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the reader due to suggestion of such a sense, it is no blemish of Jugupsā in certain Rasas (śānta, for instance) where 'renunciation' is the aim. Similarly, Vriņā is no blemish in Love.
'Asamarthatva' is an interesting blemish. It means partially powerless word or sentence. This represents the principle of Ambiguity in English Literature as a poetic and stylistic device. But, as William Empson warns us (Seven Types of Ambiguity, p. 235) : "An ambiguity .... is not satisfying in itself, nor is it considered a device on its own, a thing to be attempted; it must in each case arise from, and be justified by, the peculiar requirements of the situation." Otherwise ambiguity degenerates into obscurity and dubiety.1 19 But not when it is deliberate and suggestive. And when it results in Vyājastuti, it is a Guņa.
Hemachandra follows a different authority in regard to Asamarthatva which consists in a (1) lack of expressiveness (Mammața's Avācaka); (2) fanciful sense, and (3) doubtfulness or ambiguity and incapacity to convey the intended sense. It pertains to word and sentence. Thus Mammata's Asamartha, Avācaka, Prasiddhiha ta and Sandigdha are included here under Asamartha. Hemachandra adopts verses and comments from Mammața and also takes over passages from Vyaktiviveka in his Viveka. The long passage (V.V. p. 440) by Mahimā explains the Avācyavacanadosa which Hemachandra modifies slightly. This passage deals with verbal and semantic statements in a subtle, analytical way. Mahimabhatta's Conception of Doșas
It may be noted that in the second chapter of Vyaktiviveka, Mahimabhatta first explains Doșa in terms of impropriety and then sub-divides Doşa into Internal (Rasadoşa) and External (Word and Sense faults). He gives a fivefold classification to this external inappropriateness or poetic blemish : Vidheyāvimarsa, Prakramabheda, Kramabheda, Paunaruktya and Vacyāvacana. While the internal blemishes relate directly to Rasa as explained by the Dhvanyaloka, the enternal blemishes
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