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counter to aesthetic principles. As indicated above, Hemachandra has closely followed Ānandavardhana's Dhvanyāloka (II. 18-19) and has in fact adopted his views in toto with several illustrations. While Hemachandra has finished with this topic here, Anandavardhana adds that if a poet violates this aesthetic discipline, it results invariably in the destruction of the Rasa. Such aesthetic lapses are evident in the poetry of even great poets. But it is improper to pick holes in luminous works. He emphasises that Rasa is the whole and sole essence of poetry and figures like metaphor must be harmoniously employed. The poet should imagine what is hinted at here. 19
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