependence than rivalry among these doctrines, for neither the content nor the form can stand by itself. This basic point was more than realized by the masters in the field. Their approach ‘was more inclusive than exclusive, and their objective was more to emphasize than to deny anyone the basic elements of poetry. In the final analysis, however, Rasa or more appropriately RASA DHVANI ‘won the palm & the other elements, i.e., diction & figures of speech, etc, served as effective media N.J. | ||
| काव्य क्रियाकल्प Kāvya-kriyā-kalpa |
poetic skill. | Vātsāyana in his Kāmasūtra has enumerated sixty four arts. One such art is ‘Kāvya-kriyā-kalpa’. On this authority, Dr.v.Raghavan has suggested in his Some Concepts of Alaṃkāra Sāstra that before Daṇḍin and Bhāmaha ‘Kāvya-kriyā-kalpa’ was the name of Sanskrit Poetics. P.V. Kane, however, has refuted this view and propounded that ‘Kriyā-kalpa means just the procedure by which a poem is to be composed, and not the whole theory of poetics. N.J. | ||
| काव्य-लक्षण Kāvya lakśaṇa |
definition of poetry. | Numerous definitions of poetry have been attempted from time to time by Sanskrit Theorists. These definitions have generally been influenced by the author's conception of the essence of poetry. In some cases, however, the definitions are attempts on the part of their authors to describe rather than to define. In earlier definitions, the emphasis lies on the unique relationship between the word and the meaning. Bhāmaha’s is one of the earliest definitions of poetry. He defines poetry. as a form of composition in which word and meaning co-exist. According to Kuntaka, poetry is a unique—charming—relationsuip between words and meanings set in a proper order by the imagination of the poet. Mammaṭṭa defines it as a composition consisting of words and meanings which are flawless, possessed of excellences and may be sometimes without (explicit) figures. Some other writers like Vāmana, Hemachandra and Vāgbhatta, etc. have enumerated more or less the same qualities of poetry. Their demand for flawlessness, however, has been subjected to considerable criticism by later scholars on the plea that it can not be a pre-requisite for any great work of art and no work can be condemned on account of a few palpable flaws. The assessment of a poetical work should be made as a whole. There have also been scholars who lay greater emphasis on the word. The author of Agnipurāṇa and Daṇḍin may be cited in this context. Some critics have included Jagannātha’s definition of poetry under the same category (cf. P.V. Kane, History of Sanskrit Poetics. p. 353). But Jagannātha lays at least equal, if not greater, emphasis on the meaning, when he defines poetry as words that express a beautiful meaning, and a beautiful meaning is that which appeals to the reader’s imagination. Viśwanātha’s definition is based on what he thinks to he the essence of poetry. According to him poetry is an expression (sentence) infused with rasa. Among these definitions, the one most widely accepted is Jagannātha’s probably because of his balanced emphasis on both the word and the meaning or on the expression and the essence. Other definitions either lack this balance or tend to become vague or descriptive. One aspect of poetry has been emphasized by nearly all the scholars in their definitions: they all agree that though poetry employs the standard Janguage as its medium, it differs from the everyday spoken language qualitatively. N.J. | ||
| काव्यलिङ्ग Kavyaliṁga |
poetical cause. | A figure of speech in which a reason is implied in a sentence or ina word, Example:—‘Oh stupid cupid! You have been conquered by me, as the three-eyed Rudra resides in my heart’ (C.A.5, 38). Here the reason for the defeat of Cupid has been ascribed to the fact that the three-eyed Rudra who burnt him to ashes resides in the heart of Pārvatī. S.D.C. | ||
| काव्य-प्रयोजन Kāvya-prayojana |
the objectives of poetry. | It has been aconvention with the ancient Sanskrit writers to discuss the objectives of poetry at the beginning of their works immediately after the benedictory invocation. The convention has generally been followed both by creative writers as well as by theorists and rhetoricians. According to Bharata, who touches upon the subject in the context of drama, creative literature is a means of achieving virtue, fame and long life. It shows benediction, enriches the intellect, and imparts instruction in the ways of life. Bhāmaha describes good poetry as instrumental in the realization of the four aims of human life: dharma (virtue) artha (wealth), kāma (desire) and mokśa (salvation). It also enables one to master all arts and leads to pleasure and fame. Just as Bhāmaha was influenced by Bharata in spelling out the objectives of poetry, so also the scholars after Bhāmaha seem to have accepted his version almost as it is. Rudrata, Kuntaka and Viśvanātha more or less accepted the objectives enumerated by Bhāmaha. The author of Agnipurāṇa refers only to the realization of the first three aims of life and leaves out salvation (mokśa). Vāmana and Bhoja laid stress on pleasure and fame as the dual purpose of poetry, but Kuntaka and Rudrata added a few more. Rudrata proposed elimination of suffering, averting of trouble, deliverance from disease and achievement of the desired object, besides others, as the true objectives of poetry, while Kuntaka added the knowledge of the code of conduct, mental exhilaration and spiritual Wumination to the list. By the time Mammaṭa appeared on the scene, considerable groundwork had been done and he had before him a rather exhaustive list of the objectives of poetry. He studied the available material and discreetly classified the objectives under six heads: Poctry is for achieving fame, wealth and knowledge of the code of conduct for the removal of evil, for the attainment of instan taneous bliss and for imparting instruction, sugar-coating it in the detectable manner of the beloved wife. There has been some discussion among commentators and scholars of Sanskrit, as to who is the real beneficiary, the poet or the reader. Obviously some of the achievements of poetry appear to benefit the poet directly, e.g. achievement of fame, wealth, etc. while others seem to refer to the spectator or the reader—such as knowledge of the code of conduct, attainment of instantaneous bliss, and instruction, etc. Ona closer analysis, however, it is revealed that all these objectives relate to both the poet and the reader directly or indirectly. N.J. | ||
| काव्य सम्प्रदाय Kāvya sampradāya |
schools of poetics | The principal schools in Sanskrit poctics are five. In chronological order they are RASA, ALAṀKĀRA, RĪTI, DHVANI and VAKROKTI, although some scholars strongly feel that there was nothing like the so-called schools or sampradāyas in Sanskrit Poetics, as none of the works is exclusive and no author has claimed to belong to any particular school. A brief account of these schools and their basic doctrines is given below: The Rasa School: The earliest exposition of the rasa theory is available in the Naāṭyaśāstra of Bharata. The work, however, provides ample evidence to show that there was a tradition of rasa even before the Naāṭyaśāstra. According to Kādvya-mīmamsā, the Naāṭyaśāstra dealt with drama (rūpaka) and Nandikeśvara’s work with rasas. But no work of Nandikeśvara has come down to us, and Naāṭyaśāstra in its prefent form deals with the rasas as well. In fact, Bharat treats rasa not as an independent subject but as a part of dramaturgy. Nevertheless, Bharat has asserted in unequivocal terms that without rasa no performance can succeed and that the ultimate aim of a drama is to evoke rasa in the minds of the audience. Writers on Poetics did not in the beginning include the treatment of rasas in their works. Rudraṭa is possibly the first writer to have taken up the subject in his Kāvyādlaṁkāra. The relation of rasas to poetry was formally established by the author of Dhvanyāloka, and it was discussed at a great length by Abhinavagupta in Abhinavbhārati (a commentary on the Naāṭyaśāstra) and also in locana (a commentary on Dhvanyāloka). It is not that the other writers of Poetics were not cognizant of the importance of rasa the exponents of the Alaṁkāra School. for instance, dealt with it as a figure of speech named rasavat. Bharata did not define rasa in detail. He only indicated the process by which it came into being: “Outof the combination (saṃyoga) of the terminants (vibhāva), the consequents (anubhāva) and the transistory mental states (vyabhicārin), rasa is brought into being ”There is a whole tradition of scholars who have tried to interpret this statement in their own ways. (see RASA NISPATTI). The number of Rasas was originally eight corresponding to the number of permanent or dominant impulses of the human psyche: śṛ ngāra, hāsya, karuṇā, raudra, vīra, bhayānaka, bībhatsa, and adbhuta. Later on a ninth, i.e. the sānta, rasa was added to this list. Attempts ‘were made to include bhakti and vātsalya as well. Besides Bharata, the major exponents of the theory are Abhinavagupta. Dhananjaya, Bhoja, Śāradātanaya, and Viśwanātha, etc. The Alaṃkāra School: The writers who attached supreme importance to alaṃkāra in the poetic pattern belong to this school, the foremost among them being Bhāmaha, Daṇḍin, Udbhata, Rudraṭa, Pratihārendurāja, etc. Bhāmaha went to the extent of saying that a kāvya does not look beautiful without alaṃkāra in the sarne way as the face of a damsel, howsoever beautiful, does not look attractive without ornaments. Jayadeva remarked that to think of poetry without alaṃkāra is to think of fire without heat. The classification of alaṃkāras has varied from age to age. The total number of alaṃkāras enumerated by different writers in some form or the other exceeds a century. They have been divided mainly into alaṃkāras of word and alaṃkāras of meaning. Some of them however. belong to both. According to many scholars, Upamā (simile) is the very life and breath of the alaṃkāras. These writers did not also ignore such elements of poetry as rasa, dhwani etc., but they included them in the framework of the alaṃkāra which to them is the essence of poetry. Rasato them is a constituent of the alaṃkāra ‘rasavat, and dhwani is woven into the texture of quite a few figures. The Rīti School Vāmana is the founder of this school, although the concept was not unknown to the earlier writers who had indirectly given it a place in their scheme. Daṇḍin calls it mārga and deals with it at considerable length. The later writers on dhwani and alaṃkāra also have given duc recognition to it. It was Vāmana, however, who laid down in positive terms that rīti is the soul of poetry. He defined rīti as a special (artistic) arrangement of significant words. This speciality is based on gunas or ‘poetic excellences’. Vāmana has classified rītis into three : Vaidarbhī, gaudiyā and pāncālī. The number has, however, varied with the writers. Daṇḍin, Vāgbhatta and Rājśekhara, like Vāman, speak of three rītis. Rudrata and the author of Agnipurāṇa have added a fourth to the list, while Bhoja enumerates six. All the names have been derived from the regions wherein they were supposed to be prominently used. The Rīti school can be said to have improved upon the alaṃkāra school in the sense that instead of the alaṃkādras, it emphasis the poetic texture. The school, however, did not have any significant followers. The Dhvani School : Ānandvardhana, recognized generally as the author of Dhvanyāloka, is the founder of the dhvani theory. When he declared that dhvani is the soul of poetry, he used the term in an allpervading sense. The theory was evolved mainly in relation to Kāvya or Poetry. The theory of rasa which was basically relevant to drama, did not appear to do justice to stray verses. Bharata talked of rasa as evolving out of the combination of certain components—which was possible only in a developed situation. Therefore,’ Ānandavardhana and his followers rightly argued that in an unconnected solitary verse of poetic merit, where there is scope neither for stage-presentation nor for narration, beauty really lies in suggestion rather than expression. Rasa also is not directly expressed but suggested. In a beautiful verse, some or most of the constituents of rasa are only suggested and not presented. Two of the most outstanding exponents of this theory were Mammata and Panditrāja Jagannatha. Abhinavagupta also wrote a commentary on Dhvanyāloka under the title Locana, but he was basi- cally a votary of the rasa theory which he had identified with rasadhvani. Before the theory of dhvani came to be generally accepted, it was subjected to severe criticism by Bhaṭṭanāyaka, Mahimabhaṭṭa and Pratihāréndurāja, etc. The Vakrokti School: Kuntaka is the founder of the Vakrokti School. The word Vakrokti etymologically means a Striking or deviating expression different qualitatively from the plain, matter-of-fact expression. In alaṁkār-śāstra, it is generally the name of a verbal ornament, of a figure of speech consisting in an oblique or distorted use of words. Kuntaka has, however, used the word in a comprehensive sepse. According to him, the use of words in poetry is essentially different qualitatively from that in ordinary speech. The range of Kuntaka’s Vakrokri extends from the use of prefixes and suffixes to the whole structure of a plot or a narrative. As such, it becomes a synonym more or less for all forms of poetic art which is born of the poet’s creative imagination. It is in this sense that Kuntaka declared Vakrokti to be the soul of poetry. Some modern writers have compared Kuntaka’s theory to Expressionism as propounded by Croce. The theory, however, failed to draw any followers after Kuntaka, and it was summarily dismissed as another dimension of the Alaṁkāra, Kśemendra propounded the theory of aucitya (propriety or decorum), but it was not taken very seriously, primarily because it was considered to be a mere synthesis of the other theories rather than an independent doctrine. These in brief are the major schools which contested for the supremacy of one or the other constituent of poetic art. Gradually the differences were reconciled in the broader outlook adopted by some of the more balanced and catholic art-philosophers, and instead of contesting as rivals they joined in collaboration to evolve a cosmopolitan view of poetry. Just as the soul and the body combine to build up a living personality, so the emotive and imaginative content and the material form or the verbal texture join together to build up the Poetic Personality the Kāvya Puruśa. Rasa is the soul of this Kāvya Puruśa, speech or language is his body, figures of speech are his ornaments and the rīti or style is his physical constitution or bearing. N.J. | ||
| काव्य-शरीर Kādvya-śarīra |
the body of a poem. | Kādvya-śarīra signifies the body of the poem, the body-poetic,to use a modern expression. In Sanskrit poetics, Kāvya has often been compared to a human personality having a body and a soul. This analogy came into prominence when the question of the essence or soul of poetry was debated. The outer form of poetry consisting of words and their meaning was described as the body of poetry and rasa was regarded as its soil. While Rasa was, therefore, given the primary place, language (word and meaning) became subordinate, serving as medium. N.J. | ||
| काव्यशास्त्र Kāvyaśāstra |
poetics | The term was not used by the earlier theorists who preferred to call their works Kāvyalaṃkaāra. The works of Bhāmaha, Vāmana and Rudrata are entitled Kāvyalaṃkaāra. Another term used for Poetics was Śahitya. Rājśekhara has used the word Śāhityavidyā in the sense of the science or theory of (creative) literature. Thus the term Kāvyaśāstra as a Sanskrit equivalent of poetics appears to have been coined later. Kāvyaśāstra in the modern times is an expression popularly employed for the theory of poetry as different from Nātyasāstra, i.e. Dramatics or Dramaturgy. It grapples mainly with problems general and particular pertaining to poetry or creative literature. Among the problems of a general nature, it deals with questions like the objectives of poetry, the causes of poetry, the definition of poetry, the soul or the essence of poetry, the nature of poetic experience, etc.. On the technical side it deals with the problems pertaining to the relationship of word and meaning, nature of poetic language, classification of poetry from different standpoints, etc. It is, not necessary, however, that all the works on poetics should dwell on all these topics. A few works deal with most of these subjects comprehensively, e.g. Sāhityadarpaṇa which covers dramaturgy also. But in most of them, dramaturgy is excluded. Kāvyādarśa, Kāvyālaṃkārsūtra, Kāvyaprakāśa and Rasgangādhara, etc. may be cited as examples. In certain works there is an exposition of some special theory of poetry, e.g. Dhvawyaloka, Vakroktijivitam etc. There is another class which deals mainly with dramaturgy, such as Nātya- śātra and Daśarūpaka. Broadly speaking, the term Kāvyaśātra is comprehensive enough to include all the aspects of literary theory. N.J. | ||
| केलि Keli |
amorous sport. | The last of the eight SATTVIKA ALAṀKĀRAS added by Viśvanātha to the class of SVABHAVAJA. Amorous sports of the heroine with the hero is ‘keli’ (S.D. III.110). III : ‘When the hero failed in removing the pollen of the flower from her eye by a blast of his breath, the thick-breasted damsel dashed him away with a knock of her bosom. R.G. | ||
| खंडकाव्य Khaṇda-kāvya |
a short narrative in verse. | It is a verse-narrative of some length. In Sanskrit poetics, no detailed definition of a Khandakāvya has been attempted. Viśvanātha defines it as a verse-composition which narrates not a complete story but only a part of it. He mentions Kālidaāsa Meghdūta as an example of this type of composition. N.J. | ||
| खंडिता Khaṇḍitā |
one of the eight principal NĀYIKĀS in Sanskrit, a betrayed woman whose husband or lover has been guilty of । infidelity and who is, therefore, angry ‘with him. | The fifth variety of the NĀYIKĀ under Bharata’s eightfold classification of the heroine based on the situations she may be placed in. Khaṇḍitā is one who is filled with jealousy seeing that her beloved, who has just approached her, bears on his person the marks of his union with another lady (S.D. III. 75). Ill: The heroine says to the. treacherous hero sarcastically, ‘‘your eyelids are stained with the red saliva of the chewed betel (as they have been kissed by some one), your lips are stained with the black collyrium (as you have kissed somebody’s eyes), and your forehead Las been decorated with the red dye meant for the feet (since you have placed your forehead on the feet of some lady). What a beautiful adornment! It is really so nice of you to have met me to-day like this’’. R.G. | ||
| ख्यातिविरूद्ध Khyātiviruddha |
see PRASIDDHITYĀGA | |||
| किलकिंचित Kilakiṅcita |
amorous emotions of a mixed type in the company of a lover. | One of the twently SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the fifth among the ten SVABHĀVAJA ALAṀKĀRAS. A mingling of varied emotions and actions, such as a smile, feigned-weeping without tears, laughter, show of fear or anger or fatigue, all resulting from the delight which one experiences, or meeting the loved one, is what, we may call Kilakiṅcita (8.7. 3.101). Ill: “The beautiful lady ma a show of repulsing the hand of her lover, ensuring that he does not actually withdraw his hand, chides him with a sweet smile, and weeps, with dry eyes, even though she is quite happy’’. R.G. | ||
| क्लिष्ट Kliṣṭa |
obscure, complicated. | This poetic flow occurs when an idea is expressed in an obscure or roundabout manner (i.e the use of many words where as few would suffice) (K.P. 7.51 S.D. 7.3). Examples: (i) Occurring in a compound word— atri-locana-sambhūta-jyotirudgama-bhāsibhiḥ sadṛśam śobhatetyarthaṁ bhūpala tava ceṣṭitam. i.e., ‘O king, your activity looks beautiful like water lilies.’ Here a long compound word meaning lilies is used thus: (flowers) which blossom at the rise of that luminary which was born of the eye of sage Atri. Mythologically, the moon appeared from Atri’s eye and when she rises, the water—lilies unfold their petals. (ii) Occurring in a sentence — dhammillasya na Kasya prekṣya nikāmaṁ kuraṅgaśāvākṣyāh. Rajyatyapūrvabandhavyutpattermānasaṁ śobhām (K.P. 7.182). i.e, “Whose heart is not emamoured of looking at the prettiness of the well-trimmed hair of that damsel whose eyes are as beautiful as that of a young deer?” Here the words are so placed. that the sense becomes obscure. The proper syntactical connection should be— dhammillasya śobhām prekṣya kasya mānasam na rajyati, but in the verse under study ‘dhammillasya’ occurs as the first word, while ‘śobhām’ appears in the end. Similarly ‘Kasya’ is placed in the first quarter, and ‘mānasam’ in the fourth. Hencet he entire sentence has become obscure. Traditionally, this defect is known as dūrānvaya-doṣa. . K.B. | ||
| क्रीडित Krīḍita |
amorous sport of a general type. | It is an additions made by Bhoja to the twenty SĀTTVIKA ALAṀKĀRAS of the heroine. It has been defined as a general sport common to childhood, adolescence, and youth R.G | ||
| क्रिया वक्रता Kriyā varkratā |
strikingness of verb or action | This last variety of a striking substantive, is fivefold: i) The verb is made utterly subordinate to the subject ii) An additional superior subject is supplied for a verb, thus bringing out the efficacy of the subject under description. ‘“‘The submarine fire drinks the oceans over year Agastya did it in a single sip’’ iii) A Suitable adverb or adverbial compound is used to lend additional significance to the verb iv) A verb is used metaphorically .through semblancebased indication, implying a fantastic action v) The grammatical accusitives and other cares are concealed by using words like “‘some thing, somehow, somewhere, etc’’, in their place. This lends unique charm to the whole activity. S.K. | ||
| क्रोधः Krodhaḥ |
wrath, ange enragement | Krodha is the basic instinct underlying the RAUDRA RASA, the sentiment of furiousness or the ferocious. It is aroused by unfavourable actions or wrongs done by others and results in harshness towards the wrong-doer or the enemy. It is predominant in the Venīsaṁhāram. R.G. | ||
| क्षोभः Kṣobhaḥ |
see Prakṣobha. | |||
| कुलटा Kulaṭā |
an adultress, an unchaste woman, | An adultress in regarded as undesirable in the main plot. Though she is the law-fully married wife of one person, she makes love to another man. Naturally she is regarded as a fallen woman, slur on the family and is never to be associated with the main sentiment. S.K. | ||
| कुट्टमित Kuṭṭamita |
the affected rejection of a lover's endearments or caresses by the heroine it is one of the graces of the heroine. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the Heroine, as enumerated by Bharata, and the seventh among the ten SVABHĀ VAJA ALAṀKĀRAS. When a heroine, though inwardly filled with joy at the seizure of her hair, breast or lip, etc. by her lover, pretendingly tries to ward him off by hand or head, she manifests the Kuṭṭamita Alaṁkāra (5.12. 111, 103). Ill. “‘When the hero lays his hands on her breast, she tries to repulse him verbally, but at the same time clings to him closer and closer’’. R.G. | ||
| कुतूहल Kutūhala |
eagerness, curiosity. | One of the eight Sāttvika Alaṁkāras added by Viśvanatha to the SVABHĀVAJA category. To be impatient to see a thing of beauty is Kutūhala (S.D. IIL. 109). Ill.: “Hearing that the wedding procession of Prince Aja was passing by, that beautful lady suddenly withdrew her foot from the hands of the female decorator and ran to the window forthwith to have a look at the procession, thereby dripping the lac-dye all the way’’. R.G. | ||
| लक्षणा Lakṣaṇā |
indication, indicative capacity of the word | The secondary or figurative capacity or function of a word to indicate a sense different from, yet related to, it s literal sense is called lakśaṇā, It operates when (i) the denotation is incompatible in a particular context, (ii) when the sense to be indicated is related to the denotation, and (iii) when such an indication is (a) sanctioned by continuous tradition, or (b) purposefully intended by the poet. While (iii a) is called Traditional Indication, (3 b) is called purposeful Indication. Indication based on the relationship of some semblance is called Metaphor, while on the basis of any other relationship, it becomes pure-Indication, When the name of a frovince is used to indicate the residents therein, it is Traditional Pure Indication. The phrase ‘A cowherd colony on the Ganges’ is used intentionally to convey the sacred and cool enviranments of the colony, the ‘Ganges’ implying not che stream but the bank of the river. [t is purposeful pure indication. S.K. | ||
| लक्षण लक्षणा lakśaṇa lakśaṇā |
exclusive pure indication. | This is the second type of Pure Indication wherein the secondary indicated sense is narrower than the primarily denoted sense and hence exclusive of the same. ‘A bull’ denotes the genus ‘bull’ but in the sacrificial bull’, ‘bull’ indicates the animal particularly chosen for a specific purpose. Thus, instead of the genus that is denoted, the indication refers to one individual only. S.K. | ||
| लक्षणामूला ध्वनि Lakśaṇāmūlā dhvani |
indication-based suggestion predominant suggestion devoid of an intention to convey the primary denotation. | This is the second type of predomirantfy suggestive poetry. The denotation being inccmpatible is given up to indicate an indicated, secondary sense, and the purpose udderlying such usage is suggested through this procedure. This suggestion is of two types: (i) where the denotation is transformed into some different sense (ii) the denotation is utterly disregarded. S.K. | ||
| लक्षणामूला व्यंजना Lakśaṇāmūlā Vyaṅjanā |
indication-based suggestion | In a purposeful indication, the denotation does not hold good in the context and another sense related to it is conveyed through indication. A poet, however, uses indicative expression with a definite purpose, which is conveyed through suggestion. ‘A hermitage on the Ganges’ cannot, for instance, be accepted in the literal sense of the Ganges viz. the stream. So it is construed as ‘a hermitage on the banks of the Ganges.’ When one searches for this underlying purpose, he apprechends that the sanctity, holiness and coolness of the river are through suggestion attributed to the bank and the hermitage situated on it. This suggestion of the purpose may be (i) evident, or (ii) concealed. Traditional indication has no suggestion underlying it. S.K. | ||
| लाक्षणिक शब्द Lākśaṇika śabda |
an indicative expression: | This is a word which, being incompatible in a particular context, is interpreted as indicating a sense different from, yet connected with its primary denotation. lt may either be (i) traditional or (ii) purpose ful. In the latter case, it becomes suggestive too. S.K. | ||
| लक्ष्यार्थ Lakṣyārtha |
indicated sense. | The secondary meaning purposefully or traditionally attributed to a word which is incompatible in a particular context. This sense has to be related to the denoted sense. It is suggestive also of whenever there is a purpose behind it. S.K. | ||
| ललित Lalita |
graceful amorous cestures of a woman. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the ninth among the ten SVABHĀVAJA ALAṀKĀRAS. A graceful pose or a delicate movement of limbs is lalita (S.D.iii.105), III “She walked, as if she was dancing, even without the accompaniment of music every movement of her limbs was so lovely as if it were a particular pose in dancing.”” R.G. | ||
| लाटी रीति Lāṭī rīti |
the lata style of composition. | Not mentioned by Danḍin and Vāmana, the lāṭī style is referred to in the puraṇas and accepted by Udbhaṭa, Rudraṭa and Bhoja. Rudraṭa describes it as having compounds of five to seven words. The Puraṇas, however, maintain that it is easy-flowing and clear but void of brilliance. S.K. | ||
| लावण्य Lāvaṇya |
charm, | It means in the delicate style, a charm resulting from a suitable arrangement of letters and words an inherent charm of verbal arrangement. (2) In the variegated style, it arises out of a skilful, and proportionate combination of long and short, soft and harsh syllables. Short syllables are preceded by conjuncts and Visargas are retained. It results in enriching of the verbal arrangement in a pithy expression. S.K. | ||
| लय Laya |
rhythm. | Laya is a rhythmic modulation. In other words, it is a vocal modulation which adds to the effect of the flow in a poem. It differs from yati which is just a pause (caesura) within a quarter of a stanza. It is correct to read a verse with a pause (caesura) prescribed for it, but it is more impressive and sonorous if recited with rhythmic modulations. K.B. | ||
| लीला Līlā |
amorous, sport. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the first among the ten SVABHĀVAJA ALAṀKĀRAS. Imitation of the hero in manners, dress, ornaments and spcech by the heroine out of sheer love is Līlā (6.7.III.99). 1. ‘Rādhā adorned herself in Kṛṣṇa’s make-up, and sat. by his side the friends could not tell who was Rādhā and who was Kṛṣṇa.” R.G. | ||
| लिङ्गवैचित्र्य वक्रता Lingavaicitrya vakratā |
striking use of genders. | In this variety of a deviating expression, several methods are adopted to make the use of gender more poetic (a) different genders. of homonyms are used in the same context (b) a word that could be used in various genders is used in the feminine gender to convey the delicacy of an object (e.g. naṭa, naṭam, naṭī) (c) multi-gender word is used in the gender that is appropriate in a particular context, thus bringing out the finer shade’s implicit in that gender (e.g. feminine gender implies soft virtues like compassion, sympathy, etc., while the feminine ‘lara’ is associated with tenderness, the masculine Vṛkṣa suggests strength and the neuter Veras’ ridiculous timidness. S.K. | ||
| लोकविरोधी Lokavirodhī |
see PRASIDDHITYĀGA. | |||
| लोकविरुद्ध Lokaviruddha |
see PRASIDDHITYĀGA. | |||
| लोकोत्तर Lokottara |
transcendental or super-mundane | The scholars of Sanskrit poetics have defined the nature of RASA as extra-ordinary or unique. While enumerating the attributes of rasa Viśwanātha has used the term Jokottara to indicate the supermundane nature of rasa. The term does not, however, suggest that rasa is a transcendental or mystic experience it only emphasizes the unique nature of this experience and distinguishes it from the ordinary mund:ne experiences of every-day life. That is precisely why Viśwanātha and others chose to call it ‘Brahmāswāda sahodara’-akin to the realization of the Supreme Self, i.e., mystic-like but not exactly mystical. R.G. | ||
| मदः Madaḥ |
feeling of pride. | One of the eight SĀTTVIKA ALAṀKĀRAS added by Viśwanātha to the SVABHĀVAJA category. It is a feeling of pride due to One’s youth, good fortune and the like (S.D.III.105).III: “My husband lacks imagination he compares my face with the moon, which has three demerits: it wanes it is stained with dark spots and it has poison for its brother.” (Note: Since both moon and poison were born as a result of churning the ocean, they are said to be brothers. R.G. | ||
| मदः Madaḥ |
intoxication | The fifth among the thirty-three VYABHICĀRĪ BHAĀAS, as enumerated by Bharata. Mada or intoxication is a mixed state of confusion and delight due to drinking. When in such a state, a person of refined make-up would go to sleep, a man of average culture would laugh and sing, and a ill-bred person would hurl abuses and weep. (S.D. 3. 146-147) R.G. | ||
| मदन madana |
see KŪPAMĀLĀ | |||
| मधुमाधवी Madhumādhavī |
see VASANTATILAKĀ | |||
| माधुर्यं Mādhurya I |
sweetness, one of the three chief GUŅAS or poetic qualities. | Bharata says that sweetness should never arouse disgust even on repetition. Abhinave insists on freedom from ambiguity or contramdiction. Pratīhārendurāja describes it as pleasantness. Vāmana defines (a) Verbal sweetness as absence of compounds or composition with single separate words, that seems to ooze out honey, and (b) Sweetness of sense as implying variety in the expression of the same idea. Daṇḍin expects sweetness to manifest sentiment through words and sense. It should be free from vulgar expression and the arrangement of sounds should be elegant and in good taste. Ānandavardhana has, however, completely changed the concept of mādhurya. According to him, it is a quality that melts the heart and exists in rising proportions in the union of lovers, in love in separation and in pathos. Inthe union of lovers it pleases the heart in other contexts too it causes the heart to melt in higher degrees. S.K. | ||
| माधुर्यं Mādhurya I |
exquisite beauty, attractiveness, | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the fourth among the seven AYATNAJA ALAṀKĀRAS. The attractiveness which is sustained under all conditions is Mādhurya (S.D. III. 97). III ‘The dark spots on the moon only add to her beauty the delicate Sakuntalā though clad in bark, looks all the more charming. Anything would embellish those on whom Nature has bestowed loveliness.” R.G. | ||
