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so as to heighten the sentiment. This shows that the poet is intent on the delineation of the sentiment only.
It may be noted that Tatparatvena means Rasaparatvena and it means that the Alaskāra is never an end in itself, that is to say, it is never permanent but is an accessory to the sentiment. The Dhvanyāloka quotes a verse with the figure Paryāyokta in a dominating position.
The next rule regarding the obstructive nature (Bādhakatva) of an Alamkāra is illustrated in the well known verse from Sriharşa's play "The Ratnavali" (1. 16). This verse describes the boisterous dance of a damsel during the love festival and the poet intends to suggest the sentiment of love, but the figure Utprekşā with its auxiliary figure Arthaślesa completely hinders the progress of the sentiment; for, the poet uses the word Pidayeva to produce Utprekşā. This Utprekşā is supported by a second figure called Arthaślesa (double entendré) operating in the words Ākulai, Krandatah, Vyastah and Madhyabhangah so as first to convey the violent nature of the dance and then
y the second sense of bewilderment, crying, distortion, merciless striking and breaking of the waist. Thus the poet has ingeniously worked out these two figures to describe the dance-scene vividly and picturesquely as also to suggest the predominant sentiment of Sțngāra but the two figures mentioned just now create an atmosphere of pathos which is detrimental to the sentiment of love. Commenting on the verse, Hemachandra states that the figure Utprekşā in Pidayeva becomes predominant here and together with its auxiliary figure Arthaślesa gives rise to the determinants and ensuants of the pathetic sentiment and consequently becomes detrimental to the main Rasa.
As for the third caution of Hemachandra, contained in the Sūtra (14) under reference, it states that the figure should not be employed without the poetic purpose. Here, we should remember that these three rules or conditions of the employment of an alamkāra, flow, from the expression Tatparatvena Rasopakariņaḥ (Alamkārāḥ) explained in the gloss, this
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