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which abounds in long compounds and is full of compact words. But, since Danḍin brackets Ojas exclusively with the Gaudiya Riti or Marga (Dandin has two Margas: Vaidarbha and Gauḍa), naturally Vamana, the chief protagonists of the Guna-cum-Riti doctrine, as also Mangala, strongly object. They argue that, as Ojas is accepted by the Riti School to be commonly shared by the three styles (Vaidarbhi, Gaudi and Pancali), it is illogical to relate Ojas to Gaudi only.
They, therefore, propose that Ojas is compactness (of style of composition). In his Kāvyālaṁkāra Sūtras (3. 1. 5.), Vāmana defines Ojas as 'Gaḍhabandhatvamojaḥ' and comments : 'Bandhasya gaḍhatvaṁ yat Ojaḥ.'
The author of the text (Viveka), thereupon, dismisses Vamana's definition of Ojas, and remarks: "Please look for some other cause of Ojas; do not insist on Gaḍhatva; for that in fact is detrimental to Ojas. Hence Gaḍhatva is not Ojas."
Now, since Vamana's ten Gunas are both Sabdagunas and Arthagunas, there are twenty Gunas with the same names (VKAS. 3-1-4 and 3-2-1). So, the author of the text presents Vamana's views (VKAS. 3-2-2) on Ojas as an excellence of sense : 'Ojas is the maturity of expression or genius as regards sense.'
Thus Ojas is Arthaprauḍhi. This Prauḍhi itself is of five kinds (VKAS. 3. 2. 2-3) (1) Padarthe Vakyavacanam (2) Vākyarthe padabhidhā (3) Vyasa (4) Samāsa, and (5) Sabhiprayatva. These five imply (1) The use of a sentence when a word would suffice (e.g. instead of saying 'the moon', the poet says 'the light emanating from the eye of Atri'), (2) The use of a word in place of a sentence (e.g. saying 'she twinkles' instead of 'she is not divine, but a mortal woman'), (3) Amplification of ideas (e.g. relation of Sorrow and Joy instanced in a full verse), (4) Samāsa is shortening contracting the sense of many sentences in a sentence, and (5) Sabhiprāyatva or poetic emphasis (e.g. in Keśapāśe Sukeśyāḥ, there is the emphasis or 'Sabhiprayatva' on 'Sukeśyaḥ').
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