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SAHṚDAYALOKA
We will 'go to examine how this is borne out in the works of Dandin, Vāmana, Udbhata and Rudrata in the following pages.
Dandin Dandin in his Kāvyādarśa (K.D.) defines 'madhura guna' at I. 51, 52 as a statement (= vāci) which is gifted with rasa or aesthetic rapture, and also when rasa is experienced with reference to the object or vastu described (= vastuni). Daṇḍin says that such a composition, padāsattiḥ, has words that look similar when heard, and is also capable of conveying rasa.
Dandin I. 51, 52 read as -
"madhuram rasavad, vāci vasturi api rasaḥ sthitaḥ, yena madyanti dhimantaḥ madhuna iva madhuvratāḥ."
"yaya kayācit śrutya yat samānam anubhūyate tad-rūpā hi padāsattiḥ sánuprāsā rasāvahā."
The illustration viz. I. 53,
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"eṣa rājā yadā lakṣmīm prāptavān brāhmaṇa-priyaḥ, tada-prabhṛti dharmasya
lokésmin utsavo'bhavat."
The illustration nourishes the emotion with reference to a religious king. Thus madhurya has a lot of implicit sense in it..
In I. 62, Danḍin proceeds to explain that though all alamkāras make for rasa in sense, it is a-grāmyatā i.e. absence of vulgarity, which carries the burden to a greater extent. This a-grāmyata is virtually artha-gata-mādhurya. Daṇḍin observes: (I. 62) :
"kāmam sarvópy alamkāro rasam arthe niṣiñcati,
tatha'pi agrāmyatā eva enam bhāram vahati bhūyasā."
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