Metefar Upchar Ane Dhwani

Here's a comprehensive summary of the provided Jain text, "Metefar Upchar ane Dhwani" by Ramesh S. Betai, in English:

Book Title: Metefar Upchar ane Dhwani (Metaphor: Upchar and Dhwani) Author: Ramesh S. Betai Publisher: Z_Aspect_of_Jainology_Part_2_Pundit_Bechardas_Doshi_012016.pdf Catalog Link: https://jainqq.org/explore/230207/1

This text delves into the concept of "metaphor," which the author, Ramesh S. Betai, prefers to translate into Gujarati as "Upchar" (treatment, application, or recourse) rather than the more commonly used "Rupak" (simile or metaphor). The core argument is that the English concept of "metaphor" is much broader than the traditional Indian understanding of "Rupak."

Key Themes and Arguments:

• Broadening the Concept of Metaphor: Betai argues that the Western concept of "metaphor" encompasses a much wider range of figurative language than just the "Rupak" as understood in Indian poetics (like Mammata's 22 simile-based ornaments). He cites Western critics who see metaphor as a fundamental way of experiencing, thinking, and projecting truth, not merely decorative "embroidery."
• "Upchar" as a More Fitting Gujarati Term: After examining various definitions of "Upama" (simile) and "Rupak" and the underlying principle of similarity (sadrysya), Betai concludes that "Upchar" better captures the essence of metaphor. He draws on Vishwanatha's definition of "Upchar" as the temporary suspension of the perception of difference between two distinct objects due to intense, poet-imagined similarity. This aligns with the idea of metaphor creating a new reality.
• Evolution of the Western Concept of Metaphor: The text traces the understanding of metaphor in Western thought, starting from Aristotle. It acknowledges that the concept has been fluid and evolving. Betai quotes Terence Hawkes on the etymology of "metaphor" from Greek, meaning "to carry over," highlighting the transfer of attributes from one object to another to achieve new meanings.
• Metaphor as More Than Just an Ornament: While initially discussed as a figure of speech (alankar), the essay emphasizes that metaphor transcends mere embellishment. It is presented as a fundamental element of poetic creation and impact. Betai cites critics like Wallace Stevens, who suggests metaphor creates a new reality where the original seems unreal, and I.A. Richards, who sees meaning as something that grows and that ambiguity is a vital consequence of language's power, especially in poetry and religion.
• Metaphor and Dhwani (Suggestion/Implication): A significant portion of the text explores the connection between metaphor and "Dhwani," the Indian concept of suggested or implied meaning. Betai aligns the Western notion of "suggestion" with metaphor. He discusses William Empson's idea that ambiguity is inherent in language and essential for poetic depth. Metaphor, in this context, becomes a stimulant to "Dhwani," allowing the poet to convey more than is directly stated.
• Metaphor's Psychological and Emotional Impact: The author highlights the psychological depth that metaphor can achieve, allowing poets to transmute realities and express complex emotions. He uses examples from Shakespeare's "King Lear" and Kalidasa's "Raghuvansha" and "Shakuntala" to illustrate how metaphors resonate with human emotions and create profound experiences for the reader. Metaphor helps give shape to the poet's intent and makes the poetic experience more intimate and relatable.
• Metaphor as Indispensable and Transformative: The text concludes that metaphor is not merely an optional stylistic device but often the only available means for a poet to express themselves. It is seen as an inherent aspect of language and thought, capable of transforming reality, creating order, and providing integrity to experience. Metaphor allows for the assimilation of the unfamiliar into the familiar, giving form to abstract ideas.
• Comparative Analysis with Indian Poetics: While acknowledging the detailed analysis of metaphor (as "Rupak") within Indian poetics, Betai argues that Western criticism has provided a deeper and more comprehensive understanding of metaphor's broader functions and psychological effects. However, he suggests that Sanskrit literature, with its rich use of "sadrysya" (similarity) and "Upchar," can be re-interpreted through the lens of modern Western metaphorical analysis to reveal new layers of meaning.

In essence, "Metefar Upchar ane Dhwani" advocates for a broader, more profound understanding of metaphor, moving beyond its traditional role as a decorative figure of speech. It positions metaphor as a foundational element of poetic expression, deeply intertwined with meaning, emotion, and the very way we perceive reality, and suggests that its true power lies in its ability to evoke "Dhwani" or suggested meaning.