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(connetions) show the simultaneity of the two actions of separation of Pururavas from Urvasi and the on-set of the season of rains. For, even one of these two is enough to torment a lover, what to say when both take effect on him ! The two 'Ca's here are deeply suggestive. Besides, the word Ramya in Nirātapatraramyaiḥ also intensifies the Uddipanavibhāva in the verse. In the next verse Prasnigdhah....(87), cited from the Abhijñānaśākuntala of Kālidāsa (1. 13 ) the preposition 'Pra' (in Prasnigdhah) suggests the freshness of the Ingudi fruits and thus shows the refreshing beauty of the hermitage.
In the next few illustrations, Hemachandra shows (a) how a number of Nipātas and Upasargas come to be employed together so as to suggest a subtle sense (of great admiration (V.88), (b) how several Upasargas together become highly suggestive (V.89), (c) how a verb in the past tense suggests the strength of a character (V. 90), (d) how a crude form of a word (Prakrtyañsa) can suggest rich meaning (V.91) and (e) how a single word like già can sggestively convey a charming idea or sentiment.
Interestingly, Hemachandra winds up this topic by observing that he does not consider the suggestiveness of words etc. in the case of Bhāva etc. as very poetic and as such no instances are provided here. As for the suggestiveness of the sentence (Rasātmaka vākya), Hemachandra proposes to illustrate it with charming as well as concrete instances in the next chapter on the Theory of Rasa, For, the suggestion of Rasa, founded on meaning, is clearly evidenced in Literary Works such as Dramas and others. As for letters and styles of compositions, they directly suggest poetic excellences like Mädhurya etc. and thus, through them, they become relevant to Rasa. These elements, therefore, will be dealt with in the fourth chapter on Guņas.
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