Just a place to jot down my musings.

Saturday, October 20, 2012

Appayya Dīkṣita on śleṣa (“paronomasia”)

We continue with our examination of select arthâlaṅkāras from the Kuvalayānanda of Appayya Dīkṣita. This time, we look at one of the greatest features of Sanskrit: śleṣa.

[XXVI. śleṣa]

nānârtha-saṃśrayaḥ śleṣo varṇyâvarṇyôbhayâspadaḥ |

[XXVI.1. varṇyâspada-śleṣa]
sarvadomādhavaḥ pāyāt sa yogaṃgām adīdharat ||
[XXVI.2. avarṇyâspada-śleṣa]
añjena tvan-mukhaṃ tulyaṃ hariṇāhitasaktinā |
[XXVI.3. ubhayâspada-śleṣa]
uccarad-bhūri-kīlālaḥ śuśubhe vāhinī-patiḥ ||

Appayya Dīkṣita on atiśayokti (“hyperbole”)

Continuing the Kuvalayānanda series: atiśayôkti , usually translated as “hyperbole”.

[XIII. atiśayôkti]

[XIII.1.a rūpakâtiśayôkti]
rūpakâtiśayôktiḥ syān nigīryâdhyavasānataḥ |
paśya nīlôtpala-dvandvān niḥsaranti śitāḥ śarāḥ ||

[XIII.1.b sâpahnuvā rūpakâtiśayôkti]
yady apahnuti-garbhatvaṃ saîva sâpahnavā matā |
tvat-sūktiṣu sudhā rājan bhrāntāḥ paśyanti tāṃ vidhau ||

[XIII.2. bhedakâtiśayôkti]
bhedakâtiśayôktis tu tasyaîvânyatva-varṇanam |
anyad evâsya gāmbhīryam anyad dhairyaṃ mahī-pateḥ ||

[XIII.3. sambandhâtiśayôkti]
sambandhâtiśayôktiḥ syād ayoge yoga-kalpanam |
saudhâgrāṇi purasyâsya spṛśanti vidhu-maṇḍalam ||

[XIII.4. asambandhâtiśayôkti]
yoge ’py ayogo ’sambandhâtiśayôktir itîryate |
tvayi dātari rājêndra svar-drumān nâdriyāmahe ||

[XIII.5. akramâtiśayôkti]
akramâtiśayôktiḥ syāt sahatve hetu-kāryayoḥ |
āliṅganti samaṃ deva jyāṃ śarāś ca parāś ca te ||

[XIII.6. capalâtiśayôkti]
capalâtiśayôktis tu kārye hetu-prasaktije |
yāsyāmîty udite tanvyā valayo ’bhavad ūrmikā ||

[XIII.7. atyantâtiśayôkti]
atyantâtiśayôktis tat-paurvâparya-vyatikrame |
agre māno gataḥ paścād anunītā priyeṇa sā ||

Appayya Dīkṣita on utprekṣā (“poetic fancy”)

More Kuvalayānanda here. (Earlier figures of speech: apahnuti and rūpaka.)

[XII. utprekṣā]

sambhāvanā syād utprekṣā vastu-hetu-phalâtmanā |
uktânuktâspadâdyâtra siddhâsiddhâspade pare ||

[XII.1. vastûtprekṣa / svarūpôtprekṣā]

[XII.1.a. uktâspadā vastûtprekṣā]
dhūma-stomaṃ tamaḥ śaṅke kokī-viraha-śuṣmaṇām |

[XII.1.b. anuktâspadā vastûtprekṣā]
limpatîva tamo’ṅgāni varṣatîvâñjanaṃ nabhaḥ ||

[XII.2. hetûtprekṣā]

[XII.2.a. siddhâspadā hetûtprekṣā]
raktau tavâṅghrī mṛdulau bhuvi vikṣepaṇād dhruvam |

[XII.2.b. asiddhâspadā hetûtprekṣā]
tvan-mukhâbhêcchayā nūnaṃ padmair vairāyate śaśī ||

[XII.3. phalôtprekṣā]

[XII.3.a. siddhâspadā phalôtprekṣā]
madhyaḥ kiṃ kucayor dhṛtyai baddhaḥ kanaka-dāmabhiḥ |

[XII.3.b. asiddhâspadā phalôtprekṣā]
prāyo ’ñjaṃ tvat-padenaîkyaṃ prāptuṃ toye tapasyati ||

Why pearls, and why strung at random?

In his translation of the famous "Turk of Shirazghazal of Hafez into florid English, Sir William Jones, the philologist and Sanskrit scholar and polyglot extraordinaire, transformed the following couplet:

غزل گفتی و در سفتی بیا و خوش بخوان حافظ

که بر نظم تو افشاند فلک عقد ثریا را


into:

Go boldly forth, my simple lay,
Whose accents flow with artless ease,
Like orient pearls at random strung.

The "translation" is terribly inaccurate, but worse, the phrase is a gross misrepresentation of the highly structured organization of Persian poetry. Regardless, I picked it as the name of my blog for a number of reasons: 
1) I don't expect the ordering of my posts to follow any rhyme or reason
2) Since "at random strung" is a rather meaningless phrase, I decided to go with the longer but more pompous "pearls at random strung". I rest assured that my readers are unlikely to deduce from this an effort on my part to arrogate some of Hafez's peerless brilliance!

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Cambridge, Massachusetts, United States
What is this life if, full of care,
We have no time to stand and stare.
—W.H. Davies, “Leisure”