Just a place to jot down my musings.

Saturday, October 20, 2012

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 ||



Hyperbole


[XIII.1.a Hyperbole of metaphor]
Hyperbole of metaphor occurs when the subject of comparison is entirely subsumed into the yardstick, as in:
“Look! Sharp arrows are being fired from that pair of blue lotuses.” [Here the viṣaya, the eyes and the glances emerging from them, are entirely subsumed into their respective viṣayins, the blue lotuses and the sharp arrows.]

[XIII.1.b Hyperbole of concealment]
Hyperbole of concealment, which is a subtype of hyperbole of metaphor, occurs when the subject is subsumed into the yardstick by concealing its essential nature; consider:
“In your sweet words, o King, is ambrosia; fools look for it in the moon.”

[XIII.2. Hyperbole through differentiation]
Hyperbole through differentiation occurs when the same subject is described as being sui generis:
“The king’s profundity is something else altogether; his courage is something else altogether.”

[XIII.3. Hyperbole of relation]
Hyperbole of relation is the imagining of a connection when there is in fact none:
“The city’s skyscrapers scrape the lunar sphere.”

[XIII.4. Hyperbole of non-relation]
Hyperbole of non-relation is the assertion of the lack of a connection when there is in fact one:
“With you as boon-bestower, o King, we care not a whit for the [wish-granting] trees of heaven.”


[XIII.5. Hyperbole of non-sequentiality]
Hyperbole of non-sequentiality is the assertion of the simultaneity of cause and effect:
“O king: your arrows and your enemies embrace bowstring and earth simultaneously.” [The verse relies on the ambiguity of the word jyā, which means both “bowstring” and “earth”.]

[XIII.6. Hyperbole of impermanence]
Hyperbole of impermanence is the assertion of an effect in the absence of its real cause:
“All he said was ‘I will go’; her ring became a bangle.”

[XIII.7. Hyperbole of excess]
Hyperbole of excess is the inversion of the sequence of cause and effect:

“First went her anger; then did her lover appease her.”

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