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Now followers of Vamana say that the true nature of Gunas consists in Racanã-rūpatā (poetic 'form' or style or diction of a composition). Hence Śleṣa is Masṛṇatva (Viveka, p. 278). It is explained as : "Where several words appear as though they are one" (VKAS 3.1.11). The first verse of the Kumarasambhavam (1.1) is a fit illustration of this Ślesa (409). Incidentally, Vamana's Arthaśleṣa (Ghatana Śleṣaḥ) is not mentioned here. This Ghaṭanā is Krama, Kautilya, Anulbaṇatva and Upapattiyoga. Krama is orderly description, Kautilya occurs in Catus, Vakrokti's, etc. (love-expressions), Anulbaṇatva has affinity with Dandin's Kanti and Saukumārya of Artha or Lokasima-anatikramaṇa, and Upapatti is explained as 'poetic devices', 154
But Daṇḍin intercedes to say that in Ślesa, the letters are not loose (Asithilam 'sliṣṭam') and the letters are not of smallbreath-value (Alpapraṇa). The illustrative verse has a
compact style.
Therefore, the author of the text says: "This is a kind of Ojas only. Or it is an instance of a Gauda text incognito; so it should be disregarded. For, the Gauḍas find looseness agreeable (K.Ā. I. 43-44). Anuprasadhiya Gauḍaistadiṣṭam bandhagauravāt. So there is contradiction here. (Here Dandin follows Vamana's views.)
As for Ghaṭanaśleṣa, the verse 'Dṛṣṭvaikā sanasamsthite etc.', from Amru, illustrates it.
But our author dismisses the Arthaśleṣa altogether by saying that this verse is nothing but a strikingness born of plot-construction, not a Guna. For, Ghaṭana by definition is "Aghaṭamānasyeva väkyärthasya buddhicāturyena ghatanam iti" a clever execution of an improbable idea indeed.
(4) Sama is a Guna that involves a principle of Aucitya in the use of Alamkaras and Gunas themselves. They must mutually beautify each other and suit each other. It is a very comprehensive Guna. This version is based on the verse "Anyonyasadṛśam yatra tatha hyanonyabhuṣaṇam / Alaṁkārā
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