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(5) Samadhi is defined by Bharata (in neither of the two recensions) as transference of characteristics. Dandin defines it as the application of the characteristic of one object to other objects without offending word-usage : e.g. "Kumudāni nimilanti kamalānyunmilanti ca".
But followers of Vāmana term it as a variety of Atiśayokti and lay down that "Rise and Fall (of the line in a verse) is Samadhi" (3.1.13). These correspond to Ojas (Gadhabandhatva) and Prasāda (saithilya) respectively. Vāmana objects to this; for, here there is a mingling of Ojas and Prasāda like the two streams of two rivers. Thus Samadhi is an independent Guna. 1 5 5
Here, too, Dandin follows Vāmana and criticises his Samadhi' as a fluctuation of the high and the low. So Samadhi is application of the characteristics of one to another (K.A. 1.93).
The author of our text says that if this metaphorical Vịtti is called Guņa, what then is wrong with Yogavịtti ?
Vāmana's Arthaguņa Samādhi is Arthadşsti (VKAS 3.2.6). It is explained in the gloss (VKAS 3.2 8-10). in short, Vāmana's Artha Samādhi is no Guņa of Arthasandarbha. It is a Guņa of the poet and his Pratibhā. It goes with the equipment of a poet (VKAS 1.3.16-20). Again, the idea of originality and imitation is also inherent in these Sūtras.
(6.) Madhurya of Bharata is the quality which does not make a sweet thing stale or cloy, however much it may be repeatedly heard. The Vāmaniyas say (VKAS 3.1.20): Madhurya is
prthakpadatvam' or "words standing separate". It consists in freedom from long compounds. Bhāmaha says that writers who favour Madhurya do not compound their words.
Incidentally, Vāmana's followers sarcastically remark that Bharata's definition of Mādhurya amounts to saying that it is like words of the beloved which may be full of lack-lustre expressions.
Here Dandin is represented as saying that the view of Vāmana in regard to Madhurya that "it is words standing
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