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(or inauspiciousness) and vulgarity, are simply the reverse of the defects Śruti-kaşta and Grāmyatva. Dr. S. K. Dey1 27 remarks:
"These consideration simplify the classification of the Guņas, and put a limit to their useless multiplication or differentiation (witness, e.g., Bhoja's elaborate scheme of 24 Guņas). Mammața, therefore, thinks that the distinction between Sabda-guna and Artha-guņa is meaningless, for the latter need not be separately considered. The mental activity involved in the enjoyment of Rasa is made to justify only three (and not ten) Guņas which are thus brought into effective relation with the principal sentiment of a composition. Thus, the Ojas is supposed to cause a brilliant expansion (Vistāra) of the mind and resides in the moods of heroism, horror and fury; the Prasāda, proper to all the moods, is taken as the cause of a quick apprehension of the sense, extending over the mind at once (Vyāpti or Vikāsa), like a stream of water over a cloth, or like fire among dry fuel (cf. Bharata VII. 7); while Madhurya, residing normally in the erotic mood of lovein-union, but also appropriate to and residing successively in degrees in pathos, love-in-separation and calm, is regarded as causing a softening or melting of the heart (Druti). The three conditions of the mind, viz., expanding, pervading and melting, which accompany the poetic sentiments are thus made the basis of the three Guņas."1 2 8 Hemachandra's Theoretical Affiliations
In view of Hemachandra's thoretical affiliation with the Dhvani-theorists, whose scheme of poetics he adopts and follows scrupulously, it is natural for him to accept the three comprehensive excellences of poetry, viz., Madhurya, Ojas and Prasada, as postulated, defined and explained by Ānandavardhana and Mammata. 1 29
In his well-known study of Bhoja's śțngāraprakāša, Dr. V. Raghavan observes : "On Guņas, Hemachandra is a follower of Anandavardhana and he draws upon Mammața and probably from Rajasekhara, as we have suggested above. 1 30 He
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