| माधुर्यं Mādhurya I |
sweetness (of expression) | (i) In the delicate manner it implies a total absence or an extremely sparing use of compounds. It is a proper disposition of charming significant expression and an arrangement delightful to the ear. (ii) In the variegated manner it denotes the aesthetic charm that results from the compactness of an artistic structure. It is free from vulgar Jaxity or looseness. This compactness of diction is strikingly delightful S.K. | ||
| मध्या Madhyā |
a variety of the amorous heroine | The second variety of the NĀYIKĀ (heroine) under the classification based on the degree of her modesty. Madhyā is one who exhibits some novelty at the time of coition, whose interest in the pleasures of youth has fully developed, who is in the prime of her youth, whose speech is tinged with a little audacity, and who has overcome the initial stage of bashfulness (S.D. 3.59). Ill.: ‘Cupid and modesty equally sway the eyes of that damsel, which are integesting to Look at they (the eyes of the lady) are being drawn t o opposite sides like a husband with two wives! (J.V. 44) R.G. | ||
| मध्यम मार्ग Mādhyama mārga |
midway or mixed manner. | In this style delicacy and variety are mixed in suitable proportions resulting in an peculiar charm lent by natural and artistic use of word and meaning. The riches of the two modes of expression, as it were vie, with each other. S.K. | ||
| मागधी रीति Māgadhī rīti |
the māgadha style. | The sixth form of style added to the traditional four by Bhoja the Māgadhi style (RĪTI) is described by him as an an undesirabty broken and defective style which should be avoided except in the speeches of lunatics or drunkards. S.K. | ||
| महानाटक Mahānātaka |
a play with ten acts. | When a NĀṬAKA (Play) contains ten acts, it is known as Mahānāṭaka. Daśarūpaka gives the following definition: a regular Nāṭaka has five acts the one with ten acts is called a mahānāṭaka (D.R. 3.43). I.N.C. | ||
| महाकाव्य Mahākāvya |
an epic | Mahākāvya : is a poetical work of sizeable length written mainly in narrative style. Bhāmaha was the first Sanskrit scholar who enunciated the main attributes of the epic as follows: it is a long narrative poem divided into cantos. The diction is ornate and urbane. It depicts various aspects of human life. The plot is dramatically structured. It is devoid of unnecessary details, is well-knit and impressive. Daṇḍin elaborated Bhāmaha’s definition by adding a list of details in respect of its theme, characters and style. Daṇḍin was followed by Rudrata who made a few significant changes in respect of the epic theme, etc. The last and the most important in the series was Viśwanātha’s definition which is partly a modification and partly an elaboration of Daṇḍin’s definition. It is a comprehensive description in the sense that Viśwanātha has tried to incorporate all the important features stated by his predecessors and offer a definition complete in itself. According to Viśwanātha, the main features of the Epic are as follows: Plot: The story ofan Epic is based either on history or ona well-known legend. It abounds in descriptions of nature, such as evening and morning, night and day, seasons, mountains, forests, sea, etc. It also depicts various aspects of social life, such as marriage, child-birth, separation, sacrifice, travel, etc. along with political events like battle, campaigns, meetings of ministers, victory, strategy, etc. In brief, the epic theme covers all the aspects of human life. The fable of the Epic is complex in its composition comprising a number of episodes. It develops like a dramatic plot. It is divided into more than eight cantos which are neither too long nor too short. The epic hero is either a god or a prince gifted with a noble and magnanimous character. The basic sentiment of the Epic is either Śṛngāra (love), vīra (heroism), karuṇa (Pathos) and śanta (quietitude or serenity), The epic aims at the attainment of the four objectives of life, namely, dharma (virtue), artha (Wealth), Kāma (desire) and mokśa (salvation). As for the style of the Epic, only some very formal details have been given by the Sanskrit authors. These have been summarized by Viśwanātha as follows : 1. The Epic should begin with blessings or benediction or with a mention of the theme. 2. It should commend virtue and condemn vice. 3. Every canto should be composed in one metre which should normally be changed at the end. There could, however, be an exception to this rule and more than one metre could be used in the same canto. 4. There should be an indication of the events to follow at the end of every canto. 5. The Epic should be named after the poet or the hero or an important character. The title of every canto should be consistent with its theme. Although Viśwanātha’s definition of the epic gained wide currency, the contribution of Kuntaka in this regard deserves special mention. He has concentrated mainly on the structure of the plot. The relationship between the main theme and the subsidiary episodes according to him ought to be organic as between the limbs and the body. The various parts of the plot should be connected in a proper sequence. It can be clearly deduced from Kuntaka’s analysis that the epic was a work of art with vast dimensions and a complex plotstructure. He also emphasized the desirability of incorporating the various elements of drama in the developmet of the plot. The concept of the epic in Sanskrit poetics can be summarized as follows : An epic is a long narrative poem with a panoramic vision and vast dimensions. The plot is complex and has a dramatic structure the characters are noble and dignified. It has a noble purpose, advocates moral values in life, and is written in a style that is ornate and grand. N J. | ||
| मालादीपक Mālādīpaka |
serial illuminator. | In this figure of speech several objects are, in succession, con- Nected with the same attribute. e.g., ‘When (0, King) you go to the battle the bows get arrows (fitted to them), the arrows get (hit) the heads of the enemies, they (the heads) then get down to the earth, which (the earth) achieves you, (your patronage) and you achieve fame’. (tvayi saṁgara-samprapte dhanuṣāditāḥ, sarah, ‘sarairarisirastenabhūstayā tvam tvayā yasaḥ) (S.D.after 10,77). Here several objects like bows, arrows, heads, the earth, the king and fame are connected with one another in quick succession. S.D.C. | ||
| मालिनी Mālinī |
a variety of varṇika metre. | (1) This is a VARIŅKA metre of the even type with fifteen varṇās in each of its four feet. The metrical arrangement of GAŅAS is nagaṇa nagaṇa, magaṇa, yagaṇa the symbolic notation being III, III, SSS, ISS, ISS. The pause is at the end of the eighth letter and then at the seventh (P.S. 7.14 S.B. 31 P.P. 2.164 S.T.1.31 V.R. C.M.2.20 C.P. page 178). Bharata has termed this metre as nāudīmukhī (N.S.16.73). Example (i) Sarasija-manuvidhaṁ śaivalenāpi ramyaṁ malinamapi himāṅśorlakṣma lakṣmīṃ tanoti ivamadhika manojnā valkalenāpi tanvī ad kimiva hi madhurānāṃ manḍanaṁnākṛtīnām (II) The Nāṭya- śādra of Bharata has recorded another varṇikamālinī of the even type, with six varṇas in each quarter. Its charac-teristic feature is that only the second varṇa in each quarter is short the rest being long: snāna-gandha-sragbhir-vastra-bhūṣāyogaiḥ vyaktamevaiṣā traṁ matini prakhyātā (N.S. 16.6) | ||
| मालोपमा Mālopamā |
garland of similes. | A figure of speech in which one subject of comparison (upameya) has got a chain of standards of comparison (upamānas). Example : “The royal fortune shines out through sound policy as a lake does with lotus flowers, the night with the moon, and a woman with her youth.’ Here the royal fortune is campared to many standards of comparison to viz. lake, night, and woman. S.D.C, | ||
| मान विप्रलम्भ Māna vipralambha |
eros in separation caused by pride and anger. | Ego or pride leads to anger which becomes an obstacle in union, even after the first fulfilment of love is experienced. Pride is hurt by jealousy, or often by love itself. These situations are possible only when both the persons reciprocate each other’s feelings-otherwise, it is mere iJJusion or semblance of love. R.G. | ||
| मन्दाक्रान्ता Mandākrāntā |
a variety of Varṇika metre. | This is a VARŅIKA metre of the even (sama) type consisting of seventeen varṇas in each of its four feet. The metrical arrancement of the GAŅAS in it is magaṇa. bhagaṇa, nagaṇa, tagaṇa, tagaṇa and then two long sounds, symbolised as SSS, SII, Ill, SSI, SSI, SS. The caesura comes at the fourth, sixth and the seventh ‘varṇa’ (P.S. 7.19 S.T. 1.35 S.B.10 V.R. 3.95 C.M. 2.271 C.P. page 179). Bharata has, however, termed it as śrīdharā, (N.S. 16.83). This metre is quite eppropriate for the composition of lyrics in as much as the poem thus composed can be sung. Kālidāsa chose this metre for his Meghadūtam or ‘The Croud messenger Sanskrit poets generally change metres in their works, especially towards the close of a canto but Kālidāsa seems to be so enamoured of this lyrical metre that he did not employ any other metre in Meghadūtam, The entire work, divided into two parts, is written in Mandākrāntā, Exam le : Śnānaiścūrṇaiḥ sukhasurabhirgandalepaiśca dhūpaiḥ puṣpaiścānyaiḥ Śirasi racitairvastrayogaiśca taistaiḥ, nānā ratnaiḥ kanaka-khacitairaṅgasambhoga samsthaiḥ vyakiaṁ kānte kamala-nilayā Śridhavevāti bhāsi. (N.S.16.80) | ||
| मार्ग Mārga |
manner, style. | The word ‘mārga’ as used by Daṇḍin and others is a synonym of style. Kuntaka disagrees with them in regard to theic nomenclature and classification. Bhāmaha before him rejected the regional basis of the classification of Vaidarbha and gauḍa as absurd. Such provincial distinctions are indefinite and no characteristic can be attributed exclusively to the style of a particular region.- Qualitative classification into excellent, mediocre and bad too is untenable for excellent style alone appeals to the reader. The style according to Kuntaka is governed by the creative imagination, versatile genius and constant practice of the poet. Some prefer a delicate manner, others a colourfully variegated or picturesque manner while there are others who adopt a mixture of both asa golden mean. Although all the three are essentially suggestive, the variegated style is more impres-Sive. According to Kuntaka, all these three styles possess six essential qualities in some form or the other. S.K. | ||
| मरण Marana |
death | The thirty-first among the thirty-three VYABHICĀRĪ BHĀVAS as enumerated by Bharata. According to Bharata and Viśvanātha,maraṇa denotes death it may be caused either by sickness or by an attack made by an enemy (N.S.VII.85&S.D.III.155). According to Dhanañjava, when maṛaṇa has a reference to the erotic sentiment, only (the resolution) to die should be indicated, and not death itself (D.R. IV. 21). Jagannātha has defined maraṇa as the state of swooning preceding death—sickness, etc. being the cause of this state (R.G.I). R.G. | ||
| मतिः Matiḥ |
a state of mind characterized by self-confidence and determination. | I he twenty-eighth among the thiry-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Mati is the state of mind in which one arrives at a firm decision in conformity with the rules of moral conduct. Smiling, feeling confident and satisfied, and holding one’s ownself in high esteem are the external manifestations of this state of mind. (S.D.III.163) R.G. | ||
| मात्रा Mātrā |
a unit of prosodial measurement. | Mātrā is a unit of prosodial measurement. For the purpose of composing MATRIKA metres, a short sound, viz., a,i,u,r, Or a consonant with any of these vowels has one mātrā, whereas a long sound, viz., ā, ī, ū.ṛ.e,ai,0,au, or a consonant with any of these vowels has two mātrās, A short sound with an anusvāra (the nasal dot) or with a visarga (two following dots) is regarded as having two mātrās. A joint letter—even if it be a short one—turns the preceding short sound into a long one, and as such two mātrās are to be allotted to it (the preceding one). An individual consonant (i.e.,a consonant without any vowel) has no mātrā, Examples : (i) ‘Kamila’ has three vowels, each with a short sound. It has, therefore, three mātrās. (ii) ‘Devī’ has two vowels, each with along sound. It has, therefore. four mātrās. (iii) ‘Rāma has two vowels—one with a long g sound and the other with a short one. Therefore, it has three mātrās. (iv) ‘Aṁśa, has two vowels, wherein the first has an anusvara (the nasal dot). ‘Aṁ’, therefore, has two mātrās and ‘sa’, one. (v) ‘Śivah’ has two vowels, where ‘śi’ has one mātrā’ but ‘vah’ has two, because of a following ‘visarga’ (two following dots). ‘Matsya’ has two vowels. Individually, both are short ‘a’. The first short vowel, however, will be allotted two ‘mātrās’, because it is preceded by a combination of ‘t’, ‘s’ and ‘y’. K.B. | ||
| मात्रिक Mātrika |
one of the two major categories of metre, the other one being VARŅIKA. | Mātrika is that metre in which the MĀTRĀS are measured. A short sound has one mātrā and a long one has two. It differs from a varṇika metre in that it has no uniformity in the position of short and long sounds indicated by different GAŅAS. The Mātrika category ranges from a metre with only one mātrā to those which have thirtytwo in a quarter. They are grouped as follows: (i) Candra (ii) Pākṣika (iii) Rāma (iv) Vaidika (५) Yājnika (vi) Rāgī (vii) Laukika (viii) Vāsava (ix) Aṅka (x) Daiśika (xi) Raudra (xii) Āditya (xiii) Bhāgavata (xiv) Mānava (xv) Taithika (xvi) Saṁskārī (xvii) Mahasaṁskari (xviii) Paurāṇika (xix) mahāpaurāṇika (xx) Mahādeśika (xxi) Trailoka (xxii) Mahāraudra (xviii) Raudraka (xviv) Avatārī (xxv) Mahāvatāri (xxvi) Mahābhāgawata (xvvii) Nakṣatrika (xxviii) Yaugika (xxix) Mahāyauagika (xxx) Mahātaithika (xxxi) Aśvavatārī (xxxii) Lakṣaṇikā. Each group or class has—its own varietes. Meters with one to six mātrās are not in vogue. Those consisting of more than thirty-two mātrās in a quarter are termed daṅḍaka. A mātrika metre can be either of an even (sama) type where all the quarters have equal mātrās or of semi-even (ardhasama) type where only two quartersare uniform, or of uneven (viṣama) type where there is no uniformity of mātrās in the quarters. K.B. | ||
| मौग्ध्य Maugdhya |
amorous sport indicating innocence | One of the eight SĀTTVIKA ALAṀKĀRAS added by Viśvanātha to the class of SVABHĀVAJA ALAṀKĀRAS. To enquire about a known phenomenon in the presence of the hero, pretending ignorance thereof, is Maugdhya (S.D.III.107). III.: “0 Kṛṣṇa” says Rādhā Kṛṣṇa, who has asked her for Surata (sexual union), “I don’t have Surata with me I do not know what it is: I shall search it out I shall ask my friend to get it for you.” R.G, | ||
| मीलित Mīlita |
Jost, suppressed. | A figure of speech, in which some object is suppressed by means of another having the same characteristics. ‘Bhārati could not notice the musk-stigma on the chest of Viṣṇu, which he got from the (musksmeared) breasts of Lakṣmi (while embracing her), as it was concealed by his lustre resembling a blue lotus’. (S.D. after 10,89) Here the musk-stigma of dark colour is described as being suppressed by the lustre of the body of lord Viṣṇu, which is darker than the stigma itself. S.D.C. | ||
| मोह Moha |
distraction of mind. | The tenth among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Moha is a distracted state of mind arising from fear, grief, excitement, or painful recollection its external manifestations being fainting, or short ot it a state of mind in which one is not able to grasp things in their proper perspective, staggering, giddiness, a temporary failure of the sight, etc. (S.D.III. I 50) R.G. | ||
| मोट्टायित Moṭṭāyita |
silent, involuntary expression of affection towards an absent lover. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the sixth among the ten SVABHĀVAJA ALAṀKĀRAS. It is manifested when a heroine though absorbed in the thought of her lover, poses indifference by such actions as itching her ears when there is a reference to him. (S.D. III. 102). III: “When you are mentioned, she begins to itch her ear, yawns, and Stretches her limbs’’. R.G. | ||
| मृतिः Mṛtiḥ |
death | The tenth and the last stage in lovelorn condition. Unbearable physical and mental agony naturally leads to death. This death too is however, temporary and a revival through some miracle is expected, e.g. the case of Chandrāpīḍa in Bāṇa’s Kādambarī. R.G. | ||
| मुग्धा Mugdhā |
a variety of heroine (nāyika) in poetic compositions. | The first variety of the NĀYIKĀ in the second classification on the degree of her modesty. Mugdhā is one who has just stepped into the domain of youth and Jove, who shrinks from sexual union, who is gentle in her indignation, and who is extremely bashful (S.D. 3. 58). IIl.: “The youthful new bride tries to conceal herself as the groom, approaching nearer and lays his hands on her person and, out of fear and bashfulness, her face becomes as crimson red’’. (R.R.26) R.G. | ||
| मुखम् Mukham |
the first juncture in a play. | The first juncture wherein originates the seed (bīja) of the plot of the drama, giving rise to various intentions and sentiments and it is here that the first stage of the action (prārambha) develops. The twelve sub-divisions of the opening (mukham) are—suggestion. enlargement, establishment, allurement, resolve, success, settling, conflict of feelings, surprise, disclosure, incitement and activity (see SAMDHI). Suggestion (upakṣepa) is the sowing of the seed. Enlargement (parikara) is the growth of the seed. Establishment (parinyāsa) lodges it. Allurement (vilobhana) is the capturing of others by describing the excellence. Resolve (yukti) is the connection’ of purpose and result. Success (prāpti) implies acquisition of happiness. Settling (samādhāna) is the re-affirmation of the very seed of the drama. Conflict of feelings (vidhāna) is that which causes both joy & sorrow. Surprise (paribhāva) causes curiosity. Disclosure (udbheda) is the germination of the seed of the drama. Incitement (bheda) is disclosing something previously hidden. Activity (Karaṇa) is starting of the real undertaking. I.N.C | ||
| मुक्तक Muktaka |
a stray or independent verse. | It is a verse which is not dependent for its meaning on what precedes or follows it and is, as such, complete in itself. Abhinava Gupta has defined Muktaka as a composition which is capable of providing aesthetic pleasure to its reader independently of the verses that precede and follow it. N.J. | ||
| नान्दी Nāndī |
benedictory verse or verses recited as a sort of prologue at the beginning of a drama. | Almost all Sanskrit plays begin with the nādndī. The word ‘nāndī’ is derived from ‘nanda’ i.e. to please. It in vokes the blessings of gods (N.S., V. 50), welcomes the audience and suggests the theme of the play (D.R. III 4a). It honours gods, Brāhmanas, kings (A.P.1.219), the chief guest, the audience and the actors (A.B. 1.219). In Abhivnava Bhāraī Abhinava Gupta points out that it should be recited everyday the play is performed and that it can have from six to twentytwo pādas. The stage Manager (sūtradhāra) recites the nāndī in a tone neither high nor low (B.P. vii, LL. 19-22). It is accompanied by offerings of flowers. I.N.C. | ||
| नान्दीमुखी Nāndīmukhī |
see MĀLINĪ | |||
| नाटिका Nāṭikā |
a minor type of play. | According to Sanskrit dramaturgy, a nāṭikā centres round a plot completely conceived and woven by the poet’s imagination. This is a four-act play. The dramatis personae predominantly include women actors. The hero is a king of DHĪRALALITA type (a man of dignified nature with artistic propensities). The heroine is a lady born in a royal family who should have access to the harem of the king where she could be seen by the hero as a matter of chance. She should be adept-in music, an attainment which has been suggested as another (alternative) course to attract the heroand bring him into contact with her This goes quite well with the hero conceived with an artistic temperament. The theorists further pre-suppose that the hero (king) should already be married. He falls in love with the heroine, but the process is conditioned by a sense of fear of the first wife - the queen. This play has KAIŚIKT VṚTTI and, the VIMARŚA type of sandhi is either conspicuous by its absence or is used only sparingly. Ratanavali is a typical example : Nāṭika is essentially a shorter play than the perfect play viz. Nāṭika. Women in sanskrit plays have to be considered in the light of the social customs obtainable in India in that age. Bigamy, or even polygamy was a normal feature, particularly in the upper strata of Society in those days. The idea of a heroine as the beloved of a married man will strike as strange to a Western observer and even to an Indian critic today, but this has to be accepted as a fact of life in the context of Sanskrit drama. A Nāṭika has to confirm to shorter action and gloat over certain steps of construction (sandhis), R.D. | ||
| नाट्य रासक Nāṭya rāsaka |
a minor type of play or uparūpaka. | It is a one-act play full of music and fun. While the hero is DHIRODATTA (It is a designed and noble the pīṭhamarda (a witty guy who assists the hero in his undertakings) is second in importance among the dramatic personae. The heroine in this play is of VĀSAKASAJJĀ type (one who prepares herself fully and waits to meet her lover). Hasya i.e. mirth or humour, and Sṛṅgāra (eros) are the constituent sentiments. The theme being limited to one act, there is no scope for the employment of all the devices of construction (sandhis). Vilāsavatī is an example of this minor kind of play. R.D. | ||
| नायकः Nāyakaḥ |
the hero or the principal male character. | The term has been dealt with in two different connotations. In works on deamaturgy the term nāyaka stands for ‘the principle character of a drama’, while in works on erotics it stands for the lover. He is the object of love of the heroine, the NĀYIKĀ, who in turn is the object of love of the hero or the nāyaka. Bharata has mentioned four varieties as the nāyaka as the principal character of a drama: DHĪRODĀTTA, DHĪRALALITA, DHĪRAPRAŚĀNTA and DHĪRODDHATA (N.S. XXXIV.17). Bhānudatta has divided the erotic Nāyaka into three categories PATI (husband), wpapati (the lover with whom the heroine has extra marital relation) and Vaiśika (prostitutioner—one who makes love to harlots) DHRSTA (R.M. 100-107). Some of the authors, who have dealt with dramaturgy and erotics both, have tried to synthesize the two classifications. Nāyaka according to Viśvanātha is one who is gifted with the following qualities: generosity, contentment of having done one’s duty, high descent, grace, ardour of youth and handsome personality, competence, popularity, brilliance, intelligence and virtuous conduct (S.D.III 30). R.G. | ||
| नायिका Nāyikā |
the heroine. | The nāyikā stands for ‘the principel female character of a drama, or of an epic’. In erotics, however, the nāyikā is an amorous young lady well-versed in the art of love. The following classifications have been widely accepted: (1) Nāyikā (on the basis of her social relationship with the hero): SVAKĪYĀ, PARAKĪYĀ, SĀMĀNYĀ (or vesyā). Parakīyā is either KANYĀ or UḌHĀ. (2) Nāyikā (on the basis of her age, rather on the basis of the degree of her modesty or bashfulness): MUGDHĀ, MADHYĀ, PRAGALBHĀ. This classification has been generally attributed to the SVAKĪYā alone in the first classification. (3) Nāyikā (on the basis of the situations in which she may be placed in relation to the hero): (i) Vāsakasajjā , (ii) VIRAHOTKAṆṬHITĀ (iii) SVĀDHĪNAPATIKĀ (iv) KALAHĀNTARITĀ (v) KHAṆḌITĀ, (vi) VIPRALABDHĀ, (vii) PROṢITABHAṚTRKĀ (viii) ABHĪSĀRIKĀ. This is the oldest and the most widely accep-ted classification the eight varieties of the heroine are popularly known as Aṣṭā -Nāyikās (N.S.X XIV. 203-204). The later authors have termed these varieties as eight conditions of the heroine (D.R.II.23). The classifications of the heroine are governed by certain conventional limitatioas: (1) Only the natural and normal forms of love are dealt with the various forms of perverted sexual impulse, homosexuality and auto-eroticism, for example, have no place in the scheme. (2) The scheme deals with the love of only youthful and attractive persons. (3) While depicting the love of even grown up men and women care has to be taken to avoid infringement of the laws of social propriety no love can be made to the wife of a relation, or of a friend, or of a learned Brāhmīaṇa, or of a king. (4) While a man may be shown to love a number of women, no woman can be shown to love more than one man or to change ber love from one man to another even the UDHĀ parakiyā (married woman having extra-marital relations) loves only one person, who is someone other than her husband. (5) The depiction of anything non-erotic is forbidden a pregnant woman no longer remains a nāyikā, no children may be brought in (S.NNB., pp. 319-321) According to Viśvanātha, the nāikā is gifted with the same qualities as the nāykā (S.D.III.56) III.: “Her complexion is so bright that even the colour of pure gold fades out in comparison her eyes are indolent her looks are graceful and charming who would not sell himself for her sweet smile? As you look at her eves from a shorter and yet shorter distance, the more and more is the hidden beauty of her eyes revealed.’’ (R.R.6), N.B. The various types given above are defined under proper heads. R.G. | ||
| नेयार्थ Neyārtha |
mixed metaphor, conccit. | Neyātha is that poetic defect which occurs when the actual meaning of a particular expression is arrived at in a stretched and farfetched way (K.V. II..I.12 K.P. 7.51 S.D. 7.2), In the Nāṭya- śāstra (17.88), however, it is called gūḍhārtha, Example: (i) Occurring in a word— Śaratkāla-samullāsi-pūrṇimā- śarvarī-priyam karoti te mukham tanvi capeṭāpātanatithim i.e., O slender lady, your face gives a slap to the moon which is full on a Pūrṇimā night.’ Here the writer wants to say that the lady’s face is lovelier than the moon. But the face is said to give a slap which is by itself a chumsy expression not very easy to understand. (ii) Occurring in a sentence— vastra-vaidūrya-caraṇaiḥ-kṣatasatva-rajaḥ-parā niṣkampā racitā netra-yuddhaṁ yedaya sāmpratam. i.é., ‘The sun has by its rays dispelled the darkness on the earth, Now open your eyes.’ The idea has only to be guessed in four stages by an intelligent Teader or listener: (a) One has to visualise the synonyms of ‘vastra-vaidūrya-caraṇaiḥ’ ‘which may be ‘ambara-maṇi kiraṇaiḥ’ meaning ‘by the rays of the sun.’ (b) ‘niṣkampa’ is to be guessed as ‘acalā, which is a synonym ‘for the earth. (c) The third in the series of sattva, rajas and tamas is ‘tamas’ and, therefore, kṣata-satva-rajaḥ parā’ would require to be explained-as ‘kṣatatamaskā’ meaning ‘one whose darkness has been dispelled’. (d) ‘Yuddha’ has ‘dvandva’ as its synonym. So ‘netravuddham’ is to be guessed as ‘netradvandvam’ meaning ‘both the eyes’. Without -all this intellectual exercise, the verse will remain absolutely unintelligible. K.B. | ||
| निदर्शना Nidarśanā |
illustration. | A figure of speech in which the connection of things implies a relation of type and prototype (bimba and pratibimba) and that connection may either be possible or impossible. For instance: Kalidasa, -at the’ very outset of his book Raghuvamśa before beginning to describe the Raghu dynasty, says, ‘‘Where is the solar race, and where is my meagre intellect?. Thus, out of ignorance I have been desirous of ‘crossing the impassable ocean in araft.” (S.D. after 10,52 a). Here ‘the description of the solar race by one possessing a poor intellect and the reference to the crossing of the ocean in a raft are unconnected but they have been brought together. S.D.C. | ||
| निद्रा Nidrā |
state of drowsiness. | The twenty-first among the thirty-three VYABHICĀRĪ BHĀ-VAS, as enumerated by Bharata. Nidrā is the state ef drowsiness in which the mind is shut out from external experiences. It is occasioned by fatigue, exhaustion, intoxication, etc. Yawning, closing of the eyes, breathing out, stretching and relaxing of the limbs, etc. are its external manifestations. (S.D.III.157) R.G. | ||
| निहतार्थ Nihatārtha |
deviant usage. | Nihatārtha, yet another poetic defect, occurs when a word having two meanings is used in its obscure sense or suppressed meaning (K.P. 7.50 S.D. 7.2). Examples: (i) Occurring in a word— Yamunā śambaram vyatānīt. (S.D., after 7.4) i.é., The Yamuna spread out its water. Here the word ‘sambara’ is used in the sense of water. The dictionary gives ‘sambara’ as a synonym for water (vide Amara-Kośa 1.10.4), but, generally speaking, this is an obscure meaning, the wellknown meaning of ‘sambara’ being a demon of this name. (ii) Occurring in a sentence: sāyaka-sahāya-bāhormakaradhwajaniyamitakṣamādhipateḥ abjarucibhāsvaraste bhātitarāmavanipa Ślokaḥ i.e., ‘O protector of the earth, you hold a sword in your hand: it serves you as acompanion. You are the master of the world gridled by the ocean. Your fame, which is as resplendent as the moon, is shining brightly. Here the words ‘sāyaka’, ‘makaradhvaja, ‘kṣamā’, ‘abja’ and Śloka. have been used in the sense of sword, ocean, earth, moon, and fame respectively but they are generally known to signify an arrow, cupid, forgiveness, a lotus and a verse. Hence the meaning which the writer wants to convey remains concealed. K.B. | ||
| निर्हेतु Nirhetu |
lack of motive or justification, | This defect of meaning is caused by a statement which lacks justification. (K.P. 7.56 S.D. 7.11). Bhamaha terms it as ‘pratijṅahetudṛṣṭānta-hīna’ (Kaval. 4.2). It may remotely be traced to a phase of ‘nyāyādapeta’ of Bharata (Nāṭyaśāstra 17.92). Example: grhītaṁ venasiḥ paribhawabhayānnocitampapi prabhāvādyasyābhūnna khalu tava kaścinna viṣayaḥ, parityaktaṁ tena tvamasi sutaśokānna tu bhayād vimokṣye śastra tvāmahamapi yataḥ svasti bhavate. (K.P. 7.264, S.D. after 7.11) (Aśvatthama is addressing his weapon) O weapon, my father Droṅācāirya was a Bhrāhmaṇa, and a Brāhmaṇa, does not usually wield a weapon, but he took it lest he should be overcome by opponents. There was none in the opposite camp at whom you could not be hurled. Even then he gave you up, not for any fear, but on account of his grief for me, hisson. I shall also abandon you. Go, I bid you good-bye. Fare you well.’ Here a mention is made as to why Droṇācādrya gave up his weapon: he felt much too depressed to continue to fight after hearing the tragic news of his son’s demise. But the writer of the verse has not given any reason for which Aśvatthāmā abandoned his weapon. Hence the poetic defect is obvious. K.B. | ||
| निर्वहण Nirvahaṇa |
the catastrophe, the final juncture or the last stage in which the action of a play is brought to a head. | Nirvahaṇa is the fifth juncture, the conclusion, wherein the seed (BĪJA) which is being developed stage by stage matures into a fruit. In other words, it is the fifth and final stage of action where the object is achieved. As a matter of fact in nirvahaṇa the harmonious combination of all parts, is attained. Daśarūpaka says that nirvahaṇa or the conclusion is that juncture wherein the events which occurred in the opening and other junctures, which contained the seed (bīja) and were distributed in one order, are brought together to one end. | ||
| निर्वेदः Nirvedaḥ |
disgust, loathing indifference, a feeling that gives rise to the sentiment of quietude (ŚĀNTA) | The first among the thirty-three VYABHICĀRĪ BHĀVAS as enumerated by Bharata. Nirveda is a feeling of self-abasement blended with complete indifference towards worldly objects. The cause of such a feeling is either knowledge of the Truth, or a calamity, or jealousy. Anxiety, tears, paleness of the face, deep sighs and low-spirits are its external manifestations. (D.R.1V. 9) R.G. | ||
| निश्चयः Niścayaḥ |
certainty. | A figure of speech in which the subject of comparison (upameya) Is established by rejecting the standard of comparison (upamāna). ‘It is a face, not a lotus these two are eyes, not blue lotuses.’ (S.D. 10,39, v.r.). Here on account of the extreme similarity between the face and the lotus (the subject of comparison and the standard of comparison respectively), it is possible that the one may be looked upon as the other. It has, therefore, been emphatically asserted that the face is the face, and not the lotus, etc. S.D.C. | ||
| नियताप्तिः Niyatāptiḥ |
assurance. | Niyatāpti is the fourth stage of action which means certainty of success. It is the assurance of success arising from the absence of risk.(Daśarūpaka 1.32). In other words, it is the sure achievement of the result through the removal of obstacles. This stage cannot be compared with the denouement, the fourth stage of the action in western classical plays because denouement indicates a somewhat peaceful situation before the final catastrophe. After the crisis the spectators are given some respite in the form of denouement. It is a comedy then the denouement is not very different from niyatdāpti. I.N.C. | ||
| न्यायादपेत Nyāyādapeta |
see NIRHETU | |||
| न्यूनपद Nyūnapada |
