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is suggestion par excellence, since Rasa, Bhāva, etc., do not admit of direct expression at all; and, in fact, ordinary ideas and figures of speech look much more delectable when they are suggested than when they are merely stated or expressed. Because, Suggestion, by its very nature, almost always outshines and outreaches the primary denotation or explicitness. Again, mo good poetry can be devoid of Rasa. Ānandavardhana repeatedly stresses that Rasa is the single most important element in poetry and all the other elements deserve consideration only in so far as they tend to make the process of Rasa-development or delectation of Rasa smooth and easy. It is for this reason that Rasadhvani cannot be conveyed by any other manner except through suggestion. Hemachandra, as a faithful follower of the RasaDhvani theory of Poetry, treats of all the topics of poetics keeping always in view the aesthetic principle of Rasa which is the peak or zenith of the theory of Dhvani.
This Rasa-Dhvani is called a variety of the Asamlakşyakramadhvani, since Rasa is suggested almost simultaneously with the Vācyārth, though some imperceptible sequence occurs between the two. Thus Rasa can be easily distinguished from other types of Dhvani.
This Rasadhvani or Asaṁlaksyakramavyangya proceeds not only from words and sentences (like other types of Dhvani, e.g., Vastudhvani, Alamkāradhvani etc. of Abhidhamula or Laksaņāmūla varieties) but also from letters, modes of arrangement - Sanghațanā, and whole works of poetry - Prabandha (Dhv. Al. II. 2). Hemachandra cites the verse (81), quoted in Dhv. Al. (Under 111. 4) which here, too, serves the same purpose :
"Tatra arthasakti mūlo vyangyo rasaḥ pade yathā utkampini...." etc.
The idea in this verse (30#fiqat etc.) is that a lovely damsel, trembling with fear, was burnt down by the fire, who was
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