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[P. 33. A. 1. S. 12.
even without any distinct TM, as coming under the head of poetry; otherwise, a ban shall have to be placed on a bulk of poetical literature-which has distinctly a charm in it but has not necessarily in it any predominant sentiment. This, to us, appears to be a serious objection to the definition of fa ( वाक्यं रसात्मकं काव्यम् ). It is idle to compare all these three definitions and try to accept one of them and reject others, for all agree eventually in suggesting that Poetry (1) as far as possible should be free from faults. (2) must be endowed with excellences (). (3) should have, as a rule, figures of speech. (4) should have, as a rule, some sort of Sentiment.
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Even a poem, with no figure of speech, can be legitimately called poetry. For instance the verse:'शून्यं वासगृहं विलोक्य etc. This verse is from अमरुशतक. Seeing that the bed-chamber had perfect privacy, the new bride slowly rose from her bed, leisurely surveyed the face of her husband who had made a pretext of sleeping, and heartily kissed him; (but) seeing his cheeks thrilling with joy, she hung down her head blushingly. Thereupon her lover kissed her lingeringly.
In the 12th Sutra हेमचन्द्र defines गुण and दोष (excellences and faults). Excellences and faults are those attributes of which are the direct causes of heightening and marring respectively the effect of a
(sentiment). They are, considered as attributes of words and sense only in a secondary sense. ( 39a1 means the secondary sense). The relation of रस on the one hand and ga on the other, is that of a thing and its attributes. That go are the
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