ellipsis. | Nyūnapada is a poetic defect occurring on account of some deficiency in a word (K.P. 7.53 S.D. 7.5). Example : Yadi mayyarpitā dṛṣṭiḥ kiṁ mamendratayā tadā. (S.D. after 7.8) i.e., ‘If a glance is cast on me, then the status of Indra, the Chief of deites, has no significance for me.’ Here the first foot of the hemistich is deficient in ‘tvaya’ (by you), without which the significance of the lovers’ narration is obscured. K.B. | ||
| ओजस Ojasa |
force, compactness. | Bharata defined Ojas or force as use of (1) many compounds with suitable concatenations of letters, and (2) colourful words saturated with emotion and splendour, thus including the peculiarities of both sound and sense. Vāmana defines (a) verbal force as ‘compactness of construction’ resulting from conjuncts, particularly with ‘r’ and ‘short compounds’ while (b) force of sense consists in boldness, sophisstication or dignity of content arising from the use of a phrase for a whole sentence or vice-versa. Examples : (i) ‘The luminary produced from the eye of Atri’ for ‘the moon’ (ii) ‘She winks’ for ‘she is human and not divine’. Daṇḍin-bases it on long and numerous compounds and describes it as the life-breath of prose and of the Gauḍi style. According to Ānandavardhana force inheres in such sound and sense (both) as manifest sentiments of valour and fury. They ignite, as it were, the reader’s mind into a furious fieriness. Compounds may or may not be used. What is essential is the capacity to excite the reader into furiousness. S.K. | ||
| पाद Pāda |
foot, one of the four quarters. | Pāda is derived from the root ‘pad’ meaning to go (N.S. 15.90). The word was first used in the sense of a quarter, in the Ṛgveda (x.90) with reference to God’s immanence indicated by ‘pādosya viṣvā bhūtāni’ i.e., all beings are His one foot and padosyehābhavat punaḥ’ i.e. a foot of His was here—the other three being there, immortal in Heaven. A foot of the four-phased God, thus, meant a fourth part. And in this sense, viz., ‘a foutth part’ the word pāda is used in Sanskrit prosody. Pāda, thus, stands for any one of the four quarters of a verse. (C.S. 4.10 V.R. 1.12). Caraṇa, too, is in vogue as its synonym: All the four quarters or feet are of equal dimension in metres of even type. In the semi-even type metres, two similar feet differ from the other two which by themselves form a similar group. As for the uneven metres, at least three metres differ from one another with regard to the number of MĀTRAS or the position of gaṇas. K.B. | ||
| पद-वक्रता Pada-vakratā |
(artistic) deviation based on conjugational group. | (1) Upagranavakrataā An Ubhayapada root is used in the more appropriate pāda so that it may add to the charm of expression. (2) Pratyayavakrata : An additional suffix denotative of ‘degree’ is applied for suggesting a striking superiority of action (e.g.Vandetarām). (3) Upasargavakratā : Prefixes and exclamations are used for the deepening the effect of a sentiment. Examples : Prefixes : Viyagaḥ su-dussaho me Here extra prefix ‘su’ adds to the effect. exclamations : hā, hā devi dhīrā bhava Here the use of ‘ha, ha’ hightens the effect. More than one of these used together embellish one another, producing the variegated effect of a pen picture. S.K. | ||
| पद्धरी Paddharī |
see PASJHAṬIKĀ | |||
| पदपरार्द्ध वक्रता Padaparārdha varkratā |
deviation based on terminations. | This third variety of ‘deviating speech’ consists of striking suffixes. It covers all terminal parts of a word, viz case endings, endings denoting tense, number, person, voice, etc., particles, prefixes, indeclinables, prepositions or postpositions, etc. Thus it has a number of sub-varieties. S.K. | ||
| पदपूर्वाद्ध वक्रता Padapūrvārdha vakratā |
(artistic) deviation based on the substantive the original root word. | This second variety includes a peculiarly significant use of synonyms or homonyms, denotation, metaphorical or semblance-based indication, adjectives or adverbs, compounds or derivaties, verbs and nouns, number or gender, covert or veiled expressions, etc. Thus this broad variety consists of many sub-varieties. Not the suffix or the terminations, but the word itself to which they are applied is aesthetically significant. S.K. | ||
| पज्झटिका Pajjhaṭikā |
a variety of mātrika metre. | This is a MĀTRIKA metre of the even type, having sixteen MĀTRĀS wherein the letter after the first eight mātrās as wellas the lest letter in a quarter should have long sound. The use of jagaṇa is prohibited in this metre. (C.M. 5.28 C.P. page 48). Example : tarala-vataṅsā- śliṣṭaskandha, ścalatara-pajjhaṭikākaṭibandhaḥ maulicapala-śikhicandraka-vṛndaḥ kāliyaśirasi nanarta mukundaḥ. (Chando-manjari 5.29). In Prākṛta-pangalam (91,125) however, it is called pajjhaḍiā ‘which has sixteen mātrās with a jagaṇa at the end of each quarter. K.B. | ||
| पांचाली Pāṅchāli |
The style in vogue in Pāṅchāla. | The Pāṅchāli, not mentioned by Daṇḍin, is, according to Vāmana, a second-rate style characterized by innate sweetness and delicacy. It is the counterpart of GAUḌĪ which is forceful and brilliant. Rudraṭa admits compounds of maximum three words. The Puraṇas describe it as soft and sparingly metaphorical with short compounds. It is prominently clear and understandable. Vāmana regards the style of the Puraṇas as Pāṅchāli. S.K. | ||
| परकीया Parakīyā |
a woman having an extra-marital love-affair. One of the three main kinds of heroines. | The second variety of the NĀYIKĀ under the first classification on the basis of her social relationship with the hero. Parakīyā, as the term implies, loves a person to whom she has not been married. If she is an unmarried girl, she is KANYĀ, but if having been married she makes love to a person other than her husband, she is ŪḌHĀ (D.R. 11. 20). R.G. | ||
| परनिष्ठ Paraniṣṭha |
pertaining to another, somebody else’s. | A basic instinct (STHĀYĪ BHĀVA) aroused in somebody else, the character or the actor playing his role, cannot be relished by the appreciative reader or spectator, for it is not his own experience and again, arouse the will to react to the emotion aroused in others. Poetic sentiment (RASA) is relishable to everybody and is not accompanied by any will to act or react. One does not feel like responding or reacting to the sentiment of the actor when he gesticulates to express ‘terror’. Evidently the basic impulse underlying a poetic sentiment is not aroused in the character or the actor. It is a skilfully universalized human impulse, which, being a matter of common experience, can be relished when developed into the corresponding poetic sentiment, without any personal associations or reactions. R.G. | ||
| परिकरः Parikaraḥ |
insinuator, the significant | A figure of speech in which a statement is expressed with a number of significant epithets. ‘Now save Duśāsana from Bhīma, Oh Karṇa! the king of Aṁga! Commander-in-chief! Slighter of Ḍroṇa!, (S.D. after 10, 57). Here all the three epithets applied to Karṇa are : significant. S.D.C, | ||
| परिणामः Pariṇāmaḥ |
commutation. | A figure of speech in which what is superimposed (upamāna or āropya) serves the purpose of the object of superimposition (upameya or āropita). For example, The made a present of a smile to me, who bad come from afar.’ (smitenopāyanam dūrādāgatasya kṛtam mana) (S.D. after 10, 35). In other places, garment, ornament, etc., serve the purpose of a present or a gift, but here ‘smile’ has been described as such. S.D.C. | ||
| परिसंख्या Parīsaṃkhyā |
special kind of assertion: | A figure of speech in which owing to the very mention of a thing. something else similar to it is excluded. It is of four kinds: in (i, ii) the exclusion is expressed explicitly in words either with a query or without a query in (iii and iv) the exclusion is implied either with a query or without a query. An example of the first variety: ‘What is said to be the permanent ornament here? Fame and not gems.” (K.P.10.704 S D. after 10, 82). Here the special mention of fame has been made with a query and the gem, which is rejected, is expressed in words. An example of the second variety: ‘Devotion should be paid unto lord Siva and not unto prosperity.” Here special mention of lord, Siva has been made without any query and prosperity, which is rejected, is expressed in words. S.D.C. | ||
| पारिवृत्ति Parivṛtti |
barter, exchange. | A figure of speech in which an exchange of things that are (i) equal. (ii) lesser or (iii) greater is described. “The jawn-eyed damsel cast upon me her arched look and thereby captured my heart. I, on my part, offered her my heart and what I got in return is but the fever of love.’ (S.D. 10,81, vr.). Here there is an exchange of two equal things in the first half of the verse and in the second, there is an exchange of a superior thing with an inferior one. S.D.C. | ||
| पर्यायः Paryāyaḥ |
sequence | A figure of speech which is of two kinds: (i) when the same object pervades or is made to pervade many items in succession, and (ii) when many objects pervade or are made to pervade the same item in succession. Example of the first variety: ‘(When the goddess Pārvati practising penance to get Mahādeva as her lord was sitting erect, it began to drizzle and the first drops of rain remained awhile on her eye-lashes, then they passed over to her lips and then on to her elevated busts, whence they dropped down to folds of her belly and after a long while reached the navel. (S.D. after 10,80, vr.) Here the drops of rain (one and the same thing) have been described as pervading many places in succession. S.D.C. | ||
| पर्याय वक्रता Paryāya vakratā |
skilful use of synonyms. | In this second variety of a striking substantive, out of many synoyms, the most significant synonym issued. S.K. | ||
| पर्यायोक्ति Paryāyokti |
circumlocution, periphrasis. | A figure of speech in which the implied object is expressed in an indirect manner. ‘O king, you have grown up grass in the houses of your enemies.’ (C.A. 5.70). Here the implied meaning is that the king has conquered his enemies. S.D.C. | ||
| पताका Patākā |
banner indicating an episode, an episodical incident. | Patākā, which literally means a banner, is on episode in the plot of concerning someone other than the hero. Though it is dependent on the story of the hero yet at the same time it extends beyond that. Sahitya Darpana quotes the story of Sugrīva and others in the drama as illustrative of Patāka in the story of Rama. The Patākā serves the purpose of the hero and as such it is sometimes extended to the last SANDHI. I.N.C. | ||
| पताका स्थानक Patākā-sthānaka |
intimation of an episodical incident. | Patākāsthānaka is an episode indication within the plot. By the mention of something extraneous a hint is given of a matter that has begun or is about to begin (Daśarūpaka 1.22). It is of four types. In the first, while a different topic is under consideration, some thing else of like nature is presented without any proper thinking, wherein a better achievement, by nature more delightful, occurs all of a sudden. According to Viśhwanātha there is a second type where the statement consists of words with double meanings couched up in adjectives. The third type has got a reference to the main current of the drama and it anticipates in a way the principal incident of the drama. Sāhitya Darpaṇa mentions the fourth Patādkāsthānaka as the best of all. In this episode-indication an extraneous statement with a double meaning is made which refers to the main current of the drama. These patākāsthānakas may be used in all the Sandhis (See SANDHI). They at times indicate something good to happen in future and portend evil on other occasion. In the dramatic matter patākāsthānakas should be inserted carefully. I.N.C. | ||
| पतत्प्रकर्ष Patatprakarṣa |
progressive deterioration in excellence | Patatprakarṣa is a poetic defect which arises from the falling off in excellence of some poetic beauty. (k.p. 7.53 S.D. 7.6) Example: projjvala-jvalana:jvālā-vikaṭoru-saṭācchaṭaḥ śvāsa kṣipta-kulakṣmabhṛt pātu vo nara-kesarī (S.D., after 7.8) i.e., ‘May God in the form ofa man-lion protect you! Charming are His long and uprising manes which look like flames of the freely burning fire Here the alliteration in ‘jvāla’, ‘jvalana’ and ‘jvālā’ is conspicuous in the first quarter that in ‘kaṭo’, ‘saṭa’, and ‘chaṭaḥ’ in the second quarter is less obvious that in ‘kṣipta’ and ‘kṣmābhṛt’ in the third quarter is a very ordinary one and that in ‘nara’ and ‘kesarī’ in the fourth quarter dces not evoke any appreciation It is correct to observe, therefore, that the embellishment of alliteration is falling off gradually in this verse. K.B. | ||
| पति Pati |
husband, a variety of erotic hero. | One of the three varieties of the erotic NĀYAKA, as given by Bhāinudatta. It corresponds to the SVAKĪYĀ, variety of the NĀYIKĀ. Pari or husband has been defined as one who has obtained the hand of his beloved after the performance of due religious and social ceremonies (R.M.100) R.G. | ||
| फलागमः Phalāgamaḥ |
attainment of the result in a drama, realization of the objective. | The fifth and final stage of the action is phalāgama which is the attainment of the result. It is the accomplishment of the main objective of the hero. The Nāyaka in fact means, a person who leads the action to its desired end. The conclusion of the Western comedies and Phalāgama are the same. I.N.C. | ||
| पिङ्गल Piṅgala |
prosody- a treatise on prosody—named after the first and the greatest authority on prosody: | Piṅgala was the name of the author of Chandaḥ śāstram, the earliest extant treatise on prosody. The work divided into seven chapters is in sutra style and deals with both the Vedic and the classical metres. The full name of this pioneer writer as mentioned by Kedāra-Bhaṭṭa in his Vṛtta Ratnākara (2.4) seems to be piṅgalanāga. As Piṅgala was the first authority on prosody, the branch of learning dealing with metres came to be known as Piṅgala. Consequently,Piṅgala and Chandaḥ-śāstra are now used as synonyms. There is a tradition—seemingly an amusing one—about Piṅgala. His full name being Piṅgalanāga, he might have belonged to the celebrated Nāga clan, but some people conceived him to be an incarnation of Śeṣanāga (the serpent god) who is known to be Lord Viṣṇu’s couch. According to Indian Mythology, there has been a permanent animosity between Garuḍa and Nāgas. Once it so happened that Garuḍa came across Piṅgalanāga. The latter was afraid of the former and to appease the Lord of the Birds, Piṅgala diverted his attention by explaining to him the various intricacies of prosody on which he (Piṅgalanāga) was an authority. Garuḍa was fascinated at the dexterity of Piṅgala, who finally gave an demonstration of biujaṅgaprayāta crawling like a snake and disappeared in the nearby sea. K.B. | ||
| पीयूषवर्ष Pīyūṣavarṣa |
a variety of mātrika metre. | This isa MĀTRIKA metre of the even type, with nineteen MĀTRĀS in each quarter of which the ultimate varṇa should be a long vowel and the penultimate a short one. The pause is after the tenth mātrā and then at the end. (C.P., 9.52). Example: disi nidhī pīyūṣa-varsata jhari lagā ramā taji nahiṅ āna hai koī sagā, yaha sakata saṅsāra sapane tūla hai sāṅcha nāhīṅ mīta bhārī bhūla hai. When the medial peuse or caesura is not considered, this metre is called Ānandavardhaka also. Example: pāya ke nara-janma kyoṅ cete nahīṅ dhyana haripada-padma men dete nāhiṅ. ghora kaliyuga meṅ nahīṅ kucha sāra hai rama kā hi nāma ka ādhāra hai. (C.P., page 53). K.B. | ||
| प्रबन्ध Prabandha |
a long poetic narrative | The earlier name given to a sustained or continuous poetic composition as distinguished from stray verses was nibaddha, meaning ‘strung together’ Bhāmaha classified verse compositions into anibaddha and nibaddha. Vāmana followed Bhāmaha and compared the stray verses (anibaddha) to loose flowers and the sustained narrative (nibaddha) to a crown made of flower garlands. These two types were later called muktaka and prabandha respectively. Prabandha was further classified into MAHĀKĀVYA KHAṆDA-KAVYA and EKĀRTHAKĀVYA. Ānandvardhana discussed some more form like Paryāyabandh, a long narrative poem. The word prabandha was largely used for various types of compositions in verse including drama, but not for prose-works as a matter of convention. N.J. | ||
| प्रबन्ध-वक्रता Prabandha-vakratā |
artistic device used for plot-coustruction of a long poem as a whole : | This device can be effected in several ways: (a) A new sentiment is introduced suddenly into a historical or romantic narrative, regard less of the richness of the one in the original. This lends a fresh charm to the main sentiment flowering through the source-work in Veṇīsaṁhāram or Uttararāmacaritam wherein the basic sentiment is different from that in the Mahābhārata and the Rāmāyaṇa respectively. (b) The narrative is brought to an end with an impressive event which shows the magnanimity of the hero at its best and the consequent drab events are dropped altogether (e.g., in the Kirātārjunīyam). (c) A fresh sentiment is introduced, when an episode seems likely to break the thread and spoil the emotive appeal of the main narrative (e.g., in the Śhiśupāla-vadha). (d) A hero, in accomplishing his chief objective, is crowned simultaneously with many other achievements of equal significance (e.g., in Nāgānandam). (e) An additional charm is lent to the narrative by giving a striking turn to the whole narrative, its episodes or subplot, (e.g. Abhijnānaśākuntalam,mudrārakṣasam, pratimā, etc). (f) Narratives based on one and the same theme are presented in strikingly different manners by different poets (e.g. the various poetic works relating to the story of Rāma). In short, great poets enhance the artistic merit of their compositions by adopting fresh devices or combining old and new techniques. S.K. | ||
| प्रबोध Prabodha |
awakening. | The twenty-fourth among the thirty-three VYABHICĀRĪ BHĀVAS enumerated by Bharata. Prabodha or awakening is the state of regaining normal consciousness after sleep. It is accompanied by yawning, stretching and relaxing of the limbs, closing of the eyes, and looking at one’s own limbs etc. (S.D. 3.151). R.G. | ||
| प्रगल्भा Pragalbhā |
a variety of heroine—bold, mature, and well-versed in the art of love. | The third variety of the NĀYIKĀ under the second classification on the basis of the degree of her modesty. Pragalbhā is one who gets completely absorbed in the act of copulation, whose youth is at its zenith, who is perfectly conversant with all forms of love-making who is clever in making such coquettish gestures as would excite amorous sensations, who has but little bashfulness left in her. The Heroine tells her friend. “You are blessed, O my dear friend! that you are able to speak to your beloved with confidence all kinds of sweet words at the time of union. As for me, i swear that, as soon as my beloved puts his hand on the knot of my waist-band, I forget everything that happens to me thereafter’’. (S.D. 3.60). R.G. | ||
| प्रगल्भता Pragalbhatā |
boldness - lack of fear and shyness. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the sixth among the seven AYATNAJA ALAṀKĀRAS. It consists in being bold and fearless, or in not becoming agitated (S.D. 3.97). Ill.: “The lovely damsel embraces her lover when she is embraced by him, kisses him in return when kissed, and even bites him when she is bitten. Thus she has made him her slave.” R.G. | ||
| प्रहसन Prahasana |
A one-act farce. | The prahasana is a farcicat or comic satire. The poet takes the plot from every-day life and surrounds it with all kinds of illusions, verbal disputes and dissensions between knaves and low-bred persons. It is a drama in one act intended to excite laughter. The story should be fictitious and the hero may be an ascetic, a Brāhmaṇa a king or a rogue. The dramatis personae consist of courtiers, menials, mendicants, knaves and harlots. (D.R. 3.58). Prahasanas are of three types, the pure (Śuddha) where Brāhmaṇas or religious persons appear along with one impertinent fellow who plays the part of the hero. Besides, there are mixed (saṅkīraṇa) and the distorted type (vikṛia) of Prahasana where courtesons, slaves, etc., appear. Prahasana is characterized by exuberent gaiety and brilliant imagination, causticity and humour and the objects of satire are sensuality and hypocrisy. Unlike the Aristophanic comedy, however, it is not levelled at the many-headed mob, but in general at the sanctified and privileged orders of the community such as ascetics, Brāhmaṇas, man of rank and princes. I.N.C. | ||
| प्रकरण Prakaraṇa |
a species of drama with invented plot. | It is the second species of RŪPAKA, which agrees in all respects with the nāṭaka, except that its general plane is not so elevated. The subject-matter is imaginary although drawn from real life of a reputable class in society. The predominant sentiment should be erotic. The hero is either a Brāhmaṇa or a merchant or a minister—self controlled and calm by nature. (Dśa-rūpaka 3.44). He undergoes misfortunes but does not give up pious deeds. Pleasure and wealth are his chief objects in life. The heroine may be a maiden of a-respectable family ora courtesan. In some plays both types of heroines are found. Because of these varieties of the heroine, the prakaraṇa is of three kinds: Śuddha, with the wife as heroine Vikṛta, with the courtesan and saṅkīrṇa with both. The mixed variety abounds in rogues. By the courtesan, however, we are not to understand a female who has disregarded the precepts of virtue. She is like the Helera of the Greeks. I.N.C | ||
| प्रकरणिका Prakaraṇikā |
a variety of NĀṬIKĀ. | The prakaraṇikā is classed as a distinct species but it is usually considered only a variety of Nāṭikā. In it the heroine belongs to the same caste as the hero S.D. 6.297). I.N.C. | ||
| प्ररकरण-वक्रता Prakaraṇa-vakratā |
striking manipulation of an episode or incident. | An episode or incident becomes strikingly charming through a skilful use of artistic devices. (a) A brilliant innovation of an event with a spontaneous emotive appeal (e.g., the Kautsa episode in the Raghuvaṁśa. (b) a feat of creative Imagination-e.g. the conception of Duravasā’s curse in the Abhijnāna Śākuntalam. (c) The mutual effect and inter-relation of subsidiary incidents in a plot (e.g.) the Jṛmbhakāstra scene in the Uttararāmachritam), (d) detailed poetic descriptions of interesting incidents (e.g.) description of the hunting sports of Daśratha in the Raghuvaṁśa (e) A new channel, explored before, is introduced unexpectedly fora more effective flow of the main sentiment (e.g. The immattārika in the Vikramorvaśīya). An interesting variety of additional themes is introduced for a more appealing manifestation of the main theme. (f) In a drama some actors temporarily identify themselves with the audience or with another character thus add to the effect of the play (as in the Bālarāmāyaṇa Act IV). (g) A uniquely striking inversion or inconsistency is suddenly introduced into the otherwise orderly development of the plot. S.K. | ||
| प्रकरी Prakarī |
an interlude or episode inserted in a drama to explain what is to follow. | An episodic incident of short duration is prakarī (Daśarūpaka 21). It is of secondary importance in which the principal characters ‘take no part. I.N.C. | ||
| प्रकाशित-विरुद्ध Prakāśita-viruddha |
implied opposition. | This defect of meaning is caused by a detestable implication suggested by a statement. (K.P. 7.57 S.D. 7.9). Example : kumāraste narādhīśa śriyaṁ samadhigacchatu. (S.D., after 7.11) i.e., ‘O king, may your son attain regal splendour!’ Here the statement implies the king’s demise, for a prince cannot obtain royalty as long as the king is alive. The implied meaning is thus evidently opposed to the spirit of the statement. A blessing is manifest in the above quotation, but a curse opposed to blessing is implied therein—hence the defect. K.B. | ||
| प्रक्षोभ Praksobha |
rebuke, ridicule, insult, sarcasm. It is also known as kṣobha. | An embellishment in a drama, it denotes an effective expression or a remark of rebuke, insult or ridicule. It is often ironical satirical or sarcastic, e.g. Vālin (to Rāma who shot him froma hidden place):— “Wretched ascetic, having killed from your hiding place, you have failed, not only Valin, but yourself too from the other world.” R.G. | ||
| प्रलयः Pralayaḥ |
death or unconsciousness, a swoon or fainting. | The last extreme physical reaction caused by a sudden outburst of overwhelming emotion. It is the result of unbearable grief, pain, ecstasy or wrath. R.G. | ||
| प्रमाता Pramātā |
a person of aesthetic sersibility an enlightened spectator or reader : | Pramātā is an expression used in Nyāya system of philosophy for the knower, the subject. This subject according to Nyāya, is one of the four conditions of knowledge. The term was later on introduced into Poetics and became denotative of the enlightened spectator or the reader, for the aesthetic experience also implies some form of knowledge. (See SAHṚDAYA) N.J. | ||
| प्रणय-मान Praṇayamāna |
proud anger of love. | The loving ones are aware that union has brought them limitless ecstasy. Yet their proud love is hurt at the slightest provocation, and consequent anger keeps them away from each other. R.G. | ||
| प्रप्त्याशा Prāptyāśā |
expectation. | Prāptyāśā is the prospect of success. This is the third stage of action. As the Sanskrit drama ends in harmony, it differs in its nature from the crisis, which is the third stage of action in Western dramaturgy. But here also some sort of a crisis, the fear of failure, lurks in the mind of the hero. According to Viśwanātha, by Prāptyāśā is meant the expectation of the achievement of the desired result. I.N.C. | ||
| प्रसादः Prasādaḥ |
perspicuity, Pucidity. | (1) In the delicate style perspicuity implies the capacity to make the content—sentiment or idea—manifest in a split of second and without effort. It is characterized by a paucity of compounds, use of ‘well-known epithets, a direct association of word and sense and clear syntax. (2) In the ornate style it denotes lucidity resulting from the use of significant words in an easy syntax. It must have a slight touch of force too. Compounds, sparingly used, should lend compactness to the diction. The sentences should be close-knit so as to facilitate comprehension. Bharata defined clarity as a happy association of word and sense so as to enable an expert to grasp the implied content which is not expressed through denotation. (a) Verbal clarity according to Vāmana is looseness of construction. It may become a defect, if not mixed in proper proportion with force. (b) Explicitness of sense is brevity of expression effected by using only the absolutely essential words. Āccording to Ānandavardhana it is a quality common to all sentiments, clarity or perspicuity effects a sort of expansion or equilibrium in the mind of the reader. Pratihārendurāja defines it as an unshampered manifestation of the desired sentiment. S.K. | ||
| प्रासङ्गिक Prāsaṅgika |
the secondary plot. | Prāsaṅgika is the subordinate Plot. It contributes to the proper development of the ĀDHIKĀRIKA or the main plot. The characters who are attached to the subordinate plot are also known as Prasaṅgika, and their job is to lend full support to the characters working for the achievement of the main objective (Daśarūpaka 1.20). I.N.C. | ||
| प्रसिद्धविरोधी Prasiddhavirodhī |
see PRASIDDHI VIRUDDHA. | |||
| प्रसिद्धिविरुद्ध Prasiddhi-viruddha |
technical inconnectness | This defect of meaning is caused where a statement is opposed to the facts generally known (K.P. 7.56). Dandin calls it, lokavirodhī (Kāvyādarśa 3.126, 172), Vāmana Lokaviruddha (K.V. 2.2.23) and Viśvanātha Khyāriviruddha (S.D. after 7.11) Example : tatascacāra samare śita- śtūla-dharo hariḥ (S.D. after 7.11) i.e., ‘Then Viṣṇu (Hari) bearing a sharp trident, traversed the battlefield.’ Here Viṣṇu is represented as bearing a trident. But it is Śiva who bears a trident, and not Viṣṇu. Therefore, the statement is faulty as it contains a deviation from a well-known fact. K.B. | ||
| प्रसिद्धिहत Prasiddhihata |
see PRASIDDHITYĀGA. | |||
| प्रसिद्धित्याग Prasiddhityaga |
violation of accepted usage. | Prasiddhityāga is a poetic defect which occurs when an expression is opposed to accepted usage (S.D. 7.8). In Kāvyaprakāśa, however, it is called prasiddhihata (K.P. 7.54). Example: ghoro vārimucāṁ ravaḥ. i.e., ‘The thunder of the clouds is violent.” Here the word ravaḥ is used to indicate clouds’ thunder, whereas according to accepted usage it should be garjanam. K.B. | ||
| प्रस्तार Prastāra |
permutation. | Prastāra is a method of calculation to find out the possible patterns of a particular type of metre. There are twenty-six types of VARṆIKA metres ranging from that having one VARṆA (in a quarter) to the one which has twenty-six varṇas in a quarter. To know the possible patterns of any of these types one has to apply the method of permutation. To cite an example : Pratiṣṭhā is a type of metre consisting of four varṇas in a quarter. Here arises a query: how many patterns can be there in this type? To find out the correct number the (method of) prastāra is to be applied, which is as follows : (a) Put down four symbol for a long sound ...SSSS (b) Write a symbol for a short sound under the first long sound, bringing down the rest of them unchanged. ....ISSS (c) Again, the first long sound is to be converted into a short one, the rest (on the right side) to be brought down unchanged. All the signs towards the left (either One or more), however, are to be converted into long ones. …..SISS (५) The above process is to continue till all the signs become short, as is shown in the table: This table of prastāra shows that a pratiṣṭhā type of metre can have sixteen patterns consisting of varying positions of short and long varṇas (V.R. 6.2,3). Innumerable are the metrical patterns according to the system of permutation-combination. Bharata has mentioned possible patterns of metres ranging from those containing six varṇas (in each foot) to those having twenty-six varṇas in each foot. For instance, a gāyatrī type of metre (having six varṇas in each quarter) has sixty-four metrical patterns (N.S. 15.52) and, an utkṛti type of metre (with twenty-six varṇas in a quarter) has sixty-seven million one hundred and eighty thousand, eight hundred and sixty-four (N.S. 15.74,75). Adding together all these numbers of different metrical patterns, we find that they total one hundred thirty four million, two hundred seventy thousand, seven hundred and twenty-six (134270726) (N.S. 15.77,78). The varṇika metres are divided into three sections: (a) the even (sama) metres such as Candrikā and Praharṣiṇī (V.R.3.74 3.70) (b) the semieven (ardhasama) type metres such as Puṣpitāgrā and sundarī (V.R. 4.10 4.13) and the uneven (viṣama) type metres such as Pada-catūrdhva and āpīḍa (V.R. 5.1 5.2). K.B. | ||
| प्रस्तावना Prastāvanā |
prelude, an introductory dialogue at the beginning of a drama between the manager and one of the actors. | That portion of the PŪRVARAÑGA is known as prastāvanā or ĀMUKHA in which the SŪTRADHĀRA holds a conversation with the naṭī (the main actress consort of the stage manager) or the vidūṣaka (the jester) hinting at the episode in progress. This conversation is couched in amazing words and is developed in such a way that it ultimately points to the theme ofthe play. It is a type of āmukha which introduces the play. Prastāvand is of five varieties. First is udghātyaka in which words implying one thing are taken by the character who immediately enters the stage, in quite a different sense. Secondis Kathodghāta in which the entry of the dramatic figure takes place with the repetition of the statcment or with a remark about the meaning of the utterance of the sūtradhāra. The third variety of prastāvanā is prayogātiśaya in which a character enters in accordance with a reference to him by the stage-manager. The fourth is pravartaka in which the entrance of a character is hinted at by the similarity of the nature of the season described by the sūtradhāra. The last is avalagita in which through the setting of one thing, some other thing is executed. I.N.C. | ||
| प्रस्थानक Prasthānaka |
a kind of minor play or uparupaka. | It is a play consisting of only two acts and is quite important at least in one respect that here the hero, contrary to all the established tenets of other types of plays, is a menial servant, the heroine is a maid-servant and deputy hero (one who is second among the dramatis personae) has a status even lower than that of the hero. Like nāṭyarāsaka, such plays are also full of fun and frolic and the action is accompanied by various kinds of music. The desired effect and the denoucement are achieved after a drinking bout on the stage. In other respects this play has the characteristics of a nāṭaka. Sṛṅgaratilaka has been cited as an example of this type of play. There are only two or three types of minor plays in Sanskrit, which have menials as their heroes, and this occupies an important place among them. R.D. | ||
| प्रतिज्ञाहेतुदृष्टान्त Pratijnāhetudṛṣṭānta |
see NIRHETU. | |||
| प्रतिकूल वर्ण Pratikūla-varṇa |
