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the verse, had the metaphor of the Bahupāśa been worked out fully by depicting the lady as a female hunter and the bed-chamber as a prison, the result would have been a complete destruction of the Sṛngāra Rasa in the verse. Therefore, the gloss briefly approves of this method of not pressing or developing the figure too far, if the charm of the Rasa is to be predominantly maintained. It is because of the strong sense of propriety on the part of the poet of this verse that the figure Rüpaka is cut short so as to allow full play to the sentiment of love. The next verse from Bhasa, on the other hand, suffers in respect of the charm of the sentiment of love, because the poet did not stop at the partial metaphor of Nayanadvära. Here, against the rule of propriety, the author has tried to fully expand the metaphor, that is, he has tried to extend or prolong the metaphor to cover not only the eyes, but also the body (Dehagṛha), the beauty (Svarupatāḍa), etc., and has consequently spoiled the charm of the Rasa.
Now, Hemachandra deals with the last condition regarding the use of figures only to heighten the sentiment. This last caution means that the accessory nature of the Alamkära is not overlooked even while the figure is developed in full so as to heighten the sentiment in a verse. In other words, the general rule is that even when a figure is fully developed, it should remain subservient to the sentiment. It is such a figure of speech which is best suited to the delineation of the sentiment. This ideal, harmonious relation between a fully developed Rasa and a fully developed but subservient Alaṁkāra is instanced in the famous verse cited here, from the Meghadūta of Kalidasa (2.41). In this verse, Hemachandra remarks, the figure Utprekṣā, poetic fancy, consisting in fancying the limbs, glances, cheeks, etc., of his beloved in the creepers etc. on the strength of resemblance, is not merely introduced but very ably and artistically sustained throughout the verse, and still it is made wholly agreeable to the principal sentiment of Vipralambhaśṛngāra. The Viveka Commentary very minutely explains the various words so as to bring out their subtle
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