Canonical Niksepa

Author(s): Bansidhar Bhatt
Publisher: Bharatiya Vidya Prakashan

Page 84

ANALYSIS
classification beyond the limits of the nikṣepa area (and analogous areas) in order to avoid an isolated treatment of the phenomenon.
We have used, in a number of cases, "e 1 e m en t" as a term. Such "elements" may be very simple (e.g. "do" [= "two"] in a subdivision) or fairly complex (e.g. "kayare kayarehinto appā vā bahuyā vā tulla vă vises'-āhiyā vā?"). Elements may be typical of works (or any self-contained pieces of literary tradition), an example being "tam samāsao" which is typical of Nandi. Apart from this, elements may be connected with certain dialectical developments, the nikṣepa with its various typical parts being a case in point. Ultimately we have to consider elements which are not restricted to any particular area. The question-and-colophon cliché seems to be an instance of this (se ken' atthenam... se ten' atthenam ...). It is found in quite different contexts. Below, elements will be mentioned in connection with styles, patterns, and individual works.
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As a preliminary survey we have isolated outside the nikṣepa area two dialectical "style s": the "Amukha style" and the "Bhangi style". The latter is connected with operations amongst which the so-called caturbhang is best known. The former operates with units such as the "programmes" of our Samukha nikṣepas. In fact both styles, more particularly the Amukha style, exist outside the nikṣepa area and inside it. But on the whole, their involvement in niksepa dialectics is only a fraction of their overall distribution. For the sake of uniformity it might appear preferable to speak also of a "nikṣepa style" (considering mainly the determinants), thus bringing the total of inter related "styles" to three. We nevertheless decided to use the word "style" only in the two cases just mentioned. Apart from "nikṣepa", "Amukha style", and "Bhangi style", there are less wide-spread dialectical developments such as the "paes'-ogadha complex" (Section g) and the "kāla triad" (pp. 62 foll. below and $58).
Most of the elements employed in the Ām uk ha style are known from the nikṣepa programmes:
[Question:] kai, kaiviha, se kim tam, kevaiya.
[Answer:] do (etc.), duviha (etc.), pannatta, tam jahā. [Answer, second plane:] tattha nam je te.
A clear example of the Amukha style (as found outside the nikṣepa area) is Sthana 2.1. 102 (S.1, p. 187):
duvihe damsane (pannatte): sanma-damsane ceva, miccha-damsane ceva. damsane duvihe (pannatte): nisagga-samma-damsane ceva, abhigama-samma-damsane ceva. nisagga-samma-damsane duvihe (pannatte): paḍivai ceva, a-paḍivãi ceva. - micchadamsane duvihe (pannatte), tam jahā: abhiggahiya-miccha-damsane ceva, an-abhiggahiyamiccha-damsane ceva. abhiggahiya-micchā-damsane duvihe (pannatte): sa-pajjavasie ceva, a-pajjavasie ceva. evam an-abhiggahiya-miccha-damsane vi (duvihe pannatte:
samma