dysophoay | Pratikūla-varṇa is a poetic defect which pertains to sentences and consists in the discord of letters. In other words, whenever a writer uses harsh syllables, there occurs this blemish. For instance, the sentiment of love expressed in harsh syllables such as ‘ṭa’ ‘ṭha’ ‘ḍa’ ‘ḍha’ mar its beauty. (K.P. 7.53, S.D. 7.5). Example: (Prakṛta) Avaṭṭai ullaṭṭai saaṇe kahiṁpi moṭṭāai ṇo parihaṭṭai hiaeṇa pḥiṭṭai lajjāi Khuṭṭai dihīe sā. (S.D. after 7.8) She (a lady experiencing the pangs of separation from her lover) is changing her sides on the bed bangs her hands and feet (on the bed) indulges in superfluous actions does not engage herself in any useful activity her heart is breaking with bashfulness and she is unable to control herself. Here, harsh sounding letters spoil the beauty of the verse which otherwise depicts a pleasurable sentiment—love. K.B, | ||
| प्रतिकूलविभावादिग्रहण Pratikūla-vibhāvādi-grahaṇa |
heterogeneity. | It is a defect caused by iatroducing heterogeneous excitants, etc. (K.P. 7.61 S.D. 7.13). Example: mānaṃ mā kuru tanvaṅgi jnātvā yauvanamasthiram (after 7.15) i.é., ‘O lady of slender form, knowing that youth is transitory, do not be angry. Transitoriness of youth is an excitant (vibhāva) of the sentiment of quietistic (Sānta rasa), Its mention in a statement pertaining to the erotic sentiment (sṛṅgāra rasa) is a defect. K.B. | ||
| प्रतिमुख Pratimukha |
second juncture, progression. | This is the second juncture which marks the progress of the action towards the main objective. I.N.C. | ||
| प्रतीपः Pratīpaḥ |
the converse. | A figure of speech in which some well-known standards of comparison (upamāna) are either (i) converted into the objects of comparison, (upameya) or (ii) declared to be useless. Examples: (i) That blue lotus resembles the complexion of your eye. (S.D. after 10,88.) (ii) When there appears that face, all talk about the moon is stopped (S.D. after 10,88 a). S.D.C. | ||
| प्रतिवस्तूपमा Prativastūpamā |
typical comparison | A figure of speech noticed where the one and the same common property is expressed in different words in two sentences having an implied and not expressed, resemblance. Example: ‘Bright is the sun, brilliant is the moon and the mirror is very clear by nature.’ (S.D. after 10,50). Here one and the same idea has been expressed in different words, like bright, brilliant and clear, in more than one sentence in order to avoid repetition. S.D.C. | ||
| प्रत्यनीकः Pratyanīkaḥ |
rivalry. | This figure of speech occurs when someone unable to retaliate against his enemy does harm to somebody connected with the enemy—which ultimately contributes to the superiority of the enemy himself. For example: ‘Thinking that this damsel of slender waist has thrown my waist into the background, the lion pierces the elephants’ temples which resemble her pitcher-like breasts.’ (S.D. after 10,87 a). The waist of the lion is considered to be very slender and the waist of beautiful lady is compared with it. Being beaten in this respect, the lion, not being able to cause any harm to his rival, i.e. the lady, has avenged himself by piercing the temples of the elephant which are compared to the breasts of the lady. But, ultimately by doing so, the superiority of the lady herself, the rival of the lion, has been established. . S.D.C. | ||
| प्रत्यय वक्रता pratyaya-vakratā |
striking use of prepositions, etc. | A significant or appropriate preposition, post-position, etc. enhances the aesthetic charm to a noun or a verb to denote gender, case, tense, mood. person, voice, number, etc. It may even be an insertion of a syllable (āgama), e.g. ‘m’ in subhagam-manya or panditam-manya, which adds a new dimension to the expression. The Striking use of a substantive also falls withia this category S.K. | ||
| प्रवास विप्रलम्भ Pravāsa-vipralambha |
eros-in-separation resulting from the lover’s go- ing out of station. | Either the lover or the beloved is forced to undertake a journey on account of some work, harassment to which he or she is subjected by the king or a curse. The person left behind pines for reunion and does not care to wash one’s body or clothes. A separated lady braids her hair into a single plait and heaves long sighs. The departure of the loving or beloved person may have taken place in the past or just recently or may be imminent in the near future. This is the second type of eros-in-separation. R.G. | ||
| प्रवेशकः Praveśakaḥ |
‘The introducer’ an interlude acted by inferior characters. | Praveśaka is an inter act. A member of the theatrical company who apparently does not participate in the acting explains to the audience between two acts the change of scene and approach of a certain character. This indication of a change of scene does not mean that it introduces the play. Its purpose is to acquaint the audience with events not represented on the stage, but their knowledge is essential for a proper understanding of what follows. As it is done between two acts, the use of praveśaka is prohibited at the beginning of the first or at the end of the last act. It is in colloquial language by persons of inferior order. I.N.C. | ||
| प्रयत्न Prayatna |
rising action. | Prayatna is the second stage of action which is accompanied by great exertion for attaining the object (D.R. 1.30). Viśwanātha says that the effort made with eagerness for the achievement of the principal object is called prayatna. In Western dramaturgy it is the rising action. I.N.C. | ||
| प्रेक्षक Prekśaka |
spectator. | Bharata has defined a Prekśaka in his Nātya-śāstra as one who is capable of quick emotional response, i.e. of identifying himself with the emotional situations presented through a play. He is also called a darśaka or a sāmājika. It is synonymous with the ‘Enlightened Spectator’ of Western Dramatics. N.J. | ||
| प्रेङ्खण Preṅkhaṇa |
aminor type of play or uparūpaka (which are eighteen in number). | This is a one-act play and the principal sentiment of this type of play has not been specifically prescribed, but from other specifications it appears that Vīra (or heroic) is one of the main rasas of this type of play. As stated above, this is a one-act play and the scope is further limited by the exclusion of the sūtradhāra (stage manager) who, by implication, can appear in star types of one-act plays. Further, the act cannot have even a prologue of PRVEŚAKA or VISKAMBHAKA type. This suggests that the action in this play has to be straight and concentrated and that there is no scope for diversion whatsoever. In the circumstances it is quite natural that all the junctures (SANDHIS) cannot be employed in this play and the dramaturgists have clearly laid down that the third and the fourth Sandhis viz. garbha and avamarśa or Vimarśa are absent in this type of play. The action has, therefore, to be developed along the times of the first two and the last Sandhi. R.D. | ||
| प्रेयस्वद Preyasvad |
subordination. | This figure of speech occurs when a bhāva (an undeveloped sentiment) becomes subordinate to a rasa (sentiment). ‘My heart finds no rest on account of the constant remembrance of her, whose creeperlike arms get slightly loosened in encircling my neck. (S:D. after 10,96). Here, the bhāva, i.e. ‘remembrance’ is subsidiary or subordinate to the vipralambha śṛngāra, i.e. called love-in-separation. S.D.C. | ||
| प्रोषितभर्तृका Proṣitabhartṛkā |
a variety of heroine, a woman whose husband has gone out of station | The seventh variety of the NĀYIKĀ under Bharata’s eightfold classification of the heroine based on the situations she may be placed in. Proṣtabhartrkā is one whose love has gone away to a distant land, due to his multifarious assignments, and who, therefore, feels affilicted in separation (5.0. 3.84). R.G. | ||
| पुनः पुनः रसदीप्ति punaḥ punaḥ rasa dīpti |
heightening of a sentiment repeatedly | This poetic defect is caused by the ‘repeated and monotonous heightening’ of a sentiment. (K.P. 7.61 S.D. 7.14). Examples are found in the mourning of Rati in Kalidāsa’s Kumāra-sambhavaṃ. K.B. | ||
| पुनरुक्त Punarukta |
tautology, tautophony., | Punarukta is that poetic blemish which is due to tautophony, i.e., repetition of the same word in a sentence (S.D.7.5). Bharata (N.S. 17.91) Bhamaha (Kāvyālaṅkāra 1.4. 12) and, Daṇḍin (Kāvādarśa 3.135), however, call it ekārtha, whereas Mammaṭa (K.P. 7.53) calls it Kathitapada. Example: rati-līlā-śramaṁ bhinte salīlamanilo vahan. i.e., ‘The breeze blowing sportively is dispelling the langour caused by erotic sports.’ Here the word ‘lila’ is used twice. The flaw could have been avoided by the use of a synonym in either place. The following are instances of Tautophony or repetition of a statement: sahasā vidadhīta na kryāmavivekaḥ paramāpadāṁ padam vṛṇate hi vimṛśyakāriṇam guṇalubadāḥ svayameva saṃpadaḥ, (Kirātārjunīyam 2.30 S.D. after 7.11) i.e., ‘One should not do an act abruptly. Lack of discretion is the height of evil, fortune which is attracted by merit, itself courts a person who acts with prudence.’ Here the second hemistich is a repetition of the fact contained in the second quarter of the verse. The second quarter states: lack of discretion is the height of evil and the second hemistich of the verse is like a negative echo of the same. As such, it is a repetition and as such a poetic defect, according to literary critics. K.B. | ||
| पुनरुक्तवदाभासः Punaruktavadābhāsaḥ |
seeming tautology, appearance of repetition. | A figure of spech in which through synonyms an apparent repetition of the meaning is contrived, e.g. ‘May lord Śiva who has the snake coiling round him protect the worlds from evil.’ ( bhujaṁgakuṇdalī Śivaḥ jaganti sadāpāyādvyāt.) (S.D. after 10.2). Here the words ‘bhujaṁga’ and ‘kundalin’ meaning snake, involve repetition. But this repetition is only apparent, as here the word kundalin denotes the sense of ‘coiling’. Thus bhujaṁgakuṇdalin’ means one who has a snake coiling round him, and not one who is a snake or a snake. S.D.C. | ||
| पुरुषवक्रता Puruṣa-vakratā |
a striking inversion of grammatical person. | In this variety of inversion (vakratā) a seemingly inappropriate case and corresponding verb is used instead of the right one. Instead of addressing, “Please understand, your Highness,” one says, ‘‘May Her Highness please understand,” indicating the powerlessness of the helpless speaker who has, therefore, become indifferent to the listener. This inversion lends an additional significance besides effecting a variety of expression.S.K. | ||
| पूर्वरागः Pūrvarāgaḥ |
love before meeting: pre-union love. | Pūrvarāga is love between two persons which results (from some previous cause) before their meeting. It is love at the first sight or on first hearing about the valour or virtues of a person. The lovers may see each other in person, in a picture, dream, etc. They may hear each other’s praise sung by a friend, bard or messenger. Pūrvarāga is the peculiar mental condition of mutual longing aroused at first acquaintance. direct or indirect. A maiden alone can be its subject or object. It develops through ten different stages of longing (KĀMADASĀS) R.G. | ||
| पूर्वरङ्गः Pūrvaraṅgaḥ |
preliminaries of a drama. | Pūravaraṅga consists of certain preliminaries for the presentation of the play. Bharata devotes one entire chapter of the Nāṭyaśāstra to describing the preliminaries of a play. According to him, Pūravaraṅga bears this name because ceremonies connected with it are performed at the beginning of the presentation of a play on the stage Nāṭyaśāstra v. 7) Viśwanātha in his Sāhitya Darpṇa says that whatever is observed by actors just before the actual commencement of the performance in order to counteract any probable impediment as known by the name Pūravaraṅga (S.D. 6.10). According to Bharata, the Pūravaraṅga has twenty different constituent parts. Out of these the first nine are to be performed behind the curtain like bringing in of the musical instruments, tuning of instruments, placing of singers, beginning of the rehearsal song of the chorus, etc. and the rest eleven on the stage by the sūtradhāra (stagi-manager) like nāndī (see NĀNDĪ) reciting of a praise or benediction, raṅgadvāra i.e. when the play begins. The sūtradhāra recites a new verse and bows before India’s banner, prarocana, i.e. announcement of the contents and like-wise other things. Formerely the Pūrvaraṅga was not a part of the drama proper, and it was quite elaborate. Even Bharata strikes a note of warning that there should be some limit to the dance, song and instrumental music introduced, so that the audience may not lose patience (Nāṭyaśāstra V. 146-148). In later Sanskrit dramas the Pūrvaraṅga was considerably shortened and the nāndī and the prastāvanā (prarocanaā or āmukha) were incorporated in the drama. I.N.C. | ||
| रसः Rasaḥ |
the aesthetic experience. | Bharata in his famous rasasūtra on the subject has defined the process of consummation rather than the nature of rasa. For the earlier writers from Bharata to Bhāmaha, rasa was an aesthetic situation or an aesthetic fact. Later, under the influence of Advaita philosophy of the śaivite school, Abhinavagupta imparted a subjective character to the concept and defined rasa as an aesthetic experience or the experience of an aesthetic situation. Before Abhinavagupta, Bhattanāyaka had also explained the, nature of rasa in his own way: a state of composure (resting in one’s own consciousness), which is pervaded by beatitude (ānanda) and light (prakāśa) and is similar to the realization (āsvada) of the Supreme Brabman. Abhinavagupta has described this state of realization of rasa by the sahṛdaya (the ideal reader) in detail. According to him, the sahṛdaya through a complete imaginative identification with the situation enjoys his own emotion which has been evoked and developed toa climax and having been liberated from the limitations of time and space. This realization is of the nature of pure bliss, is transcendental, and lasting only during the time of realization and is different from the basic emotions. He observes in Abhinavabhārati: ‘‘Aesthetic experience consists in the realization of one’s own self which is essentially blissful. It differs both from the psycho-physical experience as also from the spiritual experience of the yogins.” Many a later scholar reproduced Abhinavagupta’s view on the subject with a difference in emphasis here and there, until Viśwanātha (14th century) summed up the (concept aphoristically as follows: “Rasa is tasted by the select (qualified) persons in a form which is not different from its own experience. It energes in a state of sattva, when the consciousness is purged of its baser impulses, is indivisible and accompanied by self-luminous beatitude. It is a state of intelligence and is free from any other form of perception or knowledge. It is akin to the blissful realization of the Supreme Self and is animated by a kind of transcendental or super-mundane imaginative pleasure.” N.J. | ||
| रसाभासः Rasābhāsaḥ |
illusion of sentiment | It is the development of a sentiment with reference to an inappropriate subject or object In the absence of propriety, it can never be as pleasurable as a genuine sentiment. For example love for the second hero or villain, for the preceptor’s or a sage’s wife, for many men or women, for another’s lawful wife, or one-sided love, love for a prostitute or a low-born person or the love between animals, represents a mere illusion of eros. Wrath for elders, sages or preceptors is an illusion of the ferocious and ridicule of the same constitutes an illusion of humour. Valour or heroism demonstrated in killing women, low-born persons, Brāhmaṇs and elders is also an illusion of the heroic sentiment. The feeling of fear in the context of noble characters is an illusion of the ‘Terrible’. The illusion of an emotion consists in the impropriety of a particular basic impulse or accessory sensation with. reference to its subject or object, e.g. shyness in a prostitute. R.G | ||
| रसध्वनि Rasa-dhvani |
see ASAMLAKŚYAKRAMA DHVANI | |||
| रासक Rāsaka |
kind of minor drama. | The rāsaka is a comic play in one act with five characters. The hero and heroine are of elevated rank but the heroine is intelligent whereas the hero is dull fellow. The Avaloka an the Daśarūpaka says that it is a kind of ballet consisting of singing and dancing (Avaloka on Daśarūpaka 8, 9. 2). I.N.C. | ||
| रस निष्पत्ति Rasa nīṣpatti |
the consummation of rasa | To explain the relationship of various elements to rasa and also the process by which it comes into being. Bharata has put forth his famous sūtra as follows: “Out of the union/correlation of the determinants, the consequents and the transitory mental states, the rasa comes into being.” This formula, in spite of Bharata’s own explanation, is obviously so ambiguous in respect of the exact meaning of the terms ‘saṃyoga’ (correlation) and ‘nīṣpatti’ (consummation) that it gave rise to a heated controversy among scholars for several centuries. Bharata’s own explanation is that just as a beverage is prepared with various seasoned articles and herbs, so also the permanent/basic sentiment reinforced by various constituents attains the state of rasa. It is so called because its essence consists in its taste or relish, which is the etymological meaning of the word ‘rasa.’ He further explained that STHĀYĪ BHĀVA or the principal sentiment is the basis of rasa. The earliest scholar who interpreted Bharata’s formula was Bhaṭṭa Lollaṭa, according to whom rasa is generated in the consciousness of the original character wherein the permanent mental state (anger, fear, etc.) is raised to the highest pitch by the combined effect of the determinants, consequents and transitory mental states. Bhaṭṭa Lollaṭa maintains that rasa resides primarily in the mind of the original chardcter (whom the actor imitates on the stage) and secondarily in the actor. For him, ‘nīṣpatti’ means ‘generation’ as a result of the combined operation of the various components of an aesthetic situation. Apparently, Bhaṭṭa Lollaṭa’s theory does not directly tackle the problem as to how the spectator enjoys rasa. Śaṅkuka, who wrote his treatise a little later than Lollaṭa, disagrees with this view. According to him, rasa is an imitated mental state. In his opinion, even the most successful imitation by the actor of the characters and their experiences is no doubt artificial and unreal, but is not realized to be so by the spectators, who forget the difference between the actors and the characters, and inferentially experience the mental states of the characters themselves. This experience, which is actually a peculiar form of inference, is, to Śaṅkuka, different from any other kind of knowledge. A horse, imitated by a painter, Hemacadra otserves, hinting at Śaṅkuka’s theory, seems to onlookers neither real nor false, and is nothing but an image which precedes any judgement of reality or unreality. In Śaṅkuka’s view,‘niśpatti’ is an equivalent of ‘anukṛiti’ or ‘imitation’ in the context of the actor and of ‘anumiti’ or ‘inference’ in the context of the spectator. The imitation theory of Śaṅkuka was assailed by Abhinavagupta. According to him, the weak point of Śaṅkuka’s theory is his premise that the aesthetic consciousness or rasa is nothing but the perception of an imitated mental state. The imitation theory is also clearly refuted by certain arts—dancing, for example—which obviously do not imitate anything in real life. The third theorist who is very important inthe history of the doctrine of Rasa is Bhaṭṭa Nāyaka (fiast half of the 10th century). According to him, rasa is not perception, it is neither creation nor manifestation. The enjoyment of Rasa is made possible by three functions inherent in poetic expression, namely, (1) ABHIDHĀ or denotative power, (2) BHĀVAKATVA or universalizing power, and (3) BHOJAKATVA or BHOGA, the power which leads to enjoyment. All linguistic expressions possess the first power. It is by virtue of the second power, however, that language is elevated from ordinary speech to ‘poetic expression. ‘This power, called bhāvakatva, is attained in poetry by the inclusion of Guṅas and alaṁkāras, etc., and in drama through the four kinds of acting. There are two hurdles in the realisation of rasa: (1) the individualistic consciousness of the spectator, and (2) the effect of painful emotions which must necessarily be painful. When the second power of poetry, i.e. bhāvakatva, operates, these two obstacles are removed. Under the spell of the vivid representation, aided by poetry, music, etc., the spectator identifies ‘himself with the characters and the events and loses his sense of individuality. This process of transpersonalization is called SĀDHĀRAṆĪKARANA. After this, the third power, viz., bhojakatva, operates. This enables the SAHṚDAYA to call forth the corresponding instinct implanted in his conscious or sub-conscious self and to develop it toa climax, when it is realized in the form of a kind of self-luminous bliss. Thus Bhaṭṭa Nāyaka equates niśpatti with the process of imaginative universalization or transpersonalization of the basic sentiment and its determinants, etc. The main objection against Bhaṭṭanāyakas, theory is that it attributes to poetic expression two additional functions, namely, bhāvakatva and bhoga, which are not accepted by any school of gfammarians or philosophers. According to the later critics, these two functions are easily covered by VYAṄJANĀ, i.e., the power of suggestion. Abhinavagupta rejected the two functions attributed by Bhaṭṭanāyaka to poetic expression and formulated the theory of revelation or manifestation on the basis of Vyaṅjanā. According to Abhinavagupta, the Soul is immortal, and all souls, particularly the souls of the sahṛdayas or the responsive critics, have implanted in them certain basic impulses which, in the jargon of Poetics, are called sthāyībhāvas. When there is a vivid representation of the determinants, the consequents and the transitory mental states, the corres ponding impulse in us is evoked, and it develops toa pitch where it is realized in the form of an overwhelming joy. Thus rasa is the revelation or manifestation of the inherent basic impulse, which is freed from all limitations of time and space by the magic of the poetic art. Niśpatti, for Abhinavagupta, means abhivyakti or revelation and saṇyoga is the relation between the suggestive or evocative power of poetry and the evoked experience. N.J. | ||
| रशनोपमा Raśanopamā |
chain of similes. | A figure of speech in which a subject of comparison (upamaya) becomes the standard of comparison (upamāna) for another. For example: ‘The swan resembles the moon on account of its white colour, the beautiful damsel resembles the swan, on account of her charming gait. (S.D.10.25). Here the swan is at first the subject of comparison, then it becomes the standard of comparison vis-a-vis the damsel. - S.D.C. | ||
| रसवद Rasavād |
A figure of speech containing some sentiment | It is figure of speech, in which one sentiment (rasa) is subsidiary to some other sentiment or subordinate to the principal one. ‘‘The Wife of Bhūriśravā, a king, who fell in the battle-field, on the sight Of his mutilated hand, says: ‘This is the hand which used to untie my girdle, knead my plump breasts, rub gently my navel, thighs, and hips, and loosen the knot of my underwear.’ (S.D. after 10.96). Here the erotic sentiment is subsidiary to the pathetic sentiment, i.e , the description of the amorous actions of the hand heightens the main (pathetic) sentiment. S.D.C. | ||
| रसिक Rasika |
a cultivated reader, a man of taste one who can appreciate a work of art. | The term rasika has been used by Abhinavagupta almost as a synonym for SAHṚDAYA. But Bhoja defines it with some modification. To him the word ‘rasika’ did not simply mean a man capable of enjoying poetry. Rasika is a man of culture par excellence, a man who possesses the refinement of spirit. Bhoja regards the mind of a rasika as the primary seat of rasa. He applies the term to all cultured votaries of art the poet, the dramatic characters, the actors as well as the spectators. He maintains that a rasika is as rare a phenomenon as a creative genius. Not all men have the rasa or ahaṁkāra or sṛṅgāra in their mental make-up. A rasika is presumed to have done numerous good deeds in his past lives to attain this inherent quality. R.G. | ||
| रतिः Ratiḥ |
attachment, love, physical love The basic instinct of the erotic f sentiment. | In the broadest sense, itis a longing or desire for an object which attracts the mind. In poetics, however, it is restricted to sexual passion that forms the basic instinct (STHĀYI BHĀVA) of eros or the erotic sentiment (SṚṄGĀRA RASA). Reverential love for Gods and elders was regarded at the beginning as a bhava or an undeveloped sentiment. In its sublimated form it became the basic impulse of the sentiment of devotion—bhakti. Physical love can be aroused in each other’s company or in separation too. Hence it forms the basis of the two types of eros: eros in Union ared eros in—separation (SAMBHOGA and the famous VIPRALAMBHA Sṛṅgāra). The former predominates eight comedies of Sanskrit like the Mālavikāg nimitra while serious dramas like the uttararāmacaritam are appropriate illustrations of the latter R.G. | ||
| रौद्रः Raudraḥ |
the furious, the sentiment of ferocity, | It is developed from the basic instinct of wrath (KRODHA), is red in colour and has Rudra as its presiding deity. Its stimulating objects are the enemy and his activities, fight, blows, etc., are the excitants. Knitting of the eye-brows, biting the lower lip, raising up arms, shaking the fists, brandishing of weapons, ferocious looks, etc., are its manifestations. Grimness, agitation, infatuation, unconsciousness, etc., constitute its accessories. It is distinguished from the sentiment of martial heroism by blood-shot eyes and face. Sentiments of humour eros, terror, etc., are opposed to it. R.G. | ||
| रीतिः Rītiḥ |
method, style, mode of expression. | Style, diction or mode of composition, regarded by Vāmana as the soul of poetry is defined as “a distinguished arrangement of words’’, the distinction consisting of certain poetic qualities. Daṇḍin accepted two broad types, VAIDARBHĪ or Southern mode of poetic expression and Gauḍi or the Eastern mode. This nomenclature and classification was not acceptable to Bhāmaha. Vāmana and Rudraṭa added Pāṅchālī to the list Agnipurāṇa mentioned four and Bhoja six adding Lāṭīya (See LAṬĪ), AVANTIKĀ and MĀGADHĪ as well. The basis of classification differs with each: (1) proportion of compounds, metaphorical expression and softness of diction (The Agnipuāṇna) (2) use of compounds (Rudraṭa) (3) Diction, compounds qualities and figures (Bhoja) (3) Qualities (Daṇḍin and Vāmana). In ‘short, the concept of the mode of expression incorporates, both— ‘diction and style, Kuntaka’s ‘modes’ (mārgas) are more comprehensive, their distinction is neither quality-based nor provincial he classifies them according to the genius, nature and practice of the poet. S.K. | ||
| रोमांच Romāṅca |
horripilation. | The third natural sensation in deep emotion. It is generally simultaneous with stupefaction. It is caused by ecstasy, surprise, fear or disgust aroused suddenly to its climax. R.G. | ||
| रूढ शब्द Ruḍha śabda |
a traditional denotation. | It is a word accepted as denotative of a definite sense or senses by force of long tradition of continuous usage. The denotation is purely arbitrary, and the word cannot be traced to any known original root. ‘Gam, for example, means ‘to go’ and has been so used since time immemorial. S.R. | ||
| रुढिवैचित्र्य वक्रता Rūḍhi-vaicitrya-vakratā |
striking departure from denotation. | In this first variety of a striking substantive (a) an attribute which seems impossible with reference to the conventionally accepted denotation is indirectly conveyed or (b) an existing attribute is interpreted as an unusual excellence. The expression may be put in the mouth of the character referring to (i) himself or herself or to (ii) somebody else. The motive is either unique vilification or excessive praise. The variety is essentially suggestive and includes indicationbased or transformed-denotation-based suggestion. S.K. | ||
| रूपक Rūpaka I |
metaphor. | A figure of speech in which the subject of comparison (uparmeya) is identified with the standard of comparison (upamāna). Example: Is there any pair of bee-like eyes of the people which has not drunk her charming face, full of honey-like grace?’ The identity between the ‘upameya’ and the ‘upamāna’ is presented as follows: As the bees. drink the honey of flowers in their full bloom so do the eyes of people drink the beauty of her charming face. Rūpaka is of three kinds: (i) paramparita, whercin the ascription of some quality to one object serves as the cause of ascription of another quality to another object: (ii) sāṁga rūpaka, wherein the standard of comparison is identified with the object as a whole together with its constituent parts, (iii) ek-deśa-vivartin, wherein identification is only partial. S.D.C. | ||
| रूपक Rūpaka I |
drama. | In Sanskrit poetics KĀVYA (poetry) is classified broadly as dṛśya (representational) and ṣravya (oral). Amongst these the dṛaśya is presented on the stage and is, therefore, synonymous with drama. In Sanskrit, drama is the imitation of situations. It is called a show (rūpa) because of the fact that it is seen. Drama is called representation (rūpaka) because of the assumption of various personae (rupa) by the actors: rūpakam tat samāropād (Daśrūpaka 1.9). Thus the Drama’ in Sanskrit passes by the general denomination ‘rūpaka’. In the Rasārṇavasudhākara the term ‘rūpaka’ is applied to a play on the analogy of rūpaka or metaphor, because in a play we assume an identity between characters and the actors representing them (R.S.III, 1.5) Rūpakas have ten varieties: Nāṭaka, Prakaraṇa, Samavakāra, Īhāmṛga, Dima, Vyāyoga, Aṅka, Phrahasana, Bhāṇa, Vīthī. Besides these ten varieties of the rūpaka, there are eighteen kinds of uparūparkas, the minor plays. The chief point of distinction between rūpaka and uparūpaka is that uparūpaka relies mainly on bodily gestures and music, which occupy a secondary position in rūpaka, whereas rūpaka requires superior and subtler kinds of acting and representation (see ABHINAYA). I.N.C. | ||
| रूपमाला Rūpamāla |
a variety of mātrika metre. | (I) This is a MĀTRIKA metre of the even (sama) type, with twenty-four mātrās in each quarter which should end in a skort VARṆA (or a short sound) preceded by a long one (S1). The caesura is at the fourteenth mātrā and then at the end. This metre is also called madana (C.P. page 62). Example: jātu hau vana vādjhī gala, bāṅdhike bahu tantra dhāmahīṅ kina japata kāmada, rāma nāma sumantra. (Chandaḥ-prabhākara, page 62) (II) There is another metre of this name, which is ‘Varṇika’ of even (sama) type. Its arrangement of Gaṇas is ragaṇa, sagaṇa, jagaṇa, jagaṇa, bhagaṇa followed by a long and a short (Vaṇa), the symbolic notation being SIS, IIS, ISI, ISI, SII, SI (Chandamālā I.57). (III) There is still a third variety of this metre which is a mātrika one of the even type. Its name is rūāmāla (or rūpāmāla) and the special feature thereof is eighteen matras, where all the nine syllables have long vowels. (P.P. 2.88). Example : Jaṇi ṇacce vijjū mehaṅdhāra paṁphullā ṇīpa sadde morā vādantā maṅdā sīā vāā, kaṁpaṁtā gāā kantā ṇā ā. (Prakṛta-pamgala 2.89). K.B. | ||
| शब्दचित्र Śabda-citra |
verbal variegation. | Generally illustrated in single verses, it constitutes a sophisticated expression for description. Many figures of speech, particularly syllabic arrangements like alliteration, rhyme and other sound patterns fall under this category. Their charm lies mainly in the repetition of certain sound at definite or indefinite intervals. Mammaṭa includes vivid and colourful pen-pictures in this variety. Words and arrangements of syllables are irreplaceble in this type of composition. Puns and figures based on the use of homonynis also belong to this group. S.K. | ||
| शब्दालंकार Śabdālaṁkāra |
figures based on words. | One of the three main varieties ALAṀKARA or figure of speech. It is based on the word and owes its origin to the brilliance of a collocation of letters or to the striking use of a word or words. The following four figures of speech are called Śabdādlaṁkāras: alliteration ANUPRĀSA, replication (YAMAKA), evasive speech (VAKROKTI) and pun ŚLEṢA. The poetic beauty in these figures of speech is based solely on the word to the extent that if the particular word is replaced by its synonym, the charm vanishes. S.D.C. | ||
| शब्द शक्ति Śabda śakti |
tcapiaci ty ofa word. | The capacity of a word to convey the sense is threefold—denotative, indicative and suggestive. A fourth capacity—to convey the purport of a sentence—was also suggested by certain theorists, but it was not finally acceptable to rhetoricians is general. They believe that words convey their sense not in isolation, but in a mutually connected manner and that cne capacity cannot accomplish more than one function. S.K. | ||
| शब्द श्लेष Śabda-śleṣa |
see ŚLEṢA. | |||
| शाब्दी व्यंजना Śābdī vyanjanā |
word-based:/suggestion: | The suggestion is derived directly from the word, its denotative or indicative capacity. The denotation indication does not play a significant role in conveying the suggested sense. It is two fold : (I) Denotation-based When a homonym ina particular context denotes only one of its literal meanings and the others are only implied by suggestion. (2) Indication-based : When a word incompatible in a particular context is purposefully used to convey a secondary sense the purpose underlying this usage is conveyed through suggestion. S.K. | ||
