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blue emeralds made more effulgent by the spray of water thrown out through their trunks by the elephants resorting to the other slope for the clouds full of water and watch them longingly. Now, the word Tațāntareșu in the second line is replaced by the two words Mpgākşi sanau (Oh lady with eyes charming like those of a female-deer, on top of that mountain) so as to give rise to an additional simile or Samāsagā upamā which is a well known figure of sense. But so far as the charm of the original verse is concerned, the addition of this simile does not add much to that charm. Criteria of Samavāya and Samyoga
The above examples show unmistakably that while the removal or addition of the figures of speech depends on the poets' sweet will, the Guņas are unalterable. Moreover, it is also clear that while the figures of speech are not intimately and invariably connected with the essential beauty of the verse, the excellences are the attributes of that beauty and are, therefore, intimately and invariably connected with the soul of a poem. This difference between an Alamkāra and a Guna is not due to any blind faith in the tradition, Gaddarikāpravahah, signifying lack of discrimination, but it is based rather on logical and sound reasoning of the theorists who believe in Rasa-dhvani to be the soul of a poem which has the sound and the sense for its body. Hemachandra objects to Vāmana's View on Guņa
After a scathing criticism of Bhattodbhata's traditional as well as out-moded and illogical views on the Guņas and the Ālamkāras, Hemachandra objects to Vāman's views on the variability of the Guņas. He introduces the arguments of Vamana (KASV. 3-1-1 & 2) by stating categorically that the removal or addition of the Guņas in a poem is not at all possible. Vāmana, the advocate of the Riti School, was the earliest theorist to define the terma 'Guna' and 'Riti'. His well known work on Poetics called the Kāvyalamkārasūtravștti
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