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words on the dead body of her husband, there is the pathetic emotion also and, between the two sentiments, evidently the sentiment of love is subordinated to that of Pathos. Thus, the verse is an apt illustration of the Guṇibhūtavyangya type of Kavya.
In connection with his comments in the gloss that 'here the sentiment of Eros is subordinated to that of Pathos' ( अत्र शृंड़गारः करुणस्याङ्गम् ), Hemachandra adds in the Viveka as to how
theh and of Bhuriśravas which caused his wife to remember his love-exploits becomes a Vibhava of the Pathetic sentiment and ultimately renders the Erotic sentiment to be subordinate to the Pathetic sentiment.
Hemachandra also gives in the Viveka (pp. 153-154) several verses with comments to illustrate how (1) (Vyabhicari) Bhāvas become subordinate to other Bhāvas (Verse 179), (2) Rasābhāsa becomes subordinated to a Bhava (180), (3) Bhāvaprasama 'becomes subservient to Ratibhava connected with a king; and how (4) the rise of the feeling of Trasa (a) (182), (5) the commixture of Avega and Dhṛti (183), and (6) the variegation of the different Bhavas such as Sanka, Asuya, Dhṛti, Smrti, Śrama, Dainya, Vibhodha and Autsukya take place. Finally, Hemachandra observes that these are also termed Alamkaras such as Rasavad etc. 104 Although Bhāvodaya, Bhāvasandhi and Bhavaśabalata are not called by the name of Alamkara, yet someone may well call them as such; so it is stated that they can be called Rasavad figures.
Now, at times, it so happens that the suggested sense is not easy to grasp; in such a case, the suggested sense has no beauty and does not appear prominently; hence it is a case of the Middle type of Kavya, as e.g., verse 176 in Prakrit. Sometimes, however, the suggested sense is all too clear, i.e., it is as good as the expressed sense (here it is called Atisphuta) and is there only in name. In such a poem, there is no suggestion at all. For example, the verse (177)
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