| साधारणीकरण Sādhāraṇi-karaṇa |
the theory of universalization. | The theory of sādhāraṇīkaraṇa was first propounded by Bhaṭṭanāyaka about the 9th century A.D. According to him “...the basic sentiment which is converted into rasa or aesthetic experience as a result of the process of universalization affected by BHĀVAKATVA is made extremely enjoyable to the reader by the third function (of the poetic language)-namely BHOJAKATVA. Bhāvakatva is the second function of poetic language characterized by the absence of flaws and presence of poetic qualities as well as figures of speech and is endowed with a capacity for turning the particulars of poetry into universal forms and of purging the reader or spectator of his personal idiosyncracies.” Abhinavagupta re-stated the thesis with a few modifications: ‘‘During the process of poetic experience, wherin the object ceases to be an individual and the subject does not appear to be real, the sentiment itself is freed from the limitations of time and space, i.e. as a result of the universalization of the subject and the object, the sentiment itself becomes impersonal and universal.” This process of universalization is not limited to individuasl all the spectators in the case of a play and the entire class of readers in the case of a poem, who are endowed by nature with similar sensibilities to a certain extent, join in that collective or experience. In the light of this modification, a later theorist Govinda. Ṭhakkur (15th century A.D.), one of the commentators of Kāvyaprakāśa, has summarized the process in the following terms: “Bhāvakatva means universalisation. This process imparts a universal form to the particular subject and object as also to the sentiment. In the case of the former, universalization means the portrayal of individuals like Sita etc. in universal forms—as beautiful damsels, whereas in the latter, i.e. in the case of the sentiments and their external manifestations it means freedom from particular relationships.” According to this interpretation, all the components of rasa viz., the object, the subject, the stimulus and the external manifestations as also the basic sentiment along with its necessary transient feelings, undergo the process of universalization. This theory was accepted in general by most of the critics except two—namely Viśvanātha (l4th century) and Jagannātha (17th century) whose interpretations are slightly different. Normally Viśvyanātha also believes in the universalization of all the components, but he has laid greater emphasis on the identification of the reader with the subject : “There is a special function of poetry which effects the universalization of the subject and the object, etc. Under its spell the reader is able to identify himself for the time being with characters like Hanumāna who are capable of crossing the oceans. This identification with superhuman characters makes it possible for (ordinary) men also to share (imaginatively) their sentiments of valour and courage for crossing the ocean.”’ This question was raised by Bhattanāyaka also, but Viśvanātha has presented it in a more pointed manner. In a different way Panditrāja Jagannātha also laid considerahle emphasis on the reader’s identification with the subject. In the light of his own philosophical conviction, he rejected the theory of universalization, explaining the process as an“error of feeling.” According to him, “In the first instance we acquire a primary knowledge of the subject and object etc. depicted or presented in a work of art. Then by means of the suggestive power of the poetic language we feel that Duśyanta is in love with Śakuntalā. Thereafter, our own imaginative and emotional faculties are activised and we start reflecting on the theme again and again. This is a false experience which results in a feeling of imaginative identification with Duśyanta and a cousequential experience of ‘feigned love’ towards Śakuntalā.” This argument is not essentially different from Viśwanātha’s thesis except that it is clothed in the technical jargon of philosophy. In Jagannātha’s favourite system of philosophy (i.e. the Vedānta interpreted through the Navya Nyāya), there is no place fora process of universalization : the theory of illusion explains the aesthetic phenomenon. But if we ignore the philosophical jargon, it would be obvious that there also the emphasis is laid on our feeling of empathy with the subject. This theory was revived after a gap of some three centuries by the celebrated Hindi critic, Ācārya Rāmcandra Śukla. His treatment of this problem, however, is more of a re-interpretation than a sustained academic analysis. His relevant observations are that though “the poetic object is always particular and not typical’ yet ‘unless the object of an emotion is depicted in such a way that it becomes a common object of the same emotion for every sensitive reader, it fails to acquire in full the capacity to evoke a proper aesthetic response. This is described as the process of universalization in Indian Poetics.” He further observes that “the effect of universalization is that the image of the object created in the subject’s mind evokes in every sensitive person the same emotional responses as in the subject.” “The image is always particular, but it is so conceived that it evokes the same emotion in the reader as is expressed by the subject or the poet in the poem. This proves that universalization takes place in the character or in the qualities of the object.” By saving that ‘‘the subject and the object appear to be universal” he probably wants to emphasize that for some time the consciousness of the inspired reader merges with the universel consciousness. Among the later Hindi scholars after Ācārya Rām Candra Shukla, Dr. Nagendra, another renowned Hindi critic, has made an effort quite successfully to grapple with his problem. After discussing all the problems arising out of this theory, he arrives at the following conclusion: ‘The poetical situations are mere vehicles of the poet’s artistic experience, which he wants to communicate.” “The poetical situation’’, according to him, is “just a poetic symbol--an objective correlative of the poet’s aesthetic experience in this behalf. The poet is able to communicate his experience in such a way as to evoke a similar experience in everybody. He is gifted with the capacity for universalization, hence it is the poet’s experience which is universalized.” To the question as to how the poet universalizes his experience, he gives the following answers derived from the theories of Indian and Western thinkers : (i) Universalization is the function of Poetic language, and (ii) the ultimate basis of universalization is the allpervading human empathy. He sums up his arguments as follows: “Universalization is effected through emotive language language acquires this power from the emotional content of the author’s experience and the. source of the affective qualities of the author’s experience lies in the human empathy which is a universal phenomenon.” N.J. | ||
| सद्यःपरर्निवृत्ति Sadyaḥparanivṛti |
immediate | While enumerating the purposes of poetry Mammaṭa in his Kāvyaprakāsh, has mentioned Sadyaḥparanivṛti as one of them. The term is expressive of immediate (imaginative) pleasure as distinguished from other forms of resultant or secondary attainments. N.J. | ||
| साध्यवसाना लक्षणा Sādhyavasānā lakṣaṇā |
introsusceptive indication. | The second type of indication wherein both the objects bearing. some relationship are not mentioned directly in words, as in ‘Here is an ass’ (When pointing at a fool). The foolish fellow is not mentioned directly by a word. So the indication of his foolishness resembling that of an ass is introsusceptive. S.K. | ||
| सहचर भिन्न Sahacara-bhinna |
contrariety. | Dissimilarity of the associated or association in a statement produces this defect of meaning (K.P. 7.57 S.D. 7.10). Example : sujjano durgatau magnaḥ kāminī galitastanī khalaḥ pujyaḥ samajyāyāṁ tādpāya mama cetasaḥ (S.D., after 7.11) i.e., ‘A gentleman reduced to straitened circumstances, a sweetheart with breasts fallen, and a rascal honoured in an assemblage deeply afflict my heart.’ Here a gentleman and a sweetheart are agreeable object but not so the rascal: he is disagreeable hence the statement in the verse is defective. K.B. | ||
| साहित्य Sāhitya |
creative literature. | Sāhitya in Sanskrit means literature, or creative literature to be more precise. It is used as a synonym for the Sanskrit term KĀVYA— poetry in general. The word Sāhitya is derived from ‘‘sahita’’ meaning ‘united together’. As early as the 7th century A.D. Bhāmaha defined poetry or creative literature as ‘the union of the word and meaning” (Śabdārthau sāhitau kāvyam).) It was this phrase of Bhāmaha which Jater became the basis of all the discussions on the word-and-meaning relationship in poetry. It is not quite known as to when exactly the word Sāhitya came into existence, but by the time of Rājaśekhara it had definitely become synonymous with poetry or Poeties. Since all creative literature is expression through language, word and meaning were regarded as the two basic components of poetry. This etymological concept, meaning simple co-existence of word and meaning, continued fora long time. But in the tenth and eleventh centuries, Kuntaka and Bhoja made efforts in their own ways to define this relationship specifically in the context of poetry. Bhoja dealt with both, i.e. the grammatical and logical relations on the one hand and the poetic relations on the other. According to him, this relation between word and meaning is of twelve kinds. The first eight he regards as the general relations and the last four as special poetic relations. According to Bhoja, poetic relations are fourfold. Kuntaka’s approach is more aesthetic. According to him, there is a unique relationship between the word and its meaning which is established by the creative genius of the poet. In poetry under the spell of the poetic genius the word and its meaning vie with each other in the creation of beauty to the extent that they are identified. The relationship between word and meaning, thus, verges on identification which marks out poetry from other forms of expression. N.J. | ||
| साहित्यविद्या Sāhitya-vidyā |
poetics, literary criticism | It is a term used in the sense of Poetics by Rājśekhara in his Kāvya-Mīmāṁsā, He explains Sāhitya as the knowledge of word and meaning used in consonance with each other. N.J. | ||
| सहोक्तिः Sahoktiḥ |
connected description. | A figure of speech in which one thing is related to another by the force of the term ‘saha’ along with denoting the sense of accompaniment, provided a hyperbole be at the basis of it. Example “Right from the beginning of the youth of this damsel both her lower lip and her lover have simultaneously attained rāga (redness and love respectively).” (S.D. after 10.55). Here the-word rāga is paronomastic, meaning ‘redness’ and ‘love’, and with the use of the word ‘saha’ a hyperbole has been denoted by expressing the simultaneous attainment of both redness and love . S.D.C. | ||
| सहृदय Sahṛdaya |
a receptive or enlightened reader or spectator. | Abhinavagupta defines ‘sahṛdaya’ as one whose heart has been made transparent (receptive) like a mirror by constant contemplation Of poetry and who is therefore able to respond spontaneously to the emotion portrayed in a work, of art. Abhinavagupta considers the sahṛdya’s mind as the primary seat of aesthetic bliss or rasa, Bhoja uses the term RASIKA in this context. According to him, a rasika is as rare a being as a creative genius. He applies the term rather comprehensively to all the cultured votaries of art, such as the poet, the actor, and the spectator. The word rasika is no doubt found in Abhinavagupta as well but sahṛdaya is his favourite expression. The word rasika is explained as one who has the innate capacity to enjoy rasa, But rasa is not defined by Abhinavagupta as it is done by Bhoja, namely, as ahamkāra (ego) which enables one to enjoy life, but as a blissful state of mind that has been attained by him on reading a poem or seeing a drama. In other words, it is the enjoyment of poetry and drama through empathy. This emotional state of identification with the poet or the characters on the stage is called Gittasamvāda or rasa, and a rasika or sahṛdaya is the person who is competent for it. NU, | ||
| साकांक्ष Sākāṅkṣa |
Wanting a complement or correlative. | This defect of meaning is caused by the omission of an important word. While reading a verse suffering from this defect, one feels that a particular word is wanted to complete the sense. The reader has to supply that missing word before he grasps the idea contained in the verse (K.P. 7.57 S.D. 7.10) Example : arthitye prakaṭīhkṛtepi na phalaprāptiḥ prabho pratvuta druhyandāśarathirviruddhacarito yuktastayā kanyayā. utkarṣaṁ ca parasy a manayasaorvisrainsanam catmanah Striratnam ca jagatpatirdaśamukho devaḥ kathaṁ mṛṣyate (Mahāvīracaritam 2.9 K.P. 7.278) (Mālyavān is addressing Rāvaṇa:) Lord, you once showed your desire (to king Janaka) fot Sītā, in vain, but he gave her in marriage to Rāma whose behaviour is opposed to yours. You have ten faces and you rule over the entire earth. How, then, can you bear your enemy’s superiority and the loss of your own dignity and renown as also that gem among women Here the word ‘upekṣitum’ is missing after ‘strīratnam’, hence. the statement is incomplete. The complete sentence would read daśamukho devaḥ strīratnam upekṣitum kathaṁ mṛṣyate’, meaning how can you bear the idea of giving up the gem among women? K.B. | ||
| सम Śama I |
tranquillity, quietude mental equillibrium. | The basic instinct underlying the sentiment of quietude (śānta). It is stimulated by a sense of the trausitoriness of the world, a sense of its futility. It is the preliminary condition of the mind of one who attains salvation R.G. | ||
| सम Śama I |
equal. | A figure of speech in which a worthy object coming in contact `with another equally worthy object is commended. Example: Princess Indumatī has resorted to the king Aja as ‘the moon-light resorts to the moon freed from the cloud’. (S.D. after 10.71). Here the commenda-tion of the union of moon-light with the moon with reference to that of Indumatī with Aja has been communicated. S.D.C. | ||
| सम Śama I |
see ANUṢTUPA. | |||
| समाधिः Samādhiḥ |
balance special kind of significane. | To Bharata it requires superimposition of a specially striking sense. Vāmana defines (a) Verbal balance as a symmetrical rhythem, balanced ascent and descent. The rhythm in the forceful style seems to ascend whereas in lucid style it seems to descend and both are intermingled skilfully in balance or samādhi. The mingling of force and lucidity at a special pitch produces a charming balance. (b) Balance of sense consists in comprehension of delicate shades of sense wider and deeper than the primary denotation. Daṇḍin takes it as a kind of metaphorical expression relieving vulgar words of their vulgarity, a transferred epithet, a superimposition of action, transference of sense or a simultaneous superimposition of various qualities. To Vāmana the wider or deeper sense may be absolutely original or even borrowed from some other source, but it must result in the concentration of reader’s or listener’s mind. S.K. | ||
| समाधिः Samādhiḥ |
facilitation. | A figure of speech in which an effect is mentioned as being easily brought about through the accidental operation of another thing. Ebample: ‘When I was about to fling myself at her feet in order to remove her wounded sense of honour (māna), fortunately this rumbling of the cloud came to my aid by frightening my beloved and making her cling to me (S.D. after 10.86a). Here an effect, i.e., the meeting of two lovers, is mentioned as being easily brought about through an accidental operation, i.e., the sudden thundering of clouds. S.D.C. | ||
| समाहित Samāhita |
suppression | A figure of speech which occurs when the quelling of one sentiment (rasa) or incomplete sentiment (bhāva) serves to advance another sentiment. Example : ‘A bard eulogizing the king says: “The pride of your enemies which was repeatedly demonstrated the brandishing of swords, knitting of eye-brows and by their roars and threats has instantly disappeared on seeing you.” (S.D. after 10.96). Here the quelling of the sentiment of pride in the enemies is subordinate to the feeling of attachment (rati) (for the king) which is the principle emotion here. S.D.C. | ||
| सामान्य Sāmānya |
sameness. | A figure of speech in which something is spoken of as having become undistinguishable from something else for possessing similar qualities. Example: Women going out to meet their lovers at an appointed place, i.e. covered with dazzling sandal pastes, and their hairknots set with jasmine flowers, proceed easily in the moon-light without being detected.’ (S.D. after 10.90a). Here women are represented as being undistinguishable from moon-light, as both possess a common property, namely, whiteness. S.D.C. | ||
| सामान्या Sāmānyā |
courtesan, prostitute. | The third variety of the NĀYIKĀ under the first classification on the basis of her social relationship with the hero. Sāmānyā, mean ing a courtesan, has been described as one who possesses self-control, who is skilled in the sixty-four arts, who is not hostile towards men devoid of all good qualities and is not enamoured of those who are endowed with virtues, who pretends to love only with a view to acquiring wealth, and who would turn out through her mother even a person otherwise quite acceptable when the latter loses his fortune (she would not turn him out herself as she hopes to get reconciled to him in case he regains his wealth). (S.D. 3. 67-69) R.G. | ||
| समाप्तपुनरात्त Samāptapunarātta |
resumption of the concluded. | Samāptapunarātta is a poetic defect arising from the resumption of the concluded (K.P. 7.53 S.D. 7.6). Example : nāśayanto ghanadhvāntaṁ tāpayanto viyoginaḥ patanti saśinaḥ pādā bhāsayantaḥ kṣamātalam. i.e., ‘Dispelling the dense darkness, and causing agony to those in separation, the rays of the moon are falling and illuminating the surface of the earth.’ Here the second sentence resumes the qualities of the moon’s rays which are concluded with the close of the first sentence. K.B. | ||
| समासोक्तिः Samāsoktiḥ |
speech of brevity. | A figure of speech in which the behaviour of a thing not in reference is ascribed to the subject under reference through similarity or sameness of action, gender or attribute. Example : How can the highly ambitious man think of (winning) the woman when he has not yet fulfilled his desire of conquering the world? The sun does not meet the dusk before traversing the entire world.’ (S.D. after 10.57) Here the behaviour of the lover and beloved is ascribed to the sun and the dusk on the ground that sūrya (sun) and saṅdhyā (dusk) are masculine and feminine respectively S.D.C. | ||
| समता Samatā |
evenness or harmony. | Bharata defines evenness as ease of comprehension, moderate compounds, freedom from expressions which are redundant or obscure, Vāmana defines (a) Verbal evenness as harmony and consistency in sentence-structure—a proper sequence of tenses, moods, voices, etc. and (b) Evenness of sense as (i) freedom from incompatibility or incogruity, e.g. the Malaya breeze should not be associated with winter (ii) or ease and lucidity of description as in decription of the Himālayas in the Kumārsambhavam. Daṇḍin regards it as absence of unevenness of syllabic structure. To Vāmana it indicates homogeneity of diction and a proper sequence of ideas. S.K. | ||
| समवकारः Samavakāraḥ |
a kind of drama. | Samavyakāra is the dramatic representation of some well-known legends of gods and demons in three acts. The three acts are to present three kinds of deception, three kinds of excitements or three kinds of love. There is no individual hero the heroes may be as many as twelve. (They can be god & demons known of the exalted type.) It contains all the sentiments with special emphasis. The first act should last for 12 nādikas the second for four and the third for two, a nādika being equivalent to 24 minutes. This kind of drama is called samavakāra because various themes are scattered about in it. I.N.C. | ||
| सम्भोग शृंगार Sambhoga sṛṅgāra |
eros-in-union. | It has innumerable possibilities in the form of kisses, embrace, caresses, etc. It is, therefore, mentioned as a single sentiment. Its excitants are: the six seasons, the Sun and the Moon, their rising and setting, water-sport, drinking musical concerts, unguents, ornaments, dress, etc. in fact everything that is pure and sacred. R.G. | ||
| शंका Śaṁkā |
apprehension | The third among the thirty-three VYABHICĀRĪ BHĀVAS as enumerated by Bharata. Śaṁkā is the feeling of apprehension called forth by the anticipation of a great misfortune. This anticipation is due to either another’s cruelty or one’s own misconduct. The external manifestations of this feeling comprise change of colour of the face, trembling, sinking of voice, side-looks, parching of the mouth, and the like. (S.D. III. 161). R.G. | ||
| सङ्करः Saṅkaraḥ |
admixture | A figure of speech in which a variety of figures of speech are put together in such a way that each exists interdependently of the other. This mixture is like that of milk and water. Saṁkara is of three kinds: (i) when two or more figures of speech stand in the relation of principal figure and a subordinate one, (ii) when they reside together, and (iii) when there is a doubt about them. An example of the second variety: ‘The Evening (saṅdhyā) glows with redness (anurāga) and the day (divasa) is ever present before him. But still they are never united. Oh! mysterious are the ways of destiny. (S.D. after 10, 99). Here the words saṅdhyā (evening) and divasa (day) on account of. their genders—feminine and masculine respectively —suggest the behaviour of a beloved and a lover, especially by the skilful use of the paranomastic words ‘anurāge’ and ‘tatpuraḥsaraḥ : anurāga meaning redness and tatpuraḥsaraḥ meaning before her and ever ready to act at her bidding. The meaning of the above in the second case will be the beloved is full of affection and the lover is ever ready to do her bidding but still they are never united. (This is due to the fact that they are prevented by the circumstances from meeting each other). A figurature expression of this kind is named SAMĀSOKTI. But the above stanza is primarily an example of VIŚEṢOKTI and SAMĀSOKTI is subordinate to it. Viśeṣokti occurs where in the presence of cause, the effect is wanting. Here the causes of their union (viz effection’and ever-ready to do her bidding’) are present, yet the effect (fruit) does not follow. Thus it is an example of the second variety of saṃkara, as one figure of speech (i.e. samāsokti) is subordinate to. another (i.e. Viśeṣokti). S.D.C. | ||
| संख्या वक्रता Saṁkhyā vakratā |
striking use of number inversion of number. | (a) The number proper in the context is substituted by another e.g., singular for dual or plural: “Cursed are we in (our) search for the real cause.’’ Here the plural ‘we’ for the singular ‘I’ implies-freedom from intimacy or feeling of diffidence. (b) Contradictory numbers are used in apposition to one another e.g. “sciences are a unique eye’’ presents a singular noun as a complement to a plural subject, suggesting thereby that this single eye is more than sufficient in this world. This inversion of number effects a delightfully striking variety in the expression. S.K. | ||
| सङ्कीर्ण Saṁkīrṇa |
confused, jumbled. | This blemish arises when words from one sentence are inserted into another and thus confuse the meaning. As it creates perplexity in the mind of the reader, it may be called ‘confusion’ (Kāvyālaṁkara of Rudraṭa VI. 41 K.P. 7.54 S.D. 7.8). Examples: (i) Kimiti na paśyasi kopaṁ pādagataṁ bahuguṇam gṛhāṇemam nanu muṅca hṛdaya-nāthaṁ kaṇṭhe manasastamorūpam. Here the reader would find it difficult to get the correct meaning, because of the wrong insertion of ‘kopaṁ’, ‘hṛdayanāthatṁ’ and ‘kaṇṭhe. The intended meaning is, however, as follows: “Why do you not see that the lord of your heart has fallen upon your feet? He is a person of many merits. Give up your anger which is a darkness of the mind, and put your arms around his neck (in an embrace). K.B. | ||
| संलक्ष्यक्रमव्यंग्य ध्वनि Saṁlakṣyakrama-vyaṅgya-dhvani |
suggestion of perceptible sequence. | The first type of denotation based predominant suggestion where the suggestive process is perceptible in its different stages. The suggestion is comprehended as an after thought, after grasping the primary denotation. It is comparable to a reverberant note arising from the capacity of sound (word), sense, or both. The suggestion may be a figure of speech or subject-matter. Again, the primary denotation may represent either a figure or subject-matter. “The ocean resembles the ocean’’ is denotative of ananvya figure it suggests the figure asama and also the fact that the ocean is unique in its depth and expanse. Denotation is suggestive by itself, through the sophistication of expression or even a character in the narrative. S.K. | ||
| संलापक Saṁlāpaka |
a kind of minor drama. | The saṁlāpaka is a drama in one, three or four acts. The hero is a heretic and the subject are controversy, deceit, violence and war. It may have any sentiment except the erotic and the pathetic. I.N.C. | ||
| सम्प्रलापः Sampralāpaḥ |
Lamentation, wailing, incoherent talk. | The lovelorn person, unable to bear the pangs of agitation, begins to wail aloud. In the absence of mental peace, his or her remarks often become incoherent. It is the sixth stage in the lovelorn condition. R.G. | ||
| संशयः Saṃśayaḥ |
see SANDIGDHA. | |||
| संसृष्टिः Saṃsṛṣṭiḥ |
combination, union. | A figure of speech in which a variety of figures of speech are put together in such a way that each exists independently of the other. Such a combination is like that of sesame and rice. Example: ‘May the Lord (Kṛṣṇa), who is the slayer of Kaṃsa, protect us from evil. The sun is doing away with the gloom of the world with his eyes which resemble a blossomed blue lotus. (devaḥ payādapāyānnaḥ smerendīvaralocanaḥ, saṁsāradhvāntavidhvaṃsahaṃsaḥ kamṣanisūdanaḥ). (S.D. after 10, 98). Here there is ‘Yamaka’ in ‘pāyadapāyat’, and Aṅuprāsa (alliteration) in ‘saṃsāra’, and both these figures of speech have their separate identity. S.D.C. | ||
| समुच्चयः Samuccayaḥ |
conjunction, simultaneous use. | A figure of speech in which two attributes, or two actions or ‘one attribute and one action exist simultaneously. Example: “Oh young lady, raddish are your eyes and dark is the face of your beloved one.” (S.D. after 10,85). Here the simultaneity of two attributes (i.e. reddishness and darkness) has been mentioned. S.D.C. | ||
| संविद्विश्रान्ति Saṁvidviśranti |
a state of repose in one’s own consciousness. | It is a term used by Abhinavagupta to denote a state of repose (viśrānti) of one’s own consciousness (samvit). In aesthetic language, viśrānti denotes the fact of being absorbed in the aesthetic object and the feeling of joy sui generis which accompanies that state of consciousmess. N.J. | ||
| संवृतिवक्रता Saṁvṛti-vakratā |
a striking usage based on concealment. | This type of a striking use of a substantive is fivefold: (a) A pronoun, etc. is used in place of a noun. Thus lending a striking Significance to the whole expression (b) a point concealed under the excuse that it cannot be adequately described is ultimately highlighted by mentioning its activity or excellence (c) a delightful or graceful item is rendered more effective by veiling it under general expressions, e.g. “what after all did she not do?’ Such words touch off some tunes in the listener’s heart (d) an idea is concealed, suggesting that it could be experienced by anyone except the speaker, e.g., “Cupid deliberated something in his heart!’ (c) an object is concealed because it would be a sin to mention it by name. : S.K. | ||
| सन्देहः Sandehaḥ |
a figure of speech based on doubt or uncertainty regarding the standard of comparison. | A figure of speech in which an uncertainty about the standard of comparison (upamāna) is expressed in respect of the object of comparison (upameya). Here is an example: ‘Is this (lady) a fresh blossom, issued forth with juice from the tree of youth or, is the sweeping wave of the ocean of grace that bas swollen on the coast?’ (5.70. after 10.36 a). Here no conclusion is arrived at with regard to the standards of comparison used for the fair lady. S.D.C. | ||
| संधि saṅdhi |
juncture, a divisionor joint in a drama. | saṅdhi means a juncture of connection. It connects the five KĀRYĀVASTHĀS or stages in the five ARTHAPRAKṚTIS i.e., the elements. The combination of one stage with one element gives rise to one saṅdhi or juncture. Thus the plot of drama has fivefold divisions due to there saṅdhis. The junctures are the structural divisions of the drama, which correspond with the element (Arthaprakṛitis) of the plot and the stages (Kāryāvasthās) in the hero’s realization of his purpose. They are five in number: the opening (mukha), the progression (pratimukha), the development (garbha), the pause (avamarṣa) and the conclusion (nervahaṇa). The plot should contain five elements. of action corresponding to the five dramatic stages and should be divided into five junctures. As a matter of fact, junctures do the job of harmoniously blending the elements and dramatic stages together to give the subject-matter of action a compact form for reaching its goal. All the five saṅdhis have sub-divisions totalling sixty-four. They are the various dramatic incidents which are employed in the presentation of the dominant rasa. According to Viśvanātha there are six objects. of the avigas. These are—composition of a desired object, astonishing the audience, expanding the plot, keeping the audience attached to the plot, suppression of what needs to be suppressed and manifestation of what deserves to be manifested. I.N.C. | ||
| सन्धिकष्ट Sandhikaṣṭa |
harshness of euphonic combination. | In Sanskrit every sentence is regarded as a euphonic chain or euphonic coalition of words. Sandhi-kaṣṭa is a poetic defect which arises when severais words are rendered difficult to pronounce or are: harsh to hear, thus disturbing the euphonic coalition of the sentence (S.V. II 2.8, S.D. 7.6). Example : urvyasāvatra tarvāli marvante cārvavasthitiḥ (S.D. after 7.8 K.P. 7.214) i.e., “Thus is a land where stands a long and beautiful row of trees at the end of desert.’ Here four words have combinations which appear grotesque from the point of viow of sound as well as sense urvi+asau ‘taru+ ālī’, maru+ ante’ and ‘cāru+avasthitiḥ’. K.B. | ||
| सन्धि-विश्लेष Sandhi-viśleṣa |
disjunction. | Sandhi-viśleṣa is that poetic blemish which is felt in the continuous use of words where euphonic combination is not permitted by the rules of grammar (S.D. 7.6). Bharata (N.S. 17.93), Bhamaha (Kāvyālaṁkāra 4.28), Daṇḍin (Kav. 3.159), Vāmana (K.S.V. II 2.7-8) and Rudraṭa (Kāvyālaṁkāra 6.14), however, call it visandhi’. Example: delite utpale ete akṣiṇi amalāṅgi te. (S.D. after 7.8). ‘O lady of pure form, these two eyes of yours are two blossoming lotuses.’ Here four places are without euphonic combination. Although the composition is grammatically correct, yet it is jarring to the ears, and as such it should be avoided. Again, if a writer composes a verse without introducing the proper combination, even once, for the fear of violating the propriety of the metre, then also he is committing a poetic error. Example: vāsavāśāmukhe bhāti induścandanabinduwat. (S.D. after 7.8) i.e., ‘On the face of the (personified) East the (full) moon is shining like a dot of sandalwood paste.’ Here a euphonic combination is to be introduced between ‘bhāti’ and ‘induḥ’. That is not done, as it would spoil the metre. As an atternative to this, the following has been suggested : vāsavāśāmukhe bhāti candraścandanabinduvat. K.B. | ||
| सन्दिग्ध प्राधान्य व्यंग्य Sandigdha-pradhanya-vyaṅgya |
suggestion of dubious predominance. | Another kind of second-rate poetry in which one is not sure whether the suggestion predominates over indication or denotation or vice versa. In “Hara cast his glance on the lower lip of Umā,” one is not sure whether the description is important or the suggestion of the longing for a kiss. This makes the predominance of suggestion highly dubious. S.K. | ||
| सन्ध्यश्ललि Sandhyaślīla |
indecorous euphonic combination (sandhi). | Sandhyaślīla is that poetic defect which is felt when the introduction of a euphonic combination in a couple of words renders a part of the combined form indecorous (K.S.V. II 2.8 S.D. 7.6). Example : calaṇḍāmarace ṣṭitaḥ (S.D. after 7.8) i.e., ‘While walking he appears to be running away out of fear.’ Here the words ‘calan’ and ‘ḍāmara’ combined together, give the sound for ‘laṇḍā’ which in Apabhraṁśa stands for excrement hence its inclusion in a composition is not in good taste. S.K. | ||
