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And So, it is a kind of Madhurya. For Vamana also agrees with Bharata in saying that Saukumārya (a Sabdaguṇa) is merely agreeable words or diction (Sukhaśabdameva).
Vamana's Arthaguna Saukumārya is absence of Parusya (VKAS 3.2.11). It is a mark of refinement in expression. Refined speakers avoid blunt language but use polished expressions to convey the same sense.
But our author, who altogether avoids quoting Danḍin here, attacks Vamana's definition and example of Artha-saukumārya, and brands it as the absence of the Amangala variety of the Aślilatvadoṣa which consists of avoiding blunt and inauspicious expressions. So, in the verse (431), instead of saying 'was killed' or 'murdered', the poet uses a refined expression "Nito'tyantapravasatām". He adds: "If your Artha-saukumārya is a special expression, let it be included under the figure Paryayokta" (Vide Kavyaprakāśa X. 115).
(8) The Udara Guna is defined by Bharata almost in terms of the later Udattālaṁkāra. The definition seems to be more of Artha than of Sabda. Thus, in the version adopted by Hemachandra, Udara is the quality consisting in the particular meanings, in varied forms, conveyed beautifully (Natyaśästra GOS XVI. 110). In another recension, it is exaltedness where there are super-human sentiments (Divyabhava), varied feelings and erotic and marvellous moods (Sṛngāra and Adbhuta Rasas).
The followers of Vamana point out that the Guna of Udara or Udatta is not different from Ullekha.
So, Udarată is Vikaṭatva wherein words, as though, dance. It is a Sabda Guna (VKAS 3.1.22). Here Vamana infuses poetry into his conception of Gunas - here, as elsewhere, he speaks of the dance of words, the brilliance of words, the rise and fall of verse, all these are really poetic notions of Guna. But our author flatly refuses to accommodate this Guna in his new scheme, and remarks that this is not a Guna, but it is
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