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Muktakas, Paryāyabandhas, etc. Further, in cases of Raudra Rasa, when the Samghatana consists of long compounds, one should 'avoid Vștti's such as Paruşā and Grāmya. But in Parikathā, no holds are barred. In the Khandakathā and Sakalakathā types of compositions (well-known in Praksta), owing to plenty of Kulakas, there is no harm in using long compounds. As for proper meters, Rasa is the criterion of propriety. In a Sargabandha composition, where Rasa dominates, the standard of propriety is Rasa. Otherwise, chaos. Between the two Mārgas (or styles ?), those who compose Mahākavyas, should be intent on Rasa at all times. Hemachandra's Refutation of the Older Theories of Guņa
While introducing his concept of the threefold Guna in the body of the text of the fourth chapter, Hemachandra remarks in the gloss that there are only three Gunas, and there are neither ten Guņas as the older theorists believed nor five Guņas as others think. To justify this rejection of the two older theories - one, holding that there are ten Guņas, and another that there are five Guņas - he provides three logical grounds. Thus, according to Hemachandra, (1) as the definitions are overlapping and various; (2) since the so-called ten Guņas can be included under the three Gunas to be defined here; and, (3) because several of these Guņas have been recognised as absence of blemishes, the Guņas are not ten or five, but only three.
After this brief and businesslike clarification regarding his concept of the number and nature of the Guna in the body of the text, Hemachandra goes on to give the definitions of his three Gunas and their illustrations. However, he takes up the detailed elucidation of this matter-of-fact assertion in the Viveka Commentary and therein devotes nearly fifteen pages (pp. 274-288) to the thread-bare discussion of the tenfold as well as the fivefold classification of the Guņas, only to refute these older theories and set at rest the controversy about the number of Guņas, once and for all.
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