| सन्दिग्ध Sandigdha |
dubious, an ambiguous or doubtful meaning. | This deviation occurs when an expression suggests two different senses. (K.S.V. lI 2.20 K.P. 7.51 S.D. 7.2). Bhāmaha mentions it as sasaṁśaya (Kāvyālaṁkāra 4.17-18) and Daṇḍin as saṁśaya (Kaavyadarsa, 3.139). Example:— (i) Occurring in a word— āliṅgitastatrabhavān samparāye jayaśriyā āśiḥ-paramparām vandyaṁ karṇe kṛtvā kṛpaṁ kuru, (K.P. 7.154) i.e., “You have been victorious (literally, embraced by the diety of victory) on the battlefield. Having given ear to an adorable series of blessings, be merciful.’ Here the word ‘vandyaṁ’ is faulty inasmuch as it arouses a doubt in the mind of the reader or listener. It can be construed to mean to the lady who is made capture (vadi+in+vā+nīṅp) in locative case or adorable, (vadi+yat+ṭāp) in accusātive case. In the former case, the sentence will read, “be merciful to the lady captive’, and in the latter, as is translated above. (ii) Occurring in a part of a word— kasmin karmaṇi sāmarthyamasya nottapatetarām ayam sādhucarastasmadaṁjalirbadhyatāmiha. (K.P. 7.205) i.e., ‘In what deed does his capability not excel? He moves among the virtuous. Therefore, pay your homage to him.’ Here the particle ‘cara’ is ambiguous. By its association the word ‘sādhucara’ can be said to refer to (a) One who moves among the virtuous, and (b) One who led a virtuous life in the past. Thus the particle ‘cara’ is rather ambiguous in the context. (ili) occurring in a sentence— surālayollāsaparaḥ prāpta-paryāpta kampanaḥ mārgaṇa-pravaṇo bhāsvad-bhūtireṣa vilokyatām. (K.P. 7.178) Here the word ‘surālaya,, ‘Kampana’, ‘mārgaṇa’ and ‘bhūti’ can be explained respectively as abode of the gods or a wine shop, army or trembling, arrow or begging and glory or destruction. K.B. | ||
| शान्तः Śāntaḥ |
spiritual quietitude, serenity, calm. | Bharata mentions renunciation or detatchment (Nirveda) as its basic, Viśvanātha regards Sāma or freedom from passions as the basic urge. Magnanimous and righteous persons are its rightful subjects, and the futility of transitory world is the object that stimulates it.’ It is like the Moon or the jasmine flower in colour, ‘Its presiding diety is Nārāyaṇa.) Its excitants are sacred hermitages, holy places and rivers, attractive forests, etc. Horripilation is its main “consequent, while its accessories are detatchment, ecstasy, meditation, intuitive experiences, compassion, It represents represents the mental attitude of one who is practicing meditation, restraint, etc. before attaining actual salvation. Hence sensations, accessories and consequents etc. are not inconsistent with it. It forms thé predominant sentiment in the Mahābhāratā. ) Unlike compassionate heroism, it is free from any trace of egotism. All types of heroism, save the marital, can fall when its range they are free from ego. The samecan be said about the emotion of love of God, which is free from egotism. Martial heroism, eros, ferocity and humour are contrary to it. The eternal bliss of quietitude in salvation, cannot, however, be developed into a sentiment, for it is void of all sensations and feelings. R.G. | ||
| सारः Sāraḥ |
climax | A figure of speech in which the things to be described gradually rise in order of excellence. e.g., ‘The land is the very essence of the state the city of the state, the mansion of the city, the bed of the mansion & fair lady who is the be-all and end-all of cupid, is the essence of the bed (kāvyālaṁkara of Rudraṭa 7.97 K.P. 10, 532 S.D. after 10.79 a). Here each succeeding thing has been described as being better than the preceding one. S.D.C. | ||
| शार्दूलविक्रीडित Śārdūla-vikrīḍita |
a variety of varṇika metre | This is a VARṆIKA metre of the even type consisting of nineteen varṇas in each of its four feet. The metrical arrangement of the GAṆAS in it is ma-gaṇa, sa-gaṇa, ja-gaṇa, sa-gaṇa, ta-gaṇa, ta-gaṇa and one long sound at the end. Its notation is SSS, IIS, ISI, IIS, SSI,SSI, S. The Caesura in reciting this metre falls at the twelfth letter and then at the nineteenth (N.S. 16.91-92 P.S. 7.22 Sṛutabodha 35 V.R. 3.99 C.M. 2.319 C.P., page 189). Examples: _ (i) yaṁ brahmā varuṇendra-rudra-marutaḥ stunvaṁti divyaiḥ stavaiḥ vedaiḥ sāṁga-pada-kramopaniṣadair-gāyaṁti yaṁ sāmagāḥ dhyānāvasthita-tadgatena manasā paśyaṁti yaṁ yogino yasyāṁtaṁ na viduḥ surāsuragaṇā devāya tasmai namaḥ (Śrīmadbhāgavatam XII, 13.1) K.B. | ||
| सारोपा लक्षणा Sāropa lakṣaṇā |
superimponent indication | The first type of indication where both the objects bearing mutual relationship are mentioned (in words) directly. “The fellow is an ass” indicates the fellow is as lousy and foolish as an ass”, and both the similar objects are directly mentioned here. In the same context, ‘‘Here is an ass’’ does not mention the fellow directly. In the first illustration, the nature of an ass is superimposed upon the fellow. It is parallel to the ‘metaphor’ or RŪPAKA. S.K. | ||
| ससंशय Sasaṁśaya |
see SANDIGDHA | |||
| शठ Śaṭha |
crafty, deceitful (lover), a variety of amorous hero. | One of the four varieties of the erotic hero, as mentioned by Dhanaṅjaya, Viśvanātha and others. śaṭha, according to Viśvanātha, is one who, though now attached to another woman, shows only outward affection to his previous love by speaking deceitful sweet words to her. Ill.: The friend of the heroine complains to the hero, “O deceitful one! Whom shall I tell that while embracing my Lady you hastily relaxed your arms on hearing the tinkle of the girdle-gems of your another beloved. My Lady, who has been infatuated with your sweet but poisonous words, as is the mixture of honey and butter, is quite unable to understand the truth.” (S.D. 11.37). R.G. | ||
| सट्टक Saṭṭaka |
a minor type of play or uparūpaka. | The most striking characteristic of Saṭṭaka is that it is entirely composed in the Prākṛta Language and sanskrit is not used at all. It may be remembered here that in an ordinary Sanskrit play Prākṛta is used only for the dialogues spoken by female characters and by the inferior or lowly male characters e.g. servant and illiterate men. The acts of this play are called Javanikā (curtain), and VISKAMBHAKA and PRAVEŚAKA type of act prologues are completely absent. Saṭṭaka has the adbhuta (miraculous) as its principal sentiment. In all other respects there is no difference between a Saṭṭaka anda NAṬIKĀ. karpūrama ṅjarī has also been cited as an example of this type of play. R.D. | ||
| सात्त्विकः Sāttvikaḥ |
acting of mental conditions or emotions. | One of the four major types of acting defined in Sanskrit dramaturgy. (see ABHINAYA). R.D. | ||
| सात्त्विक अलंकार Sāttvika alaṁkāra |
natural graces of the heroine. | The term has been defined as ‘Natural graces of the heroine in the prime of her youth’ (D.R. 2.30), or as ‘Amorous graceful movements of beautiful ladies’ (S.K.). Bharata has enumerated twenty Sāttvika alaṁkāras, dividing them into three categgries—AṄGAJA (physical), SVABHĀVAJA (arising from ones disposition), and AYATNAJĀ (coming of their own accord). BHĀVA, HĀVA and HELĀ are Aṅgaja, LĪLĀ, VILĀSA, VICCHITI, VIBHRAMA, KILAKINCITA, MOṬṬĀYITA, KUṬṬAMITA, BIVVOKA, LALITA and VIHṚTA Svabhāvaja ŚOBHĀ, KANTI, DIPTI, MĀDHURYA, DHAIRYA, PRAGALBHATĀ (or Prāgalbhya) and AUDARYA are ayatnaja (N.S. XXIV. 4-29). Viśvanātha has added eight more to the list of svabhāvaja, MADA, TAPANA, MAUGDHYA, VIKSEPA, KUTOHALA HASITA, CAKITA and KELI (S.D. 3.91-92). The sāttvika alaṁkāras have been generally attributed to women, but some of the writers have associated them with men also. According to Bhoja, helā and hāva are common to men and women (S.K.) Bhānudatta has maintained that bivvoka, Vilāsa, vicchitti and vibhrama are possible in men also (R.T. VI. 5-6) according to Viśvanātha, the three aṅgaja and the seven ayatnaja are common to both the sexes (S.D. III. 93) according to Hemacandra, all the twenty alaṁkāras mentioned by Bharata can be attributed to men (K.S. VII) The sāttvika alaṁkāras have been very often discussed topically under the ANUBHĀVAS (or the external expressions accompanying the emotions). When these alaṁkāras express the inner feelings of the heroine, they can indeed be called anubhāvas, but when they make the heroine more attractive for the hero, they should be treated as UDDĪPANA VIBHAVAS (or the excitant cause) (S.NNB., p. 380). R.G. | ||
| सात्त्विक भाव Sattvika bhāva |
physical sensations natural reactions of overwhelming emotion external indications of depth of feeling. | Unlike other sensations, sāttvika bhāvas arise out of only sattva guṇa (quality of goodness and purity) which brings peace and enlightenment to the soul. Sentiment, at its best, results in the excitement of Sattvs Guṇa, and its consequent reactions appear on the body in the form of these sensations. These are eight in number and are common to all emotions. They are described, not singly, but in groups of three or more. They are- stufication (Stambha), perspiration (Sueda) horripilation (romañc’a). choked voice (Suarabhānga), tremour (Vepathu) palour, (vatarya), tears (Aśru), unconsciousness (Pralaya) and death (mṛti). Unlike other consequents ANUBHAĀAS. They arise in a state of purity of mind and hence are called Sāttvika, R.G. | ||
| सात्त्वती वृत्ति Sāttvatīvṛtti |
the dignified mode. | The dignified mode of a serene hero is free from lamentations and characterized by virtue, courage, self-sacrifice, compassion along with uprightness. It has four aspects: (a) Discourse (Samlapalaka) or serious conversation expressive of feelings (b) challenge (utthāpaka) for combat at the outset (c) Breach of alliance due to advice, gain, fate, etc. (saṁghaṭya) and (d) change of action parivartaka) giving up something already begun. The Dignified mode had its origin in the Yajurveda. S.K. | ||
| सत्त्वोद्रेक Sattvodreka |
emergence of sattva (the quality of purity). | The term has been used by Bhaṭṭanāyaka (as quoted by Abhinavagupta) in his analysis of the aesthetic experience. It is a state in which conciousness is purged of all lower instincts. Aside from other factors, such as the universalized presentation of the aesthetic object, etc., the emergence of sattva guṇa in the consciousness of the spectator is a pre-requisite to enable him to relish an aesthetic situation. N.J. | ||
| सौभाग्य Saubhāgya |
richness of style or composition. | Not included in earlier lists, saubhāgya means an excellence arising out of a rich and harmonious combination of all the resources available to poetic genius. It is delightful due to the full play of the poet’s skill aided by his knowledge of the resources and factors contributing to an excellent composition. The poet selects carefully from among the available words and ideas and uses skilfully all the effective ingredients. Hence richness represents the life-breath of poetry, for it arouses thrilling ecstasy in appreciative hearts. pratyanīka : rivalry. S.K. | ||
| शिखरिणी Śikhariṇī |
a variety of varṇika metre. | This isa VARṆIKA metre in which each foot has seventeen VARṆAS. The arrangement of the GAṆAS in it is ya-gaṇa, magaṇa, na-gaṇa, sa-gaṇa, bha-gaṇa and one short sound followed by a long one. The notation is : ISS, SSS, III, IIS, SII, I, ऽ. The caesura in reciting a line of a poem composed in this metre is at the 6th and the 17th varṇas (N.S. 16.79: V.R. 3.91 C.M. 2.264. The melody of this metre attracted many poets. For instance, Paṇḍitarāja Jagannātha wrote his Gaṅgā-laharī in śikhariṇī metre. Example: (i) Samṛddham saubhāgyam sakala-vasudhāyāḥ kimapitan mahaiśvaryam līla-janita-jagatah khaṇḍa-paraśoḥ Śrūtinām sarvasvam sukṛtamatha mūrtam sumanasām sudhā-saundaryam te salilamaśivam nah śamayatu, : (Gaṅgā-laharī 1) K.B. | ||
| शिल्पक Śilpaka |
a kind of drama exhibiting magical and mystical rites. | The Śilpaka is in four acts. The scene is laid in a place where dead bodies are burnt. The hero is a Brahmaṇa and the confidant, pratināyaka, is an outcast. The comic sentiment is excluded. I.N.C. | ||
| श्लेषः Śleṣaḥ |
smoothness, polish. | Bharata describes smoothness as a well-knit construction of mutually related words so as to convey the desired meaning without effort. Keith thinks That it possibly meant suggestivity. Vāmana defines (a) verbal smoothness as a perfect coalescence of close-knit words appearing like a single phrase. For example, “There lies in the north a king among mountains, the abode of Gods, Himalaya by name”, (b) smooth sense implies a proper combination of actions falling into a perfect pattern of rising sequence along with sophistication in the description and logical presentation of famous activities. This is possible only in longer compositions, not in short sentences. In short, it is an artistic wet of congruons actions or even ideas. Daṇḍin finds smoothness in looseness due to unaspirated letters. S.K. | ||
| श्लेषः Śleṣaḥ |
Pun. | Śleśa is a figure of speech in which different meanings are conveyed by the same words having more than one denotation. Example: ‘All the ways and means prove to be futile if the moon or the providence is unfavourable. (Prarikūla tāmupagate hi vidhau viphalatvameti bahusādhantā). (S.D. after 10.12 a). Here the word ‘Vidhau’ means in the case of the moon the stars or fate and ‘in the case of the providence’ (vidhi). It is also known as ‘Śabda- Śleśa’. S.D.C, | ||
| श्लेषः Śleṣaḥ |
paronomasia, double entendre. | A figure of speech in which more than one meaning is expressed through words naturally bearing a single meaning. Example : ‘Both the sun as well as the king named Vibhākara are brilliant, possessed as they are of excessive glory.” (mahasā bhūyasā dīpto virājati divākarah.) Here the statement about the sun and the king both has been made through words having one meaning only, and not having more than one meaning as in the case of the figure called Pun (Śabda Śieśa). It is also known a artha- Śleśa. S.D.C. | ||
| स्मरण Smaraṇa |
recollection. | A figure of speech consisting in the recollection of an object on perceiving a similar object. ‘On perceiving this lotus I recall her face’ (S.D. after 10.27). Here the rememberance of the face on perceiving the lotus indicates a similarity between the two. S.D.C. | ||
| स्मित Smita |
noiseless smile. | The most polished form of laughter with slightly widened eyes and a throbbing lower lip. It is the gentlest expression of appreciation of humour and is practised by highly cultured persons of high rank in society (see HĀSA). R.G. | ||
| स्मृतिः Smṛtiḥ |
meditation or recollection. | The eleventh among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. smṛti is the recollection of a past experience called forth by the perception or the idea of an associated or similar phenomenon it is manifested in the raising of the eyebrows, and the like. (S.D.III.162) It is the third stage in love-lorn condition. R.G. | ||
| शोभा Śobhā |
grace, loveliness. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the first among the seven AYATNAJA ALAṀKĀRAS. It consists in the natural adornment of the limbs of the heroine due to exquisite figure, enjoyment or and youth (D.R. II.35). Ill: “The female friends, who wanted to decorate Pārvatī, were stunned for a moment, for, having seen her exquisite natural beauty, they did not know how it could be further embellished with the help of toilet.” R.G. | ||
| शोकः Śokaḥ |
sorrow, grief. | Śoka is the basic instinet of pathos (Karuṇa Rasa). It is arouscd by the loss of a desired person or thing and results in a mental dejection or depression. Grief caused by temporary separation of lovers is excluded from this category, for it constitutes the basis of eros in separation (Vipralambha sṛṅgāra). It is the predominant sentiment in the Rāmāyaṇa. R.G. | ||
| स्रग्धरा Sragdharā |
a variety of varṇika metre. | This is a VARṆIKA metre of the even type consisting of twentyone VARṆAS in each of its feet. The metrical arrangement of the GAṆAS in it is : ma-gaṇa, ra-gaṇa, bha-gaṇa, na-gaṇa, yagaṇa, ya-gaṇa, ya-gaṇa symbolised by the notation:—SSS, SIS, SII,III, ISS, ISS, ISS. The pause (caeṣura) in reading a line in this metre is at each seventh varṇa (P.C. 7.25 N.S. 16.97.98 Śrutabodhe 36 Suvṛttatilaka i.37 V.R. 3.103: C.M. 2.340). To compose a theme of grand dimension in this metre requires considerable practice and patience, but there have been persons of great technical dexterity and erudition who have chosen it for their. composition. Such an instance is śri Vinka-tanātha Deśika who, being -both a poet and philosopher par excellence, wrote his magnum apus, Tattvamuktākalāpa, in 499 verses using no other metre than sragdharā. The opening stanza of this great work containing an obeisance to the Lord is offered here as an example of this meter: Lakśmī-netrotpala-śrī-satataparīcayādeśa saṁvardhamdāno nābhī-nālika-rinkhan-madhukara-paṭalī-datta-hastāvalambaḥ asmāhaṁ sampadoghānavirala-tulasī-dāma-sañjata-bhūmā kālindī-kānti-hārī kalayatu vapuṣaḥ kālimā kaitabhāreḥ (Tattvamuktākalāpa I) K.B. | ||
| श्रमः Śramaḥ |
fatigue. | It is the sixth among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Śrama is the feeling of fatigue caused by coition, or even by exertion due to travelling, etc., and it is manifested in gasping and drowsiness. (S.D.III.146) R.G. | ||
| श्रीगदित Śrīgadita |
a kind of minor drama. | Śrīgadītā is minor type of play in one act. The name Śrīgadītā is assigned to it because Śri, the goddess of prosperity or fortune is introduced or is imitated by the heroine. It is partly recited and partly sung. The Avaloka on the Daśsarūpaka says that Śrīgadītā is a kind of mimic dance (Avaloka on Daśarūpaka 8. p.2.). I.N.C. | ||
| शृंगार Śṛṅgāra |
eros, the erotic sentiment. | Śṛṅga—peak—indicates the peak of love. Śṛṅgāra is developed with high-born characters as its subjects. The love of low-born characters is regarded as begetting an illusion of eros—Śṛṅgārabhāsa. It is tops the list of sentiments, for it is most relishable and universal. It is described as the king of sentiments. A courteous and magnanimous youth and high-born young maiden are its objects. Another Person’s lawful wife or a prostitute should not be the subject of love in the main plot. Its excitants are the moon, sandal-paste, humming of bees, spring, song of the cuckoo, etc. Its consequents include knitting of eye-brows, side-glances, etc. All accessories, except disaster, death, idleness and disgust, go with it. Its basic urge is physical love. (Rati) Its colour is dark and its presiding deity is Viṣnu. It is of two kinds: eros in union and in separation. It is the main sentiment in light comedies like kālidasa’s Mālavikagnimitram. The sentiments of pathos, abhorrence, ferocity, heroism and terror are opposed to it. R.G. | ||
| श्रुतिकष्ट Śrutikaṣṭa |
see ŚRUTIKAṬU. | |||
| श्रुतिकटु Śrutikaṭu |
discordant, unpleasant to the | Śruti-kaṭu means unpleasant or jarring to the ears. Any syllable Producing a harsh sound renders the entire word disagreeable, not to speak of more than one syllable therein. Junctured letters—especially those which are a bit uneasy to pronounce—are to be avoided in order to give comfort to the ears of listner. (K.P. 7.50. S.D. 7.2). Bhāmaha (Kavyalaṁkara 1.53) and Vāmana (K.S.V. II 1.6), however, describe it as ‘Śruti-kaṣṭa’, (i) Occurring in a word— anaṅga-maṅgala-grahā-pāṅga bhaṅgitaraṅgitaiḥ aliṅgitaḥ sa tanvaṅgyā kārtārthyam labhate kadā. (K.P. 7.141). Here the word ‘kartarthya’ which occurs in the fourth quarter, is descordant, for it is not in harmony with the rest of the verse which describes the sentiment of love in soft-sounding words— (ii) Occurring in a part of a word: tad gaccha siddhyai kuru devakāryamarthoyamarthāntaralabhya apekṣate pratyayamaṅga labdhyai bījaṅkuraḥ prāgudayādivāmbhaḥ. (K.P. 7.198). Here ‘dhyai’ and ‘bdhyai’ are unpleasant sounds. (iii) Occurring in a compound word— śā dūre ca sudhā sādndra-taraṅgita-vilocana barhi-nirhādanārhoyaṁ kālaśca samupāgataḥ. i.e., ‘At a long distance is she whose eyes are replete, as it were, with crystallised ripples of nector and the season has come when the peacocks pour forth their cheerful notes.” Here the compound word ‘barhi-nirhādanārha’ is not pleasant to hear. (iv) Occurring in a sentence:— ` sodhyaiṣṭ a vedāṁstridrśānayaṣṭa pitṛnatarpsīt samamaṁsta bandhūn. vyajeṣṭa ṣaḍvargamaraṁsta nītau samūlaghātam nyavadhīdarīṅśca. (K.P. 7.170) The whole verse is full of difficult sounds which are jarring to the ears. K.B. | ||
| स्तम्भः Stambhaḥ |
stupor, stupefaction. | Stambha is the condition of being stunned by an overpowering emotion. It is caused by illness or a sudden outburst of emotion, and the body seems to lose its capacity for action or movement. The first natural sensation consequent upon to deep emotion. R.G. | ||
| स्थायी भाव Sthāyī bhāva |
a basic instinct, a lasting or permauent emotion. | The everlasting and universal basic instincts or emotions which are aroused in a person with reference to stimulating object (ālambana Vibhāva) in particular circumstances which serve as excitants (uddīpana Vibhāva) and are developed into sentiments (varsas), when manifested through their consequents ANUBHĀVAS and SĀTTVIKA BHĀVAS and supported by accessory feelings (VYABHICĀRĪ BHĀVAS).They are Jatent in the hearts of the characters, actors, readers and endienses and are developed into Sentiments (rasa) through the poets suggestive composition. Bharata has mentioned eight of them: physical love or attachment in sex (rati), Jaughter or merriment (HĀSA), grief or sorrow (ŚOKA) wrath or anger (KRODHA), zest, zeal or enthusiasm (UTSĀHA), fear or terror (BHAYA), abhorrence or disgust (JUGUPSA), wonder (VISMAYA). These basic instincts are said to give rise to different RASAS or sentiments in poetry, each rasa having its own sthāyī bhāva. Like the thread in a garland the basic instinct weaves together and runs through its stimulating objects and excitants, consequents and accessories along with physical sensations, and reaches its consummation as a relishable sentiment. It is never eclipsed by ‘any of its constituents. Some latent urges are inborn, while others sprout up at a mature age. All of them are pleasurable, when manifested through suggestive expression, in the form of poetic sentiments. Only one basic instinct is developed as the predominant sentiment in a single poetic composition while others are depicted as subordinates or subservients for promoting the principal emotion or bringing out its effect by contrast. Udbhatta, most probably, was the first poetician who underlined the independent status of Śanta Rasa and added its basic instinct nirveda also to the list of the permanent instincts. Later rhetoricians added paternal love (Vatsalya) and devotion (Bhakti) to the list. R.G. | ||
| शुद्धा लक्षणा Śuddhā lakṣaṇā |
pure indication. | This variety of indication is not based on semblance it is a nonmetaphorical indication. The relationship between the denotated and the indicated sense is anything, but other semblance, e.g. that between a whole and its part, container and the contained, cause and effect, etc. It is two-fold—inclusive and exclusive of the denotated or primary Jiterary sense. It does not provide scope for any figure of specch based on semblance, it is non-metaphorical. S.K. | ||
| सूक्ष्म SŪKṢMA |
subtle. | A figure of speech in which some hidden or rather subtle thing, either (i) gathered from some feature of the limbs, or (ii) from gesture, is indicated by means of a clever hint. Example: ‘Perceiving that Viṭa, i.e. the confidant of her lover, is eager to know the time of their secret meeting, the clever damsel, closed the lotus, with which she was playing, expressing her desire through her smiling eyes. (S.D.after 10.92a). Here the young Jady has indicated the meeting time, the twilight, when the petals of the lotus flower are closed. S.D.C. | ||
| सुकुमार मार्ग Sukumāra mārga |
delicate, tender or gentle manner or style of Composition. | Naturally gentle and simple, the delicate manner is free from artificial ornateness. It is a spontaneous expression illuminated by a charming sense. It consists of ever-new expressions and ideas sprouting from fertile imagination, effortlessly arousing similar experience in appreciative minds. Embellishment too endowed with delicacy and implicit aesthetic charm. It is adopted by the best of poets. It is like the earlier Vaidarbha style of the south. (see RITĪ) S.K. | ||
| सुकुमारता Sukumāratā |
gentleness, delicacy, tenderness | Bharata regards gentleness as smoothness through pleasant metres and conjuncts. vāmana defines (a) Verbal delicacy as freedom from harshness, and (b) tenderness of sense as freedom from isagreeable or inauspicious words. Thus both seem to be the reverse of defects. Daṇḍin treats it as a combination of harmonious sounds, free from harshness and leading to gentleness. In the choice of diction, soft syllables should predominate. S.K. | ||
| सुन्दरी Sundarī |
see DRUTAVILAMBITA. | |||
| सुप्त or स्वप्न Supta or svapna |
dreaming | It is the twenty-third among the thirty-three VYABHICĀRĪ BHĀVAS as enumerated by Bharata. Supta or dreaming is a state: of mind in which ideal images appear as percepts, and the person, who is asleep, feels that he is experiencing the realities of life and that. he is actively reacting to those happenings. In this state, one is liableto experience all the emotions of real life including anger, agitation, fear, debility, pleasure and pain (S.D.III.152). Incoherent muttering. has been mentioned as the only external manifestation of this state: (R.G.I) | ||
| सूत्रधारः Sūtradhāraḥ |
the thread-holder, stage manager, the principal character who arranges the cast of characters and instructs them and takes a prominent part in the prastāvanā or prelude. | Sūtradhāra is the stage manager and can be compared with the Brechtian narrator. At the end of the nāndī (see NĀNDĪ) or a short prayer enters sūtradhāra but according to Bharata the stage-manager himself recites the Nandi ina tone neither high nor low. Then Sūtradhāra introduces the play. According to Daśrūpaka (3.27) the Stage-manager after hinting at the theme and a character goes out at the end of the induction and then begins the detailed presentation of the theme. The Sūtradhāra is expected to be a man of no inferior qualifications and according to the works on Indian dramaturgy he is to be well-versed in literature, as narratives, plays and poetry : he should be familiar with various dialects acquainted with the customs of different classes and the manners of various people, experienced in dramatic details, and conversant with different mechanical arts. I.N.C. | ||
| स्वभावज अलंकार Svabhāvaja alaṁkāra |
a category of ALAṀKARĀS. | One of the three classes into which the SĀTTVIKA ALAṀKARĀS have been divided. R.G. | ||
| स्वभावोक्तिः Svabhāvoktiḥ |
natural description. | A figure of speech in which such actions and characteristics of an object are described as are not easily perceived by all ‘Oh wavy. eyed lady, you are looked at by the deer with their ears standing erect.” (Candrāloka 5.112). This verse describes the inborn nature of the’ deer which look at every new thing with curiosity with their ears standing erect. S.D.C. | ||
| स्वाधीनपतिका Svadhīnapatikā |
a woman who has full control over her husband, a variety of heroine (nāika), | The third variety of the NĀYIKĀ under Bharata’s eightfold classification of the heroine based on the situations she may be placed in. Svādhīnapatikā is one who feels happy because her beloved always stays by her side and is under her sole control (D.R.II.24)IIL: “I put on only simple garments, 0 dear friend! my necklace too is not shining even my gait is just straight I do not Jaugh .excessively, nor do I exhibit any pride. Yet they are all heard saying that my beloved, even though he is exceedingly handsome, never looks at another woman. What other lady in the whole world can be as happy as I am? (S.D.III.37). R.G. | ||
| स्वनिष्ठ Svaniṣṭha |
pertaining to oneself personal. | Any basic urge or emotion pertaining to oneself is accompanied by pain or pleasure, as the case may be and when aroused it stimulates the will to act. The relish of poetic sentiment, is pure ecstasy, devoid of any pain and free from the will to act. It is not a condition of mental agitation, but one of the complete mental equilibrium. Attainment of such a mental condition would have been impossible if a sentiment in poetry were to arouse personal emotions or reactions in the reader or spectator. Evidently the experience of poetic sentiment (rasa) is not personal. R.G. | ||
| स्वकिया Svakīyā |
a married woman devoted to her husband. | The first variety of the NĀYIKĀ under the first classification on the basis of her social relationship with the hero. Svakīyā is a married woman who is devoted to her husband she is by nature virtuous, bashful, straightforward and sincere (D.R.II.15). IIl: “Whose only ornament is modesty, who are devoid of any longing for a man other than the husband, who never know how to behave discourteously,—blessed are those who have such wives in their homes.” (S.D.III.57) | ||
| स्वरभङ्गः Svarabhaṅgaḥ |
choking or cracking of the voice. | Outburst of deep emotion seems to choke one’s throat with tears and the voice becomes hoarse. It is the fourth natural sensation in deep sentiment. R.G. | ||
| स्वशब्दवाच्य SvaŚabdavācya |
verbal signification of sentiment. | This is a defect caused by the mention by name either of a sentiment (rasa) or of a permanent emotion or instinct or of a concomitant feeling (K.P. 7.60 S.D. 7.12). Example : (i) tāmudvīkṣya kurṅgāṣīṁ raso naḥ kopyajāyata. i.e., ‘Having seen that deer-eyed lady, we experienced an inexpressible joy.” Here the use of the word ‘rasa’ is considered to be a defect. It. ‘could have been replaced by any of its synonyms such as ‘mut’, ‘moda’, ‘pramoda’ and ‘prīti’. K.B. | ||
| स्वेदः Svedaḥ |
perspiration. | This is the second sensation or physical manifestation after an outburst of emotion, sexual enjoyment or fatigue. The person feels: stunned for a moment and then begins to perspire profusely. | ||
| तादात्म्य Tādātmya |
identification. | The term denotes a state of identification between the spectator and the dramatis personae. This process of identification implies that the psyche of the spectator is freed from all the vestiges of individuality. He is free from all his personal psyche-pbysical attributes and responds readily to the psycho-physical conditions of the hero till a state of complete identification is attained. Such identification also takes place between the actor and the poetic or dramatic character. N.J. | ||
| तद्गुणः Tadguṇaḥ |
borrower. | A figure of speech in which an object is represented as giving up its own quality and assuming the quality Of another excellent thing. Example: ‘Balarāma spoke. after whitening the bees, which were hovering round the corners of his lotus-like face, with the (radiating) lustre of his own large teeth. (S.D. after 10.90). Here, the bees, which are black, are represented as giving up their colour and assuming the whiteness of the shining teeth of Baladeva. S.D.C. | ||
| तपन Tapana |
agony. | One of the eight SĀTTVIKA ALAṀKĀRAS added by Viśvanātha to the class of SVABHĀVAJA ALAṀKĀRAS. The behaviour of the separated heroine pining to meet the hero constttutes Tapana (S.D. 3.106). Ill.: ‘‘She heaves long sighs she flutters on the ground she gazes at the road by which you are expected to arrive she weeps for long she flings her tender, creeper-like arms hither and thither and with the intention of meeting you even in a dream she craves for sleep but, as ill luck would have it, she does not get it.” R.G. | ||
| तात्पर्य वृत्ति Tātparya vṛtti |
purportive function. | This function or capacity of words refers to a sentence which expresses a broader sense than the mere sum-total of the constituent words. It is not accepted by the rhetoricians of the Dhvani school (see DHVANI) who argue that the words express their denotion along with their interrelation ina sentence. So this purportive activity is redundant. Nor can suggestion or indication be included under it, for it is but an extended denotation which rests after conveying the literal sense of the whole sentence. This activity or process depends on mutual expectancy, proximity and compatibility of constituent words. S.K. | ||
| त्रासः Trāsaḥ |
fear | The penultimate among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Trāsa is a disturbed state of mind occasioned by thunder, lightning, meteors, etc it is externally manifested in trembling, etc. (S.D. III.164 & D.R.IV.16). It is a transient feeling of terror (BHAYA). R.G. | ||
| त्रोटक Troṭaka |
