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.e., Those (elements) that help occasionally Rasa, where it exists, through its parts, are the figures (such as) alliteration, simile and others like the necklace etc.
In the gloss that follows, Mammata remarks: The Alamkaras help the principal Rasa when it exists through exaltation of the parts in the form of expressive words and their meanings. But when Rasa is not present, these Alaṁkāras tend to become merely a fanciful expression. And, in some cases, the Alamkäras do not help the Rasa which exists.
This is the difference between the poetic excellences or Gunas and the poetic embellishments or Alamkaras, points out Mammata. And adds that the contention of Udbhața (in Bhāmahavivarana) to the effect that, though in empirical terms the qualities such as bravery etc. subsist by inherence () but ornaments such as necklace etc. subsist by conjunction (), yet in poetry, excellences like Ojas (floridity) etc. and embellishments like Anuprāsa etc. (Alliteration) both subsist by inherence (a) only; and so any distinction between Guṇa and Alaṁkāra is blind traditionalism of the ignorant people, is wrong. 123
Again, what Vamana says "Excellences are attributes which produce the poetic beauty, but the embellishments heighten it" - is equally untenable. For, the question is: Is poetry regarded as such due to the presence of all the excellences or due to a few of them? If due to (the presence of) all, then, how the Gauḍi and the Pañcali dictions or styles, which do not possess all the excellences, constitute the soul of Poetry? (For, Vamana defines Riti to be the soul of Poetry.) If due to a few, then examples like "ece: etc." will be called poetry when the excellences Ojas etc. are
present. But, in examples like स्वर्गप्राप्तिरनेनैव देहेन etc. ",
Viseṣokti and Vyatireka are responsible for the appellation of poetry in the absence of (your, i.e., Vamana's) excellences. For, this last verse, though bereft of letters suggestive of
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