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when we compare them with those of Mammata. Mammata thus provides a model to Hemachandra. It is interesting, therefore, to study the relevant portion from the Kavyaprakāśa (VII).
The method adopted by Mammata is to treat the Sabdadoṣas followed by the Arthadoṣas, and finally the Rasadoṣas.
Mammata defines Rasadosas in three successive Kārikās (60, 61 and 62) of the VIIth Chapter of his Kavyaprakāśa. These Rasadoṣas are:
(1) The expression of an (a) Accessory, or (b) a Rasa, or (c) a Sthayibhāva (Permanent mood) by its own name or term;
(2) A far-fetched (a) Consequent, or (b) Determinant; (3) Admission of a conflicting (a) Consequent or (b) Determinant;
(4) A repeated Heightening or Over-elaboration of a Rasa etc.; (5) An unreasonable representation or untimely elaboration; (6) An unreasonable interruption;
(7) An excessive expansion of even a Subordinate Element; (8) Overlooking a Principal Object;
(9) Perversion of Character; and
(10) Celebration of an unrelated object.
These ten, according to Mammata, are the blemishes of a Rasa. However, there are exceptions also. Thus, (1) in Karikā 63, Mammața declares that sometimes an Accessory, even though expressed by its own term, is not faulty; (2) A mention of conflicting Accessory etc. in such a manner that they may be sublated, is an excellence (etc. means Vibhāvas and Anubhavas). (3) (i) A sentiment which is incompatible with another by reason of identity of its subjects, should have those subjects, made different; and (ii) A sentiment which is incompatible with another by reason of 'immediacy of succession'
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