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(2) A repeated heightening of the Rasa is a poetic blemish 109 and, as Mammata and following him Hemachandra
says, this blemish is evident in the Kumārasambhava - the too frequent heightening of Pathos in the lament of Rati. It should be noted that this is a fault as regards a minor Rasa, not a principal one; thus the Quietistic Rasa in the Mahābharata is not faulty because it does not produce dissatisfaction even though repeatedly heightened.
(3) An Unreasonable Representation (or Akände Prathā) is instanced in the second act of the Venisaṁhāra, in the representation of Duryodhan's - who, though was a Dhiroddhatanäyaka - dalliance with his wife Bhānumatí, at a time when so many heroes were dying.
(4) An Unreasonable Interruption (or Akāņde chedana) occurs in the fourth act of the Ratnāvali or in the Viracarita, in the speech of Rāma - I am going to take off my bracelet' whereas he and Parasurama were engaged in displaying an ever increasing ardour for fighting.
(5) An over-elaboration of a subbodinate element (or Argasvätivistāra) means over-describing an element which is subsidiary as in the Hayagrivavadha; where the detailed description of the diversion of the demon Hayagrīva throws into shade Lord Vişnu who is the central character of the play.
In the same way, when Love in separation is the chief Rasa, a poet should not indulge in the description of a sea, a forest, etc., merely to show his mastery of the figures of speech such as simile, metaphor, alliteration, etc. For example, the author of Haravijaya, during the description of the Separation of Krsna from Satyabhāmā, introduces an uncalled for description of the ocean etc. just to show off his rhetorical skills So also in the Kādambari, which is a prose-romance with Love in Separation as the prevailing sentiment, the poet displays a great enthusiasm for a description of the irrelevant topics such as a forest, a city, kings, etc. The fault is witnessed
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