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Hasya and Adbhuta, yet since Hasya and Adbhuta are subsidiary to the sentiment of love, only intense Madhurya is experienced in it.
Next, Hemachandra defines Ojas. Ojas or Floridity is an excellence in a poem that inflames the heart of a reader. It is found in the sentiments of Vira, Bibhatsa and Raudra in an ascending order of intensity. Mammata defines Ojas or floridity (K.P. VIII. 69-70) by saying that "Ojas, which causesexpansion of heart through excitability (Diptatva), subsists in the Heroic sentiment. It rises in the Disgustful (Bibhatsa) and the Furious (Raudra) Sentiments in due order."
In the gloss, Hemachandra explains Dipti as Ujjvalatā (brightness) or the Expansion of the heart. He clarifies that the word Kramena (in due order) in the definition of Ojas implies that the intensity of Ojas is found in Bibhatsa more than in the Vira, and still more in Raudra, and also in Adbhuta, the subsidiary Rasa of the three rasas, viz., Vira, Raudra and Bibhatsa. Mammata states in his gloss that Ojas is present in a greater degree in Bibhatsa than in the Vira, and in a still greater degree in the Raudrarasa.
The well-known conditions of Ojas are stated. The example cited to illustrate Ojas is the same in Mammata and Hemachandra (428), and provides an excellent instance of Ojas.
As a counter-illustration of Ojas, Hemachandra cites the verse (429) from the Venisaṁhara (III. 33) wherein "the main Rasa is Raudra, but the style is so tame, being void of compounds and hard words, that the Ojas which was needed to develop this Raudrarasa is entirely marred in its effect."
"Prasada" is the third Guna to be defined and illustrated. It is to be found in all the Rasas for it consists in felicity of expression which attracts the hearts of the readers and makes them understand the poem quite easily. Prasada, therefore, is compared to (1) a fire in dry fuel and (2) to transparent water which pervades a pure piece of cloth; for, like these two things,. Prasada occupies the heart of a reader immediately and makes.
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