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that rival Rasa is easily checked (Bādhya) and is weak, it is not only not a poetic blemish but, on the contrary, it adds to the beauty of the sentiment in hand, in the verse (189), King Pururavas experiences diverse feelings on seeing Urvasi. But all these apparently contradictory feelings go to strengthen the feeling of love in his heart, and as such these feelings enhance the beauty of the sentiment of love.
The next verse (189) contains, in the first half, Śrngārarasa mainfestly, but the chief sentiment is sānta and the Sțngārarasa is subordinate to it; hence it does not mar the impact of śānta; on the contrary, it enhances its effect.
In this context, Anandavardhana, the author of the Dhvanyāloka is quoted (1/1.30) to the effect that a slight apprearance of a rival Rasa creats a beautiful atmosphere and attracts the listless connoisseurse. Anandavardhana also shows how to resolve the opposition between two Rasa. (Dhv. Al. III. 20, 21, 22, 23 etc. Vide 'The' Dhvanyaloka and its ctritics', 170-71).
ii. Another method of avoiding the occurrence of the Blemish of the admission of a contradictory Rasa is that the two Rasas should have different subjects; thus, when the Heroic Sentiment is developed with reference to the hero and the Bhayānaka in connection with the villain, no blemish occurs.
ii. The third method of resolving the blemish of the rivalry of the Rasas is to describe these rival Rasas separately by making a third allied Rasa intervene between them so as to remove Triath. Hemachandra points out that when developed with the same substratum simulataneously the sentiments of Santa and śrngāra, being mutually antagonistic, produce a blemish; but, when a third friendiy Rasa intervenes, no blemish results. For example, in the first act of Nāgañanda, the atmosphere is of śāntarasa, but, by introducing the Adbhutarasa - a friendly Rasa - between TFT and TETT, the author has successfully developed the śrngārarasa of Jimūtavāhan with reference to Malayavati,
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