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123
(P. 170. A. 3. s. 3.
Thus in FAITHHT (IVth canto ) in the first few verses, the poet has succeeded in creating and developing
EMTA fully. But unfortunately, after a lull, he again tries to inflame it-but the attempt ends in fiasco.
(3) The third fault is 34901 JPTAĦ i. e. introducing a To at an inopportune moment.
Thus in वेणीसंहार ( 2nd act) दुर्योधन, in spite of his deep grief at the death of th and other eminent warriors, indulges in a love-talk with his wife gaat.
(4) The fourth fault is 34810 : i. e. abruptly cutting short a te which is in its full swing.
For instance, in maradt (IVth act ) the king hears the account of विजयवर्मा evidently forgetting रत्नावली.
Another instance is in Helatana. There in the second act, Rama is ready to fight with qua and thus there is a tense atmosphere of ature, but all of a sudden, Rama says: “Let me go to untie my marriage-thread." Thus the after fails miserably.
The 3* i. e. either a subordinate th or description of a thing which is only of a secondary importance, should not be developed or described at full length, otherwise it becomes a fault. For instance, in cautaaa the description of gasita is unnecessarily lengthy. In the same manner when the fag FHIKR is the chief , a poet should not indulge in the description of a sea, a forest and other such things merely to show his mastery over the figures of speech 54, 49% and others. Thus the author of ERata, in course of his description of the seperation of Krishna from FTHAI, unnecessarily introduces the description of the sea and other such things merely to parade his skill in Rhetorics. Similarly, in errat, a grand prose-poem with fagose as the predominant
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