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should be separated from that another by (inserting between the two) a third Rasa which is compatible with both. (4) A Rasa (is not faulty) which, though, conflicting (i) is recalled; nor (ii) which is intended to serve the purpose of comparison; nor (iii) are those two Rasas faulty as regards each other which are subordinate to a third principal sentiment.
The above aspects of Rasadoṣas are explaind by Mammata in a thorough manner with the help of illustrations.
Hemachandraf ollows Mammata107 in many particulars not only in regard to the blemishes of the Rasas but in respect of the other Dosas as well.
The Rasadoṣas
So far as the Rasadosas are concerned, Hemachandra first deals with the expression of a Rasa by its own term or name. While in the Sutra (III.1) he states that, barring sometimes the transitory feelings, the mention by its name of the predominant sentiment in a poem constitutes a poetic blemish; however, the mention in words of the transitory mental states is not a fault at times. By way of illustration, he quotes a verse from the Sṛngaratilake of Rudrabhaṭṭa, a work on Rasa. In this verse (183), all the sentiments are mentioned by their own names and this mention obviously mars the effect of the Rasas. The idea in the verse is that "Lord Sankara manifested all the Rasas in himself by means of various things". Here, the names of Śṛngāra, Karuṇa, Vira, Bibhatsa, Bhayanaka, Adbhuta, Raudra, Hasya and Santa - Sarva Rasas, i.e., all the nine Rasas, figure.
The next verse (184) illustrates the mention of the Sthayibhāva Utsäha, which is a poetic blemish.
Hemachandra has said in the gloss that it is a poetic blemish to mention a Rasa, a Sthayin, or a Vyabhicārin, by its own term. However, there is no fault if sometimes a Sancaribhāva is mentioned by its own name. He cites a verse (185) as an example of the mention by name of the
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