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other; it has no bearing on the rhinoceros image. (2) About half of the verses are constructed with adjectival phrases (including participles, gerunds combined with adjectives, and adjectives plus hutvā/bhavitvcī), where one may have to infer, from the analogy of the Dhp verses, that the rhinoceros image relates only to the verb care (and not, for example, to saccavādi eko care in Pa. 25, Ga. 10); or where one may gather, from the verse as a whole, that the rhinoceros is depicted as a ferocious and a peace-loving creature, equally comparable with the lion and the deer.
(3) Haif a dozen verses, including two that provide the text with a framework (Pa. 1 and 41; Ga. 1 and 39), contrive to relate the image clearly to care alone by avoiding any syntactic relationship between it and the first three pādas. Despite Norman, The group of discourses, 1992, 6, an elephant verse Pa. 19, Ga. 32 will belong here (since it has the same construction as the lion verse Pa. 38, Ga. 22): ‘as an elephant (wanders) leaving the herds ... one should wander in the forest; one should go one's way alone like the rhinoceros'.
Salomon rightly urges the rendering 'Rhinoceros' for 'Khargavişāna', in preference to “Rhinoceros Horn', so that the wording of the refrain eko care Khaggavisāņa kappo may basically convey a recommendation to go one's way unconcerned after the manner of the grazing rhinoceros. He is willing to concede a fundamentally punning intent,' although this would obscure both the image of the solitary grazing rhinoceros and (if it occurs at all outside the imagination of later compilers and commentators) that of the uniqueness of the Indian rhinoceros's horn. .
The rhetorical figure based on the ambiguity of the verb car-"to go one's way' and 'to graze' is clear; and, wrong though the Niddesa's explanation may be, there was no need to make 3. 'I prefer to solve, or perhaps avoid, the problem by declaring that ... the ambiguity is perhaps an intentional and creative one.' (p. 13).
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