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such as Hasya, Adbhuta and others that are helpful to this Sambhogaśṛngāra. But, Madhurya is seen in an intense form in the Santa, Karuna and Vipralambhaśṛngāra (IV. 3). Why? Because it causes intense melting in these last three Rasas. The characteristic conditions of Madhurya or the suggestors of it are mentioned in the next Sūtra (IV. 4).
1.
2.
3. Short forms of Ra and Na or R and Na with short vowels may be used.
As far as possible, compounds should not come in (Asamāsaḥ).
On the whole, the style should be delicate or soft (Mṛduracanã ca).
4.
In Madhurya, letters with the nasals belonging to their respective classes should come. In other words, consonants of the five classes (i.e., from Ka to Ma) should come.
But no letters of the Ta class should come in (zaf: ).
5.
'Incidentally, Hemachandra refers to Bhamaha's definition of Madhurya (B.K.A. II. 3) wherein Bhamaha mentions Śravyatva or sound-harmony as the requisite characteristic of Madhurya. Hemachandra, however, controverts Bhamaha's view by remarking that sound-harmony is not a differentia of Madhurya as it is common to Ojas and Prasada. 136 Only causing the heart to melt (Ardrata) is the hall-mark of Madhurya which differentiates it from the other Gunas 137 (Viveka, p. 289).
Again, referring to the use of the term 'Srngara' in the second Sūtra (IV. 2) where he defines Madhurya, the Viveka clarifies that although Śṛngara means both Sambhoga and Vipralambha types, yet, since Vipralambha is separately mentioned later on, the term Śrngara is used here in the narrower sense of love-in-union, on the analogy of Gobalivarda or the cow and the ox (Viveka p. 289).
Further, in regard to the use of the words Hasyadbhutadayo rasa angani, the Viveka explains that though it is true that Ojas is there to cause Vikāsa or expansion of the heart in
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