a species of drama. | Troṭaka is a type of minor play or uparūpaka in which the theme centred round a divine or human story. According to Sanskrit dramaturgists, it should consist of five, seven, eight or nine acts. The Vidūṣaka or jester should appear in every Act of this Play. From the appearance of the gester in such plays, it is inferred that the dominant rasa in them could only be sṛṃgāra or erotic. Vikramorvaśīya of Kālidāsa has been cited as an example of this type of minor play which has five Acts. Another play of seven Acts, stambhita rambham, has been cited in the Sahītya Darpana as an example of this type of play. Thus only few characteristics have been illustrated which are peculiar to this type of play, and even among them some are common to other varieties of plays also. In other respects a troṭaka happens to be like any other full play. The limitation that it must deal with a divine or human story, or that it must have five, seven, eight or nine acts allows a lot of flexibility and is virtually no limitation at all. Thus in practice, a troṭka is not quite different from a general play. Even according to the theorists, these minor plays consist of all the characteristics of a nāṭaka except those specially provided for separate types of minor plays. R.G. | ||
| तुल्यप्राधान्य व्यंग्य Tulya-prādhanya-vyangya |
suggestion of equal predominance. | This is the sixth variety of second-rate poetry in which the suggested sense is on the same level of dominance as denotation or indication. In “It is in your own interest to avoid insult to a Brahman otherwise, Paraśurāma, your friend, will bein a nasty mood,” the denotation is as appealiny and important as the suggestion, viz ‘‘He will help (you, 0 Rāma) in killing the demons!” S.K. | ||
| तुल्ययोगिता Tulyayogitā |
equal pairing. | It is a figure of speech where either the object direct or indirect are associated with the one and the same attribute. Example : ‘‘Everyone, after perceiving the softness of your body feels the hardness of the jasmine, moonlight and the banana leaf.’ Here all the three indirect objects jasmine, etc., are connected with a single attribute. i.e., hardness. S.D.C. | ||
| उभयालंकार Ubhayālaṁkara |
one of the three varieties of ALAṀKARA (figure of speech). | As distinguished from the other two varieties, ŚABDĀLAṀKĀRA and ARTHĀLAṀKĀRA this is based on the beauty of both the word and its import. Only one figure of speech, viz. PUNARUKTAVADĀ BHĀSA comes within this category. S.D.C. | ||
| उदारता Udāratā |
sublimity, elevation, richness- | Bharata. defines it as an elevation of subject and sentiment. Divine feelings in various shades are used to express the sentiment of Eros or Wonder. Vāmana defines (a) verbal richness as a dancing picturesqueness of style and (b) sublimity of sense as freedom from ‘vulgarity wherein even an unavoidable vulgar concept is conveyed through a sophisticated expression. Daṇḍin regards it as a distinguished excellence of style through ornamental epithets like ‘play-lotus’, ‘sport-lake’ ‘Golden bracelet’, etc. S.K. | ||
| उदात्त Udātta |
exaltation superiority | This figure of speech is of two varieties: (i) where the description is made of extraordinary prosperity, (ii) when the actions of the ‘great are represented as subordinate to the subject under reference. An example of the second variety: ‘Lakṣmaṇa says to Aṁgada: ‘This ais the forest where the lord Rāma, obeying the orders of his father, stayed and killed all the demons all alone.” (K.P. 10,507). Here Rāma has been represented as subordinate to the forest named Daṇḍaka, the subject in hand, i.e. the importance of the forest has been highlighted by the mention of Rāma who is said to have stayed there. A third view is also prevalent that udātta occurs when sentiments or figures of speech based on emotion occupy a secondary position in a composition or verse. S.D.C. | ||
| उद्धर्षिणी Uddharṣiṅī |
see VASANTATILAKĀ. | |||
| ऊढा Ūḍhā |
a type of heroine under PARAKĪYĀ. | Ūḍhā is a married woman who makes love to a man other than her husband. As by her behaviour she infringes the laws of social propriety, an Ūḍhā should not figure as the principal character in any drama or epic (D.R.II.20). This rule has been meticulously adhered to in the whole range of Saṁskṛt epic and drama. An exception is met with in the Ujjvalanṇlamanī of Rūpa Gosvāmī, who imported the traditional Poetics into the sphere of Bhakti or devotion to Kṛṣṇa. There Kṛṣṇa, the Supreme Being, is the only Nāyaka or Hero, and His beloveds, the Gopīs, are Nāyikās of different types. Medieval Hindi poetry has been immensely influenced by Rūpa Gosvāmī, and the depiction of the Ūḍhā Parakīyā therein is on the same lines. R.G. | ||
| उद्वेगः Udvegaḥ |
agitation caused by separation. | Udvega is the feeling of agitation or distress experienced in the fifth stage of lovelorn condition. Longing becomes acute and painful when no means to effect a union succeeds and when recollection of the virtues of the loved one and dwelling upon his or her achievements and merits also do not bring much solace. R.G. | ||
| उग्रता Ugratā |
violence, passion, anger. | The twenty-seventh among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Ugratā denotes a state of mind which is brought forth by the infliction of some abuse or insult, and in which one becomes violent and cruel, desiring to punish the offender most severely, even with death. R.G. | ||
| उल्लाप्य Ullāpya |
a kind of minor play or uparūpaka. | Ullāpya is a one-act play which has a serious and noble-minded (DHĪRODĀTTA)h ero and its theme centres round a deity. It consists Of four heroines and has three acts according to some dramaturgists. It has HĀSYA SṚṆGĀRA and KARUṆA as its principal rasas. The action is replete with a number of battles. This play partakes of the twenty-seven constitutents described in connection with Śilpaka type of minor play. In this play, a song is sung from behind the curtain which gradually reveals the story. Devīmahā-devam has been cited as an example of this type of play. In other respects it has the characteristics of a general play. R.G. | ||
| उल्लेख Ullekha |
presentation of the same object in different ways. | A figure of speech in which one and the same thing is mentioned in more than one way. For example: Lord kṛṣṇa was adored as, a beloved by the milkmaids, asa child by the elders, as Nārāyana by’ the devotees.’ Here the Lord (who is one) is looked upon by different persons in different ways for different reasons.” S.D.C. | ||
| उन्मादः Unmādaḥ |
hysteria. | The thirtieth among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Unmāda or hysteria is an abnormal state of mind arising from ungratified passions, or grief, or fear, or the like, and manifested in inopportune laughter, or weeping, or singing, in incoherent talking, or in similar other actions. (S.D.III.160) R.G. | ||
| उपचार वक्रता Upacāra vakratā |
striking metaphorical or secondary expression. | This third variety of striking substantive rooted in semblancebased indication includes, according to Ruyyaka, all types of DHVANI. Kuntaka defines it as a striking use of metaphorical expressions. This variety represents a supposed or fancied identification of two distinct objects on the basis of even the slightest resemblance. It is the common foundation of figures like metaphor, denial, identity, hyperbole, etc. Viśvanātha defines Upacāra as the failure to apprehend the difference between two absolutely distinct objects, by exaggerating the greatness of their mutual semblance. Through a metaphorical indicative expression, a common characteristic is superimposed upon a dissimilar, object under description. It comprises personification too. S.K. | ||
| उपादान लक्षणा Upadāna lakṣṇā |
inclusive pure indication. | In the first type of pure indication the primarily denoted sense is incorporated in the secondary or indicated sense which is wider in its scope, e.g. the sentence ‘Lances (march in indicates ‘Lancers) bearing their lances march in. ‘Lancers’ are inclusive of the ‘lances’ with which they are armed. S.K. | ||
| उपजाति Upajāti |
a variety of varṇika metre. | This isa VARṆIKA metre with eleven letters in each of its feet. It has a variety of arrangements of GAṆAS inasmuch as it is a mixture of both UPENDRAVAJRĀ and INDRANAJRĀ (P.C.S.6.17 P.P. 2.118 S.T. 1.20 Śrutabodha 16 V.R. 3.32 C.M. 2.75). Example: astuttarasyāṁ diśi devatātmā himālayo nāma nagādhirājaḥ pūrvāparau toyanidhī vagāhya sthitaḥ prthivyādiva mānadaṇḍaḥ, (Kumara-Sambhavam l.l) K.B. | ||
| उपपति Upapati |
paramour. | One of the three varieties of the erotic NĀYAKA, as given by Bhānudatta. It corresponds to the PARAKĪYĀ, a variety of NĀYIKA. Upapati or paramour has been defined as one who, having abandoned all sense of social propriety, makes love to a woman not duly married to him (R.M. 105). , R.G. | ||
| उपमा Upamā |
simile. | A figure of speech in which two dissimilar objects are compared without any reference to their difference. It is of two varieties: complete simile (pūrṇopamā) and incomplete simile (luptopamā). (i) pūrṇopamā, where all the following requisites of the simile are given: (i) common property (sāmānya dharma), (ii) indicative word (vāeaka śabda), (iii) the subject of comparison (upameya), and (iv) the standard of comparison (upamāna). Her Example lower lip is sweet like mectar. (S.D. 10, 179, vr.) In this sentence all the four requisites of the simile are given. (2) Luptopamā (incomplete simile), where only one, two or three of the four requisites of the simile are mentioned—and not all: e.g. The face is just like the moon. Here the common property (i.e. beauty) has not been mentioned. S.D.C. | ||
| उपमेयोपमा Upameyopamā |
reciprocal comparison. | A figure of speech in which the positions of the standard of comparison (upamāna) and the subject of comparison (wpameya) are changed one after the other. Example: The intellect of this king shines like his royal fortune, and the royal fortune like his intellect. (K.P. 10, 416, S.D. after 10.27 a). Here “intellect’’ and “‘fortune’’ are alternately compared to each other. S.D.C. | ||
| उपरूपक Uparūpaka |
see NĀṬIKĀ. | |||
| उपेन्द्रवज्र Upendravajraā |
a variety of varṇika metre. | This isa VARṆIKA metre with eleven letters in each of its quarters. The arrangement of GAṆAS being jagaṇa, tagaṇa, and Jagaṇa followed by two long sounds, the symbolic notation is ISI, SSI, Isl, SS. The caesura invariably occurs of the end of each foot (N.S. 16.33 P.S. 6.16 P.P. 2.116 śrutabodha 15 S.T, 1.19 V.R. 3.31. C.M. ee 73). Examples : (i) jito jagatyeṣa bhava-bhramaistairgurūditam ye giriśani smaranti upāsyamānaṁ kamalāsanādyairupendravajrayudhavari nathaih (Surtia-tilakam, page 17). K.B. | ||
| ऊर्जस्वी Karjasvī |
spirited expression. | A figure of speech which occurs when either RASĀBHĀSA or BHĀVĀBHĀSA, i.e. the semblance or impropriety of one sentiment or incomplete sentiment, serves to advance another sentiment. The word ‘semblance (ābhāsa) here means improper procedure, A bard eulogizing the king says: These men of a barbarous tribe cohabit with the wives of your foes, to the exclusion of their own wives who are well-versed in so many fine arts.’ (vanekhilakalāsaktaāḥ parihṛtya nijasriyaḥ, tvadvairivanitāvṛnde pulindāḥ kurvate ratim). (S.D. after 10.96). Such a description of the love of the savages for the royal ladies in the opposite camp is technically called the semblance of erotic sentiment, which is subordinate or subsidiary to the attachment (rati) to the king who is the poet’s patron. S.D.C. | ||
| उत्पत्ति Utpatti |
generation. Parnas | The term has been used by Bhaṭṭa Lollaṭa in his exposition of the nature of RASA. As quoted in Abhinava Bhārati, of Abhinavagupta, Bhaṭṭa Lollaṭa defines the term ‘niṣpatti’? as ‘utpatii’, ie. generation, and maintains that in an aesthetic presentation rasa is generated out of the basic instinct when it is supported by various constituents—such as stimulating objects, consequents, accessories, etc. This theory has been described as utapattivāda or the theory of generation. N.J. | ||
| उत्प्रेक्षा Utprekṣā |
poetical fancy. | A figure of speech in which the object of comparison (upameya) is imagined as if it were the standard of comparison. Example: “The face of this lady shines as if it were a second moon.” Another example: ‘The darkness is besmearing our limbs, as it were the sky is raining collyrium, as it were. (S.D. after 10.45 a). Here the object of comparison is the pervasion of darkness throughout the world and its falling everywhere. The pervasion of darkness is figured as the besmearing of the body and its falling is represented as a shower of collyrium. The use of fancy in this figure of speech, as in the cases of both the examples quoted above, is supported by the use of such words as ‘iva’ (as if, as it were), manye (I feel), ‘saṃke’ (I apprehend), dhruvam (certainly), prāyaḥ (generally). etc. S.D.C. | ||
| उत्साहः Utsāhaḥ |
fortitude, zest. | The basic instinct underlying the four types of the beroic sentiment vira rasa. It is a steady, but powerful instinct which is aroused by the immediate necessity for accomplishing a task or performing a duty. It results in great enthusiasm and effort for accomplishing the desired end. It is the predominant sentiment in the canto on were (Yuddhakāṇḍa) of the Rāmāyaṇa. R.G. | ||
| उत्सृष्टिकांक Utsṛṣṭikaṅka |
see AṄKA II. | |||
| उत्तर Uttara |
reply. | A figure of speech in which (i) a question is known by guess from a statement embodying an answer, (ii) incomprehensible (not ordinarily occurring to everyone) answers are given to many que- Stions. An example of the first variety: ‘My mother-in-law is not able to see my husband has gone away. I am young and alone, hence how can there be any shelter for you here? (S.D. 10, 83 a, vr.). From the words of the young damsel we guess at the question of the traveller, ‘‘Will you please give me a shelter for the night?” An example of the second variety: ‘What is difficult to conjecture? The ways of providence. What is to be sought for? A man who appreciates merit. What is happiness? A good wife. What is difficult to control? A wicked fellow. (S.D. after 10.83 a). Here there are a number of questions and a number of respective answers which are all incomprehensible, i.e. not occurring ot everyone. S.D.C. | ||
| वाचक शब्द Vācaka śabda |
denotative expression. | A word used to convey its primary denotation relevant in a particular context. It becomes so denotative on account of traditionally accepted usage. S.K. | ||
| वाचिक Vācika |
vocal acting. | One of the four major types of acting (ABHINAYA) defined in Sanskrit dramaturgy. It is acting through speech or imitation of the original characters dialogues etc. R.D. | ||
| वाच्यानभिधान Vācyānabhidhāna |
ellipses. | Vācyāanabhidhāna is that poetic defect which occurs when there is an omission of a necessary statement (S.D. 7.7). Example : tvayi nibaddharateḥ priyavādinaḥ praṇaya-bhaṅga-parāṅ-mukhacetasaḥ kamaparādhalavaṁ mama paśyasi tyajasi mānini dāsajanam yataḥ, (K.P. 7.236). i.e., ‘O annoyed lady, I love you and speak to you affectionately. I am afraid of any breach of love (between you and me). What little fault do you find in me? Why do you forsake me.’ Here ‘aparādhalavam’ should have been replaced by ‘aparādhasya lavamapi.’ The word ‘api’ i.e. even which is essential here, has been omitted thus the defect is obvious. K.B. | ||
| वाच्यार्थ Vācyārtha |
denotation or primary or literal meaning of an ex- pression. | (1) The dictionary meaning of word (2) The denotation of a homonym which is relevant to the context. (3) The meaning attached to the word either (a) by tradition or convention, or (b) by its derivation, or (c) through a combination of both. . S.K. | ||
| वाच्यसिद्धचंग व्यंग्य Vācya-sidhyaṅga-vyaṅgya |
suggestion subservient to denotation. | In yet another kind of second-rate poetry suggestion helps like an instrument for bringing out the deeper and fuller significance of the denotation. The simile suggested by homonymous adjectives used in a ‘SAMĀSOKTI’ (compact expression) lends perfection to the latter. It may also bring out the full significance of the expressed subject matter S.K. | ||
| वैदर्भ मार्ग Vaidarbha mārga |
manner of Vidarbha, southern manner or style | The Vidarbha manner, rejected by Bhāmaha was recommended by Daṇḍin asthe best for according to him it possessed all the ten qualities. It is delicate, lucid and natural. It makes a very moderate use of compounds and is sweet, smooth, and even. It corresponds to, the delicate manner accepted by Kuṅtaka. S.K. | ||
| वैदर्भी रीति Vaidarbhī rīti |
a kind of style. | Vaidarbhi, the style peculiar to the state of Vidarbha, possesses all the ten qualities (GUṆAS) which from its very life-breath. It may differ with the writer and theme and may possess a lesser number to qualities, but all the ten are suitable for it. It is free from blemishes and is sweet like the notes ona lute (Vāmana). It is pure when free from compounds and mixed when just a few compounds are used. The Purāṇa describes it as void of compounds, moderately soft, with a suitably sparing use of metaphorical expressions. It consists of a sweet and tasteful arrangement of sounds free from valgarity. kālidāsa was a past master in the use of this variety. of style. S.K. | ||
| वैशिक Vaiśika |
a variety of erotic hero. | One of the three varieties of the erotic NĀYAKA, as given by Bhānudatta. It corresponds to the SĀMĀNYĀ (or veśyā), a variety of NĀYIKĀ. Vaiśika has been defined as one who goes to one or more courtesans for enjoyment (R.M.106). R.G. | ||
| वैवर्ण्य Vaivarṇya |
palour, loss of colour | The sixth physical sensation, consequent upon sudden outburst of deep emotion. The person, particularly his face, loses all brightness and vitality and appears ghastly pale or yellowish. It may be due to extreme dejection, intoxication, agitation, warth, or illness. R.G. | ||
| वक्रोक्तिः Vakroktiḥ |
indirect mode of expression, evasive speech or reply, obliquity | A figure of speech in which the statement of one person purporting one thing is cleverly distorted by another to mean otherwise, either through pun or through intonation, e.g. 1. ‘Who are you? ‘We are at present on the earth.’ (‘ke yūyam’, ‘sthala eva samprati vayam’.) (S.D. after 10.9). Here in the querry the word ‘ke’, meaning ‘who’, has been distorted to convey a different meaning—i.e. ‘in the water’—deliberately by the other party (Ke, the singular form of the word ‘ka’ (S.D. after 10.9) meaning water in the locative case). 2. Her mind is not purturbed by the repudiation of her lover. (Kṛtāgasaḥ parityāgāattasyāśceto na dūtyate.) This statement, in the sense of negation made by some friend of the lady, has been converted by another friend into an affirmation, by a change of tone, conveying ‘Certainly, it is perturbed’ (dūyate eva.) S.D.C. Bhāmaha regards vakrokti as essential to all types of poetry. He seems to identify it with exaggeration and does not accept such figures as HETU, SŪKŚMA and SVABHĀVOKTI as they are void of obliquity of expression. Daṇḍin includes all figures, except svabhāvokti under vakrokti. Its charm is enhanced by ŚLEṢA, (pun). Vāmana treats it as a figure of speech with predominant meta- phorical indication. It is identical with suggestion regardless of denotation and based on indication. Rudraṭa’s concept resembles. the figure Chekāpanhuti (see APANHUTI) where an expression is, on the basis of intonation or pun, construed by the listener as indicat ing a sense quite different from the denotation, so that a suitable sarcastic retort can be made against the speaker. Abhinava describesit as a heightened form of expression different from matter—of—fact speech, Kuntaka treated it in great detail. It is a surprisingly striking expression, strange and unique in itself. It is a form of denotation different from'the one useful in the sciences. A mode of expression with a strange turn. Its delight is beyond that of the mere exccllence of word, sense, embellishment etc. The peculiar turn assumes remarkable aesthetic merit by the poet’s skill and imagination. It is essentially a deviation from current usage and extends from the smallest particles of expression, e.g. suffix, gender, number, root, etc, to the construction of plot and the complete structure of a narrative or dramatic poem. It has, thus, innumerable varieties and even Dhvani is included in it. S.K. | ||
| वाक्य वक्रता Vākya-vakratā |
striking use of a sentence. | This fourth variety of VAKROKTI, as elucidated by Kuntaka, has innumerable possibilities depending upon the endless flashes of poetic imagination. All the poetic figures of sense, delineations of sentiment and emotion fall within its range. It serves to manifest the nature or the internal qualities of the object and requires a special aptitude and skill on the part of the poet. It helps in the elucidation of a theme or description of a thing with its innate excellences brought out through striking expressions. Mere direct denotation cannot make manifest the naturally subtle charm lying hidden in an object. In fact, this is parallel to the figure SVĀBHĀVOKTI which Kuntaka does not accept. This variety may be (a) natural manifestation or (d) an ornate depiction of innate charm. S.K. | ||
| वंशस्य Vaṁśastha |
a variety of varṇika metre. | This is a VARṆIKA metre with twelve VARṆAS in each of its four quarters. The arrangement of its GAṆAS is ja-gaṇā, ta-gaṇa, ja-gaṇa and ra-gaṇa, the symbolic notation being ISI, SSI, ISI, SIS. The pause (caesura) comes at the end of each foot. (N.S. 16.49 Piṇgalachandah-’ śāstra 6.28 suvṛttatitaka 1.26 śrutabodha 26 V.R. 3.47) This has been one of the favourite metres in classical Śanskrit poetry as is clear from the fact that Māgha, Bhāravi and Śrīharṣa started their famous works (respectively, śiśupāla-vadham, Kirātārjunīyam and Naiśadhīyacaritam) in Vaṁśastha. The following is an instance: śriyaḥ patiḥ śrīmati śāsituṁ jagaj jagannivāso vasudeva-sadmani vasandavdarśāvatarantam ambarād hiraṇyagarbhāṇga bhuvaṁ muniṁ hariḥ (Śiśupaālavadham, 1.1). K.B. | ||
| वंशस्थविल Vaṁśasthavila |
see VAMŚASTHA | |||
| वंशस्तनित Vaṁśastanita |
see VAMŚASTHA | |||
| वाङ्मय Vāṅmaya |
literature in general. | Etymologically it is a term which stands for an expression consisting of words. Rājaśekhara in his Kāvya-mīmānisā has divided vāṅmaya into two clsses : sāstra and kāvya, i.e. literature of knowledge and literature of power. In modern terminology, vāṅmaya continues to be used as a term broadly applicable to literature in general which comprises both literature of knowledge and literature of power—or creative literature. N.J. | ||
| वर्ण Varṇa |
a vowel or aconsonant with a vowel. | The term varṇa in prosody stands for either a vowel or a consonant with a vowel. A vowel, viz., a,i,u,ṛ or a consonant with any of these vowels is regarded as short (laghu), whereas ā,ī,ū, ṛ e,ai, o, au or a consonant with any of these vowels is reckoned as long (dīrgha). A short sound with an anusvāra (the nasal dot) or with a visarga (two following dots as in colon) is considered to be a long one. A joint letter—even if it be short-sounded—renders the preceding short shound long. An individual consonant, i.e., a consonant without any vowel is neither short nor long. Examples : (i) Rāma: The first varṇā (rā) is long, and the second varṇa (ma) is short. (ii) Ramā: Here the first varṇā (ra) is short, and the second one (mā) is a long one. (iii). Saṁśaya: This is a word of three varṇas. The first varṇā (saṁ) is long, because it has an anusvāra (the nasal dot). (iv) Kavih : This word has two varṇas. The second varṇā (viḥ) is long on account of its being followed by a visarga (two following dots:), (v) Atra: This is also a two-varṇa word. The first varṇā in it is initself a short one, but is rendered long by the following joint varṇa (tra). (vi) Kamalam : It has three varṇas, the final nasal sound (m) is a pure consonant hence it is neither short nor long. | ||
| वर्ण-विन्यास-वक्रता Varṇa-vinyāsa-vakratā |
striking use of syllabic structure or diction. | It consists in a striking arrangement of letters which should be. pleasurable and appropriate to the context. It includes alliteration end rhyme, rhyme patterns, etc. It is three-fold : repetition of (I) (a): a single consonants (alliteration) (b) two consonants (wavy alliteration) (c) three or more consonants. II, repetition of conjuncts (a) with the nasals of the some group : e.g. अङ्ग, पिङ्गल, गुण्ज, कुञ्ज, etc. (b) reduplicated conjuncts e-g. न्न, त्त, ल्ल, etc. (c) conjuncts of है, य, व, ल, with र e.g. र्ह, र्व,र्य, र्ल III. repetition of consonants without interval but with different vowels: (a) single consonant (b) two consonants, (c) longer groups of consonants. Kuntaka has imposed the following restrictions on their. use: (1) There should be no insistence on them, (2) There should be’ no letters void of tenderness, (3) nor repetition of the same cycle (i.e. the cycle should be different in each line or coupler), (4) the repeti-tion should not be inconsident with the general qualities of the style. S.K. | ||
| वर्णिक Varṇika |
(metres) based on specific combination of varṇas. | A varṇika metre is that in which a specific permutation of varṇas controls the rythm. Technically, it is called vṛtta (INS. 15.39), and has a variety ranging from metres which have only one vaṇa to those which have twenty-six varṇas in a quarter. They are classed as follows : 1. Uktā 2. Atyukta 3. Madhyā 4. Pratiṣṭhā 5. Supratiṣṭha 6. Gāyatrī 7. Uṣṇik 8. Anuṣṭup 9. Bṛhatī 10. Paṇkti 11. Triṣṭup 12. Jagatī 13. Atijagatī 14. Śakvarī 15. Atiśakvarī 16. Aṣṭi 17. Atyaṣṭi 18. Dhṛti 19. Atidhṛti 20. Kṛti 21. Prakṛti 22. Ākṛti 23. Vikṛti 24. Saṅkṛti 25. Atikṛti 26. Utkṛti N.S.15.43-49 V.R. 1.19-21) Metres consisting of more than twentysix varṇas in a quarter are termed as DAṆḌAKA. K.B. | ||
| वासकसज्जा Vāsakasajjā |
a woman who dresses herself in a befitting manner and keeps herself (and her house) ready to receive her lover, one of the several classes of heroine. | The first variety of the NĀYIKĀ under Bharata’s eightfold classification of the heroine based on the situations she may be placed in. Vāsakasajjā is one who is being adorned by her friend in her welldecorated house, and who is expecting the arrival of her beloved with confidence. III. The heroine says to her friend, “Remove my armlets of what use are these bracelets embedded with jewels? The necklace is too heavy for my neck. Pray, get for my neck a single string of pearls. Too many ornaments are redundant when one has to celebrate the festival of love’’. (S.D. 1.85). R.G. | ||
| वासना Vāsanā |
lataen t impressions, particularly impressions unconsciously left on the mind by past deeds and experiences. | According to Nātya- śāstra, eight basic instincts—emotions or mental states, called STHĀYĪ BHĀVAS, exist in the human psyche. They are inborn in a man and exist permanently in the form of latent impressions (vāsanā) derived from actual experiences of the present life or from the instincts inherited from the past lives. Under appropriate stimuli they emerge into man’s consciousness and are experiencedi n the form of emotions. N.J. | ||
| वसन्ततिलका Vasantatilakā |
a variety of varṇika metre. | This is a VARṆIKA metre of the even (sama) kind with fourteen VARṆAS in each of its four feet. Its metrical arrangement of GAṆAS, is tāgaṇā, bhāgaṇa, jāgaṇa, jāgaṇa, and two long (dirgha) sounds, the symbolic notation being SSI, SII, ISI, ISI, SS. There is no pause (caesurea) within a foot. Pingala chandaḥśāstra 7.8 P.P. 2.150 N.S. 16.67 śrutabodha 30surttatilaka 1.29 V.R. 3.78 Chandomañjarī 2.189 Chandamālā 1.48). vasantatilakā is also called vasantatilakā by Gaṅgādāsa (Chandomañjarī 2.189), Siṁhomata by Kāśyapa, Uddharsinī by Saitava and Madhumādhavī by Rāma according to Kedārabhaṭṭaś V.R. 3.79. Examples : (i) pṛṣṭa janena sama-duḥkha-sukhena bālā neyaṁ na vakṣyati manogatamādhihetum aṛṣṭo vivṛtya bahuśopyanayā satṛṣnam atrāntare śravaṇa-kātaratāṁ gatosmi. (Abhijṅāna Śākuntalam 3.8) K.B. | ||
| वस्तु Vastu |
fable, plot. | The word vastu stands for the story or the plot of the drama. In the drama the vastu is as important as the hero or the primary sentiment. Aristotle also considers plot to be the most important element of the drama: “We maintain, therefore, the first essential, the life and soul so to say of tragedy is the plot...’"(Poetics). It is two-fold, the main theme (ādhikārika) and the incidental theme (prāsaṅgika). It can be mythical or legendary where the subjectmatter is derived from history, myths or legends of the past, it may be entirely an invention of the poet, or it may be a combination of both (Daśarūpaka 1.23). The theme is further declared to be of three kinds with regard to the dramatic rules: (i) prakāśa, i.e. what is to be heard alooud (ii) svagata (aside), i.e., what is not to be heard and (iii) janāntika i.e. personal address. There are two other varieties: e.g. (i) apavartaka, i.e., confiidential remarks, (ii) ākāśubhāṣita or conversation with imaginary persons. As a matter of back these are parts or media used in a plot like Prologue, Episode, Exode and Chorus of Greek drama. In Greek drama plot has a beginning, a middle and an end and it, then, can be simple or complex. Where there is no obstruction in the story the plot is simple but where there are devices like the peripetia and the discovery, it is a complex plot. Providence plays a great role in Sanskrit as well as Greek plays. But whereas in Sanskrit dramaturgy nothing specifically is said in regard to the role of providence in plot, Aristotle has offered a strong stricture against it. It is, therefore, evident that the unravelling of the plot, no Jen than its complication, must arise out of the plot itself it must not be brought about by the deus ex machina. Within the action there must be nothing irrational. I.N.C. | ||
| वस्तु ध्वनि Vastu-dhvani |
predominant suggestion of subject-matter. | The first broad variety of denotation-based predominant suggestion of perceptible sequence, the suggestion being that of a bare (a) fact or (b) idea related to the subject under treatment. The means of suggestion may be a (a) word, (b) its primary sense or (c) both. These in turn suggest a fact or idea. Feigned praise (Vyājastuti) may, for instance, suggest the fact that the object is praiseworthy or otherwise. A bare description or report of some great event may suggest the magnanimity of the hero. S.K. | ||
| वत्सल Vatsala |
parental affection | It is not mentioned in Bharata’s list, yet Viśvanātha attributes it to the ‘Muni’ i.e. Bharata. Natural affection for children is its basic impulse. Children, sons—daughters, etc are its stimulating objects. Their activities, learning, valour, etc. excite it further. Embracing, fondling, caressing or kissing on the head, etc, constirute its consequents, while ecstasy, pride, fear of possible evil represent its accessories. Its colour is like the interior of a red lotus and its presiding deities are the Mothers of the Worlds. Rudraṭa calls it preyān. R.G. | ||
| वेपथुः Vepathuḥ |
trembling of the body. | The fifth physical sensation consequent upon sudden outburst of deep emotion. Overwhelming emotion (e.g., love, hatred, wrath, fear) causes the whole body to shake violently from top to bottom. R.G. | ||
| वेश्या Veśya . |
see SĀMĀNYĀ | |||
| विभावः Vibhāvaḥ |
cause of poetic emotion, one of the three main divisions of BHĀVA, the other two being ANUBHĀVA and VYABHICĀRĪ BHĀVA. | The word ‘Vibhāva’ means the cause of Bhāva or the artistic emotion. Broadly it stands for the conditions which evoke an emotion in the subject. The vibhaāvas act in a manner quite different from the ‘causes’ in actual life. They are of two kinds : (i) Ālambana, and (ii) Uddīpana, (i) Ālambana is the causal object, which is primarily responsible for arousing a particular emotion it is the object on which the emotion depends for its very being. (ii) Uddīpana : is the stimulating cause of an emotion. It may be the physical characteristics of the causal object or the surroundings which enhance the emotive effects. A scene from Kālidās’ Abhijyāna Śākuntalam is often quoted as an example to distinguish between the two forms of vibhāva mentioned above. Duśyanta sees śakuntalā watering plants and talking to her friends in the hermitage of Kaṇva. Śakuntalā who becomes the object of Duśyanta’s love is the ālambana vibhāva and the entire sylvan atmosphere with beautiful forest retreats gentle breeze, soft sunshine which excite the feeling of love in Duśyanta’s heart, is the uddīpan vibhāva. N.J. | ||
| विभावना Vibhāvanā |
peculiar consation. | A figure of speech in which an effect is indicated without cause. Example : ‘In her youth the constitution of this lady is charming even without ornaments’ (5.12. after 10.67 a). Here the cause of the lady’s charm i.e. decoration with ornaments has been denied, and yet the effect, i.e., the charm of the lady has been mentioned. S.D.C. | ||
| विभ्रमः Vibhramaḥ |
to be confused or disordered especially the flur of mind caused by love. | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the fourth among the ten SVABHĀVAJA ALAṀKARAS. Putting on ornaments at the wrong place through flurry is vibhrama (D.R. II. 39). Ill.: “Learning that the hero had already arrived at the other gate of her residence, the heroine, who had not yet finished her make-up, applied to her forehead the collyrium, which was meant for the eyes, and to her eyes the lac-dye, which was meant for the feet’’. R.G. | ||
| विच्छित्तिः Vicchittiḥ |
One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the third among the ten SVABHĀVAJA ALAṀKARAS. A slight adornment, which adds to loveliness, is vicchitti (D.R. 17, 38). Ill: “Even a small round mark of vermilion on her forehead has added so much to her lustre that the faces of all her rivals (co- wives) have turned pale.” R.G. | |||
| विचित्र Vicitra |
strange. | A figure of speech in which for the attainment of the desired object something contrary to it is done. Example: ‘Who else is a greater fool than a servant who in order to get promoted bows down, to earn his living parts with it altogether, to get happiness toils hard’ (S.D. 107vr.). Here the servant is described as performing mutually contradictory deeds in order to attain the desired goal. S.D.C. | ||
| विचित्र मार्ग Vicitra mārga |
variegated, ornate, figurative or colourful manner. | The variegated manner is appealing on account.of the sophisti-cated, figurative expression which characterises it. Embellishment helps in manifesting the sentiment. Bright and rich figures are skilfully knit together adding a new dimensions to old themes and Stale expressions. Variety of indirect expression, throbbing with excellence, is its very life breath. The nature of things is depicted in a variously appealing and colourful manner. Though difficult to practise, it is often adopted by great poets. S.K. | ||
| विधेयविमर्श Vidheyavimarśa |
see AVIMṚṢṬAVIDHEYĀṀŚA. | |||
| विध्ययुक्त Vidhyayakta |
improper predication. | This defect of meaning is felt by a reader when the writer employs an improper predication. (K.P. 7.57 S.D. 7.11). Example: ānandita-sva-pakṣosau para-pakṣān haniṣyati. (S.D. after 7.11). i.e., “Having gladdened the people of his party, that person will put an end to the opposite camp.” Here the predication is rather improper. A person first kills his enemies and thereafter felicitates his own people. In the above quotation, however, the predicate is inserted in a compound word which is qualifying the nominative. The proper predication would be asau parapakṣān hatvā svapakṣān anandayiṣyati, i.e., having destroyed his opponents, he will please his own people. K.B. | ||
| विदूषकः Vidūṣakaḥ |
clown jester | A companion of the hero, the jester is a handy man in all sorts of situations. He is a foolish glutton, uneducated, timid, ugly, and often old. This Brāhman friend of the hero plays an important part in his love affairs. He is described as the erosminister or pseudo minister of a king. S.K. | ||
| विद्याविरुद्ध Vidyā-viruddha |
contrary to the sastras. | This defect of meaning is felt when a writer makes a statement opposed to erudite usage (K.S.V. 2.2.24 K.P. 7.56 S.D. 7.10 Bhamaha (in his Kavyālaṅrkāra 4.2) and Daṇḍin (Kāvyādarṣa 3.176-178), however, terms it as ‘āgamavirodhī,. Examples : (i) sadā snātvā niśīthinyāṁ sakalaṁ vāsaraṁ budhaḥ nānāvidhāni śāstrāṇi vyācaṣṭe ca śṛṇoti ca. (K.P. 7.267) i.e., ‘The learned man always takes bath, bath midnight and then expounds and listens to the various scriptures the whole day.’ Here the statement about a man’s bathing at midnight is opposed to Dharma śāstra which enjoins that unless there is an eclipse of the sun or the moon, one should not take a bath at night. (i) adhare karaja-kṣataṁ mṛgākṣyāḥ. i.é., “On the lower lip of the fawn-eyed lady there is a scar produced by the lover’s nail.’ Here the mention of a mark produced by a nail is defective, for according to the science of Erotics, the scar on a lady’s lower lip is to be caused by the lover’s teeth, and not by his nails. K.B. | ||
| विहृत Vihṛta |
one of the ten modes of indicating love by women. | One of the SĀTTVIKA ALAṀKARAS of the heroine, as enumerated by Bharata, and the last among the ten SVABHĀVAJA ALAṀKĀRAS. If the damsal does not speak because of modesty, even when there is an occasion to speak. the vihṛta alaṁkarā is manifested (S.D. III. 106). Ill.: ‘‘Having returned from a far off land, I enquired of her about her welfare. She did not speak a word but her two eyes, full of tears, told me all that she could say,” R.G. | ||
| विहसित Vihasita |
a gentle laugh in appreciation or mockery. | Unlike the first two silent types, this type of laugh (see under HĀSA) is accompanied by a sweet and soft noise. It is the first type in which middle-class perons indulge for expressing appreciation of Humour. R.G. | ||
| विकल्पः Vikalpaḥ |
alternative. | A figure of speech in which a striking opposition is indicated between two equally strong forces (objects). Example : The conqueror ordered his enemy, “Bend down either your head or your bow.” (namyantu’ sirāṃsi dhanūmśiva) (S.D. after 10.84 a). The bending of the head and that of the bow are stated to be marks of peace and war reSpectively. Here, according to the speaker, they are of equal force, and as both cannot be taken recourse to at one and the same time, an opposition between them has been indicated. S.D.C. | ||
| विक्षेपः Vikṣepaḥ |
distraction, confusion. | One of the eight SĀTTVIKA ALAṀKĀRAS added by Viśvanātha to the SVABHĀNAJA category. Appearing only half-adorned before the hero looking astray in his presence without any reason whatever, and murmuring to him as if a secret is being discolsed, all these actions of the heroine’constitute vikṣepa (S.D. III. 108). III. : “She leaves her hair half-loose and half-tied the round mark of vermilion is put on the forehead only partly some sort of a secret she diuvlges, that beautiful slim lady who looks astray with awe!’ R.G. | ||
| विलासः Vilāsaḥ |
graceful manners of the heroine indicative of amorous senti- ment . | One of the twenty SĀTTVIKA ALAṀKĀRAS of the heroine, as enumerated by Bharata, and the second among the ten SVABHĀVAJA ALAṀKĀRAS. The graceful changes in the manner of sitting, in appearance, or in actions of the heroine at the sight of the beloved constitute Vilāsa (S.D.III. 99-100). Ill. : “The grace of your gait, the beauty of your look, and the sweetness of your smile, all manifested at the sight of Kṛṣṇa, are simply unforgettable.” R.G. | ||
| विलासिका Vilāsikā |
a drama in one act replete with love incidents, interlude. | The Vilāsikā is a play in one act. The herois one of lower order. The story is short and has a rather gargeous setting. The general strain is comic or farcical. I.N.C. | ||
| विमर्श/अवमर्श Vimarśa or avamarśa |
the fourth juncture containing an obstruction. | Vimarśa is the fourth juncture which means a pause. Here the seed (BIJA) that unfolds itself in the development (garbha) progresses further, but is confronted with difficulties. It is like the Aristotelian peripatia, in which an opposite effect is produced or a change is shown in the course of action by which expectation is baffled and reversal of fortune ensues. But this juncture which indicates the fourth stage of action (NIYĀTAPTI) which denotes the certainty of success. Therefore, by the end of this juncture the hope of achieving the aim (fruit) is fully established. This juncture can be described as the stage where the seed has fully developed and the fruit is obout to take into shape. An episodic incident of short duration (PRAKARĪ) is also attached with it. Vimarśa has thirteen suddivision namely cendure, altercation, tumult, contempt, placation, rebuke, reverence, humiliation, assertion, opposition, foresight, boastfulness and resume. These are in perfect keeping with prakarī and niytāpti. Censure (apavada) is the declaration of some one’s fault. Altercation (sampheṭa) is a statement made in anger. Tumult (Vidrava) is slaying or taking prisoner and the like. Contempt (drava) is disrespect to one’s elders on account of intensity of grief. Placation (śakti) is the removal of conflict. Rebuke (dyuli) is reprimanding and hurting someone’s feelings. Reverence (prasaiga) is some important declaration or utterance of the names of superiors. Humiliation (chālana) is putting up with an insult in order to serve one’s own end. Assertion (vyarasāya) is mention of one’s own power. Opposition (virodhana) is the appearance of obstacle in the fulfilment of the desired object. Foresight (Parocana) is foreseeing what is to come because of an assurance of success. Boastfulness (vicalana) is bragging, and summary (ādāna) is the coordination of the objects of the drama or rather it is a resume of the action (see SANDHI). I.N.C. | ||
| विनोक्तिः Vinoktiḥ |
negative statement, an expression made striking by an effective use of the preposition ‘without’ (vinā) | A figure of speech in which something is said to be not disagreeable, or disagreeable in the absence of some otfer thing. ‘What kind of beauty is there in the day without the sun, and what is the night without the moon?’ (S.D. after 10,56 a). Here the beauty of the day and the night have been stated to be disagreeable without the existence of the sun and the moon respectively. S.D.C. | ||
| विप्रलब्धा Vipralabdhā |
a heroine disappointed on account of her lover’s failure to keep his appointment. | The sixth variety of the NĀYIKĀ under Bharata’s eight fold classification of the heroine based on the situations she may be placed in. Vipralabdhā is one who feels neglected and insulted, because her beloved has failed to reach the rendezvous at the appointed time. III.: The heroine tells the female messenger, “Get up, let us now go. We have already waited for three hours in vain he has not come. He can be the beloved of a lady who would live even after this disappointment.’’ (D.R.II.26) R.G. | ||
| विप्रलाम्भ शृंगार Vipralambha sṛṅgāra |
eros in separation | It is so called because Cupid is said to deceive young lovers who are intensely in love. . It differs from pathos in the sense that separation here is not eternal, i.e. caused by death. There is always a chance of reunion. Primarily it is four fold, with many subdivisions of each type: pūrvarāga or love before actual union manavipralambha or separation due to pride. Pravāsā-vipralambha or separation due to the departure of one of the lovers to a distant place and lastly Karuṇāvipralambha or pathetic separation on account of kidnapping or death, which is, however, averted or the dead partner is brought back to life by some supernatural power. R.G: (in the absence of these relieving features the separation caused by death in commerted into pathos.) | ||
| वीरः Vīraḥ |
the sentiment of heroism. | Its basic instinct (zest, zeal or enthusiasm) is aroused ina magnanimous heart. It is golden in colour and presided over by the god Mahendra. Its stimulating object is the adversary, a hostile person or situation. The activity of this adversary serves as its excitant. Its consequent appears in the form of a search for allies or means of success, Courage, pride, thoughtfulness, recollection, deduction, horripilation, etc, represent its accessories. It is four fold: yuddhavīra or marital heroism dānavīra or charitable heroism dānavīra or righteous heroism, and dayāvīra or compassionate heroism. The sentiments of fear it and quietude are opposed to it. R.G. | ||
| विरहोत्कंठिता Virahotkaṇṭhitā |
a woman distressed due to the absence of her lover or husband. | The second variety of the NĀYIKĀ under Bharata’s eigh-fold classification of the heroine based on the situations she may be placed in. Virahotkaṇṭhītā is one who is distressed due to the absence of her beloved, who has failed to arrive on account of some unknown mishap. III. “ Has he been detained by some other mistress? Or has my own friend annoyed him? Or has some urgent work come in his way?’ Conjecturing thus the fawn-eyed damsel leaned her lotus-face on her hand, heaved a deep sigh, continued to weep for long, and threw away her garlands. (S.D.III.86) R.G. | ||
| विरोध/विरोधाभास Virodha or virodhādbhāsa |
apparent contradiction. | A figure of speech in which there is an apparent but not real contradiction or incongruity is in appearance. It is of ten kinds: (i) Incongruity between genus (jāti) and genus. (ii) between genus and attribute (guṇa), (iii) between genus and action (kriyda) and (iv) between genus and substance (dravya)(v) between attribute and attribute, (vi) between attribute and action, and (vii) between attribute and substance. (viii) between action and action, (ix) between action and substance, (x) between substance and substance. e g. In your absence the Malayabreeze appears to her to be wild fire and the moonlight scorching. (S.D. after 10.699). Here the Malaya-breeze has been described to appear as wild fire, which apparently seems to be contradictory but due to the separation of lovers it is possible, and thus the contradiction is negated. Both the Malaya-breeze and wild fire are genus. Thus it is the first kind of virodha, i.e., that of a genus with genus. Similarly in the case of the moonlight’ (jatī) and ‘searching’ (gaṇa), there is a virodha of genus with attribute. S.D.C. | ||
| विरुद्धमतिकारी Viruddhamatikārī |
repugnant implication. | viruddhamatikārī is a poetic defect arising out of a hateful implication, i.e., an idea repugnant to the original concept (K.P. 7.51 S.D. 7.3). Examples: (i) Occurring in a word 1 cira-kāla-pariprāpta-locanānanda-dāyinaḥ kānta kāntasya sahasā vidadhāti galagraham. i.e., ‘A wife instantaneously throws her arm around the neck of her husband who, having returned home after a long time, gives delight to her eyes.’ Here the word ‘gala-graha’ implies repugnance in as much as ‘galagraha’ can stifle the throat. It should be replaced by ‘kaṇṭhagraha’ which implies love and affection. (ii) Occurring in a sentence— Śritakṣamā raktabhuvaḥ si valiṅgitamūrtavaḥ vigrahakṣapaṇinādya śerate te gatāsukhāḥ (K.P. 7. 196) i .e., ‘Today, through the removal of all enmity, they are lying down. All their troubles are now over. (Previosly) they used to forgive (the offenders). The (people of the) world were attached to them, and all that is good used to embrace their bodies.’ Here the poet wants to convey the idea that persons who possess noble qualities remain happy, but the words chosen by him signify contrary too. The second sense of the verse is as follows: They are lying down on the ground. The earth has become red with their blood. Jackals are touching their bodies. They are lying down, as their life and organs of sense are defunct. Thus the implied sense is rather distateful. K.B. | ||
| विषादः Viṣādaḥ |
helplessness and despair. | The nineteenth among the thirty-three VYABHICĀRI BHĀVAS, as enumerated by Bharata. Viṣāda is the feeling of helplessness and despair occasioned by lack of means to attain the desired end. Sighing, breathing out, mental distress, seeking for aid, etc. are its external manifestations. (S.D. 3.167) R.G. | ||
| विषम Viṣama |
incongruity. | Viṣama is a figure of speech in which some unlikely or incompatible relation hetween cause and effect is described. It is said to be of four kinds: (l—2) when (a) the attributes (guṇa) or (b) actions (Kriyā) of the cause and the effect stand in mutual contradiction (3) when the task undertaken fails and some evil result follows: and (4) association between two incongruous things. An example of the fourth kind: “The body of this lady with large eyes is more delicate even than the sirīṣa flower and this fire of love is terrible like the chalf fire. (K.P. after 10.127). Here two incongruous things have been placed together. S.D.C. | ||
| विषम Viṣama |
see HATAVṚTTA. | |||
| विसन्धि Visandhi |
see SANDHIVIŚLESA. | |||
| विशेषः Viśeṣaḥ |
extraordinary. | This figure of speech is of three kinds: (i) contained (ādheya) is described to be without the container (ādhāra), (ii) one and the same thing is said to be contained by many (iii) while performing some thing, a providential (unexpected) accomplishment of something else, which is difficult otherwise, is described. An example of the first variety: ‘How are the poets not adorable, whose speech pleases the people, eventhough they themselves have departed for beaven.’ (K.P.10,560 S.D. 10,74, vr.). Here speech, the contained, has been described in the absence of its container, the man—in this context the poet who is no more in the world. S.D.C. | ||
| विशेषण वक्रता Viśeṣaṇa-vakratā |
striking adjectives or adverbs. | Adjectives or adverbs are so selected as to lend an additional charm to the noun or predicate as in the figure ‘parikara—significant adjectives. They serve to highlight delicate shades in the nature of things or actions (e.g. ‘How could there be pity in you 0, my hand expert as you were in sending sītā into exile?’) . S.K. | ||
| विशेषोक्तिः Viśeṣoktiḥ |
negation of effect inspite of the cause. | A figure of speech in which the effect is negated, in spite of the existence of a cause. e.g., Truly great persons are free from haughti- ness though rich, they are not fickle though young, they are not careless though possessed of power, they are not reckless. (S.D. 10, 67, vr.). Here though the three respective causes (i.e., being rich,etc.,) of the three respective effects (being haughty, etc.,) have been stated, yet all the effects have been negated. S.D.C. | ||
| विष्कम्भकः Viṣkambhakaḥ |
An interlude between the acts of a drama with one or more. | viṣkambhaka is an explanatory scene which may occur anywhere during the intermediate stages of the play. (Daśrūpak 1.116) Thus it is a connecting link between the past and the future incidents that constitute the body of the whole story of the drama. When it is performed by persons of middle class it is known as pure (Śuddha) and when by inferior characters it is called mixed (saṁkirṇa). The Viṣkambhaka may appear at the beginning in the middle or at the end of an act. Generally it is at the beginning but when a longer interval has elasped between two acts or important events have happened, the new act is introduced through a Viṣkambhaka. It is sometimes interwoven with the play as in the Veṇīsanhāra. The character in the Viṣkambhaka has a more diversified duty and besides filling up all the blanks in the story, he is expected to divert the audience by his wit and repartee like the clowns of the Elizabathan theatre. I.N.C. | ||
| विस्मयः Vismayaḥ |
wonder, astonishment. | It is the basic instinct. underlying the ADBHUTĀ RASA, the sentiment of wonder. It is aroused by a variety of things, supernatural beings or persons that appear to transgress the natural limits of this mortal world. It results in an expansion of the mind. Jugglery, magic, conjuration are some of its excitants. R.G. | ||
| विटः Viṭaḥ |
the companion of a prince or dissolute young man or of a courtesan. | viṭa helps the hero in accomplishing his object and wriggling out of difficult situations. Presented as well-versed in the arts of singing, music and poetry, he is described as a parasite clinging to his. companion and almost serves the purpose ofa VIDŪŚAKA or clown. He is witty though apparently talks nonsense. Śekharaka in Nāgānanda is an example of Viṭa. S.K. | ||
| वितर्क Vitarka |
an indicisive state of mind. | The last among the thirty-three VYABHICĀRĪ BHĀVAS as enumerated by Bharata. Vitarka is an indicisive state of mind, which has the feeling of uncertainty or hesitaion as its immediate cause, and in which one oscillates from one alternative to anotber. Gesticulations of the eyebrows, the head, and the fingers are its external manifestations. (S.D. III. 171). R.G. | ||
| वीथी Vīthī |
One-act comedy of love. | Vīthī is a one-act RŪPAKA. It may be performed by one actor though the Daśarūpaka admits of two and Viśwanātha permits even three. It is a love-story carried on in comic diologue consisting of evasion, joke ‘repartee, wilful misconstruction and misapplication, ironical praise, extravagant endearment and jocular abuse. I.N.C. | ||
| विवक्षितान्यपरवाच्यध्वनि Vivakśitānyaparavācya-dhvani |
see ABHIDHĀMŪLA DHVANI. | |||
| व्रीडा Vrīḍā |
bashbulness or shame which is taken to be a sign of modesty. | The thirteenth among the thirty-three VYABHICĀRĪ BHĀVAS, as enumerated by Bharata. Vrīḍā is the feeling of bashfulness or shame in women it is called forth at the sight of men, and in men when they have met with defeat, or when they have broken their vow, or when they have said or done what does not behove them. Change of colour of the face, hanging down of the head, etc. are the external manifestations of Vrīḍā. (R.G.I) R.G. | ||
| वृत्त Vṛtta |
a variety of varṇika metre. | Vṛtta is VARṆIKA metre having four quarters (N.S. 15.39). Each verse or stanza has four feet. A vṛita may be either of the even (sama) type or of the semieven (ardhasama) type or of the uneven (viṣama) type. All the four quarters are uniform in an even type of vṛtta a vṛtta of the semi-even (ardhasama) type has two hemistiches adjusted in a different scheme and a vṛita of the uneven (viṣama) type shows variations of schemes in its four quarters (Chandaḥ -sūtram 5.2 N.S.15.49 V.R. 1.13-16 C.M. 1.5,6). Examples- (a) Sama (bhujaṅgaprāyata) na te kācidanyā samā dṛśyate strī guṇairyā dvitīya tritīyapi cāsmin mameyaṁ matirlokamālokya sarvaṁ jagatyaprameyāsi sṛṣta yidhātrā (Nāṭya- Śastra, 16-56) (b) Ardhasama (puṣpitāgrā): tava sucaritamaṅguliya nūnaṁ pratanu mameva vibhāvyate phalena aruṇa-nakha-manoharāsu tasyā ścyutamasi labdhapadaṁ yadaṅgulīsu. (Abhijnaāna-śakuntalam, VI. II) (c) Viṣama : atha vāsavasya vacanena ruciravadanastrilocanam klānti-rahitamabhiraādhayituṁ vidhivattapaṁsi vidadhe dhanaṅjayaḥ, (Kirātārjunīyam, XIII) K.B. | ||
| वृत्तिः Vṛttiḥ |
tendency, manner or mode a style in a compusition. | The mode or style in a drama is based more or less on the hero’s conduct. Naturally it is four-fold corresponding to the four types of heroes. It represents the outward expression of the hero’s mood and covers song, dance, flirtations, gesticulation, etc. (1) The gay mode of the light-hearted (kaiśikī), (2) The dignified mode of the serene (sātivatī), (3) The eloquent mode of the magnanimous (Bharatī), and (4) The fierce ode of the vehement hero (Ārabhaṭī).They have their origins in the four Vedas. Udbhaṭa accepts quite a different classification and nomenclature: Elegant (upanāgarika), ordinary or commonplace (grāmyā) and harsh (paruṣa). Rudrata accepts five syllabic modes: sweet (madhurā) Harsh (paruṣā), Dainty (lalitā), Pompous (Ārabhaṭī) and excellent (bhadra) based on sound effects. S.K. | ||
| वृत्तिवक्रता Vṛtti-vakrata |
striking use of compounds or derivatives | (A) Adverbial, adjectival and other compounds, when skillfully used, help in bringing out the minutest shades of meaning. Clear even in separate words, the idea acquires additional significance by compounding them, for compounds convey much more than their components. (B) Various homonymous derivatives can be formed from a single word. The most appropriate one is, however, selected for bringing out finer shades of distinction. S.K. | ||
| व्यभिचारी भाव Vyabhicarī bhāva |
transitory feelings. | One of the three constituents of RASA, the other two being VIBHĀVAS and ANUBHĀVAS. Vyabhicārī Bhāvas have been defined as transitory states of mind being fleeting in character they appear and disappear during the experience of a STHAYĪ BHĀVA or a permanent state, and thereby help the Sthāyī Bhāva to develop into rasā (S.D.III.140). Bharata has enumerated thirty-three Vyabhicārī Bhāvas, and his list has not been meddled with by any of the succeeding writers on poetics. Examples: detachment, apprehension, curiosity etc. etc. [They have been defined—each at its appropriate place] R.G. | ||
| व्याधि VYĀDHI |
ailment. | Vyādhi is the eighth stage in lovelorn. condition. The acute mental and physical agitation caused by unfulfilled passion or love gives rise to illness, e.g. fever or bodyaches, etc. Generally a sort of unbearable burning pain is described in this stage, as in the third act of Kālīdāsa’s Sākuntalam., R.G. | ||
| व्याधि VYĀDHI |
illness. | The twenty-ninth among the thirty-three VYABHICĀRTĪ BHĀVAS, as enumerated by Bharata. Vyādhi is a state of illness due to the derangement of one or more of the three humours of the body—, as held by the Indian medical science (N.S.VII.82). A desire to lie onthe ground, trembling, etc. are its external manifestations (S.D.IIL,.164). R.G. | ||
| व्याघातः Vyāghātaḥ |
frustration. | A figure of speech having two forms: (i) in which a certain thing which is done by someone by certain means is undone by the same means. Example: ‘We adore these beautiful-eyed women who beat lord ‘Śiva by reviving with their eyes the god of Love (Cupid) who was reduced to ashes by His (third) eye.’ (S.D. after 10.75). Here Love (Cupid), burnt by the fire of the third eye of the lord Śiva, has been described as being revived by the eyes of the charming ladies. (ii) In which opposite of a certain act is justified by the same reason. Example: ‘My darling, said the husband, “you better stay here. I shall quickly return within a few days. Delicate as you are, the fatigue would be too much for you.’’ “My beloved,” replied the wife, “‘my delicate constitution supplies a better cause for accompanying you because, delicate as I am, I am unable to stand the pangs of your separation.’ Here the husband mentions the delicate state of the wife as a reason against her accompanying him on a journey, but the wife justifies the act on the same ground. S.C. | ||
| व्याजस्तुतिः Vyājastutiḥ |
artful praise. | A figure of speech in which blame and praise are in reality meant to suggest praise and blame respectively. Examples: ‘What sort of judgement you have my Lord! You help sinful persons also to reach heaven?’ Though seemingly censured, God has here been indirectly praised. It resembles the English figure ‘irony’ wherein censure is implied by apparent praise or praise by apparent censure. S.D.C. | ||
| व्याजोक्तिः Vyājoktiḥ |
dessembling expression. | A figure of speech in which a thing, though clearly known, is concealed artfully. In other words in this figure what is apparently the effect of one cause is intentiouslly ascribed to another. Example: “During the performance of the ceremony, Lord ‘Śiva, being perturbed due to the thrilling touch of parvati’s hand given to him in marriage by her father Himalaya, exclaimed immediately to conceal his obvious excitement, ‘Ah! how cold are the palms of Himalaya” (S.D. 10, 92 vr.). Here Lord Siva artfully conceals his excitement. S.D.C. | ||
| व्यंग्यार्थ Vyaṅgyārtha |
suggested sense. | Vyaṅgyārtha has three significations: (1) the denotation of a homonym irrelevant to its particular context (2) the purpose underlying the indicative use of a word (3) the meaning suggested by a word, its denotation or both. It is more significant and wider in scope than VĀCYA (the primary or expressed meaning) and LAKṢYA (the secondary or indicative meaning), and may even be different from or contrary to the denotation. S.K. | ||
| व्यंजक शब्द Vyaṅjaka śabda |
suggestive word. | (1) A word, its denotation or both together, suggesting a sense different from, disconnected with, or even contrary to the primary denotation (2) a homonym suggesting denotations which are irrelevant in a particular context (3) a purposefully indicative word, suggesting the purpose underlying that indicative use. S.K. | ||
| व्यंजना Vyaṅjana |
suggestion. | The suggestive function or capacity of a word, to convey a sense Other than its primary denotation and secondary indication. The indicative function may or may not intervene between denotation and Suggestion. The suggested sense need not necessarily be related to or be compatible with or inclusive of the primary denotation. Having innumerable possibilities and unlimited scope, it is governed by the Circumstances and the context in which an expression is used. It does not need any justification of convention or tradition. According to the Dhvani school, it is the most important function or capacity of a poetic expression. Mahimbhatta regards it as mere ‘inference’ while Kuntaka includes it as a variety of ‘‘indirect experssion.”’ Basically it is of two kinds: (1) arising directly from a word or phrase, and (2) arising from the sense of an expression, viz. (1) word-based (2) sense based. S.K. | ||
| व्यतिरेकः Vyatirekaḥ |
dissimilitude. | A figure of speech in which the subject of comparison (upameya) excels the standard of comparison (upamāna). ‘Her face is spotless or flawless it is not like the moon with a stigma.’ (akalṃkam mukham tasyā na kalaṃki vidhuryathā). (S.D. 10,54, vr.). Here the face (upameya) having no spot has been described as excelling the moon (upamāna) having a permanent stigma attached to it. S.D.C. | ||
| व्यायोग Vyāyoga |
A one act play consisting of militant action. | The vyāyoga is adramatic representation of some war-like spectacle. It consists of one act, the plot does not last for more than one day and contains many male characters of the vehement type. It derives its name from the fact that in it men disagree with one another. The six rasas, except erotic, comic and quietitude are predominant here. Females do not play any role in this drama. I.N.C. | ||
| यमक Yamaka |
replication. | A verbal figure of speech in which a group of vowels or consonants is repeated exactly in the same order—denoting different meanings—even though in some cases this particular group of letters. may not convey any meaning at ‘all, Example: He saw the springseason teeming with the groves of Palāsas in new leaves. (asau nava palā’sa palā’savanam vasantam puraḥ.). Here the word palāsa has been repeated twice, conveying two different meanings. S.D.C. | ||
| यथासंख्या Yathāsaṅkhyā |
relative order. | In this figure of speech reference is made to objects in the same order in which they have been already mentioned. Example: ‘Here lies the wonder, O Lord, that though single, you live trebly in the hearts of the enemies, the learned and the fawneyed women, nourishing (in them) distress, joyous feeling and love by your valour, modesty and by grace (K.P. after 10.108). S.D.C. | ||
| यति Yati |
pause, caesure. | Yati is derived from the root yam=to stop or to punctuate and thus it denotes a short pause (Caesura) in reading or reciting the line of a verse (Chandahśastram 6.1 Kāvyādarśa 3.152 V.R. 1.12). According to Gaṅgādāsa Viccheda, Virāma are its synonyms (Chandomanjari 1.12). Yati is obligatory at the end of each quarter ofaverse. A . VARṆA such as ‘M’ occurring at the end of a quarter, may preferably be pronounced with the first vowel occurring in the beginning of the second quarter. Example: indīvaradalaśyama-mindirānandakandalam vandārujanamandāraṁ vandehaṁ yadunandanam Mallinatha (Raghuvaṁisa V) Here ‘m’ of the first quarter is pronounced in the second quarter. Such mingling of a consonant and a vowel is not permitted with-in the second ana the third quarters. In other words the first hemistich is to be read separately from the second one. Metres of short dimension require no pause within a quarter. Example: sanivaktavibhūṣa bhraṣṭānjananetrā hastarpitagaṇḍā kiṁ tvaṁ tanumadhyā (Nāṭya- Śāstra 16.2) But a line of verse composed in a long metre requires a pause. Sometimes when a single pause is not considered to be enough, more pauses are suggested. For instance, the ŚIKHARIṆT metre has a pause at the sixth and the eleventh varṇa whereas a SRAGDHARĀ has three pauses after each seventh varṇa. There were however, some scholars who did not like the restrictions on yati in their compositions. But the poetic tradition has never favoured this view. The majority of writers on prosody have been in favour of yati because it generates grace and beauty in poetic lays. K.B. | ||
| योगरूढ Yoga-rūḍha |
restrictive derivation. | A derivative which on account of its derivation can denote various senses, is restricted by traditionally accepted convention to only one of them. Thus it has a derived meaning restricted by tradition. It is partly traditional and partly derivative for example, etymologically ‘āgama’ (ā +gama) means ‘to come,’ ‘to arrive’, ‘to acquire and āgamaḥ derived from it could mean arrival, acquirement, etc. ‘But tradition has restricted it to the sense of knowledge assimilated in the Vedas). S.K. | ||
| यौगिक शब्द Yaugika śabda |
a derivative and its den otation. | A word whose derivation can be traced to a definite root and which acquires its denotation through that derivation. The original root may be traditionally accepted as having a particular denotation, but the derivative acquires the sense of the root from which it is derived on the basis of the sufix applied to it, Example: Gamanam means the act of going on account of its suffix. S.K. | ||
| युद्धवीरः Yuddhavīraḥ |
militant or marital heroism. | It is one of the four varieties of the heroic sentiment. Rāma is its best illustration. His warning to Rāvaṇa reverberates with martial heroism: Do’t return Sītā and my arrow which bathes in blood wherewith I cut off the heads of Khara, Dūṣaṇa and Triśiras will not spare you either, R.G. | ||
| युग्मक Yugmaka |
a couple of verses. | Yugma or Yugmaka means a couple of verses forming one distinct unit which convey acomplete statement (S.D. 6.314). Sanskrit poets generally use one verse (stanza) for an idea, but sometimes they do require more than one. At times it so happens that even two verses are not found sufficient for this purpose. In that case, even three, four and five verses are knitted in single units. A unit of three verses is termed sandānitaka or Visśeṣaka that of four, kalpa, or kalāpoka and of five or even more, kulaka. An instance of a yugmaka is given below: kiṁ karoṣi karopante kante gaṇḍasthalīmimām, praṇaya pravaṇe kante naikantenocitaḥ krudhaḥ iti vāvat kuraṅgākṣīṁ vaktumīhāmahe vayam, tāvadāvirabhūdāmre madhuro madhupaddhvanih (S,D. III 314) |