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influence of Anuprāsa which is slightly non-soft (lşad amassṇaḥ anuprāsaprabhavah). It is but a variety of Ojas.
As for Vāmana's Arthaguna Udaratā, it is defined as "absence of unpolished utterance". It is Daņdin's Agrāmyatā Mādhurya. This is only an absence of Doșa, not a Guņa.
(9) in Arthavyakti, according to Hemachandra's Anuvāda, which follows neither of the two verses of Bharata, the sense or objects appear real though not real or substantial in actual fact.
According to Bharata (N.S.C.S.S. XVII. 105), Arthavyakti is clear Abhinaya of ideas and objects or perspicuity of sense, When Abhinaya is going on, even before the actors' actual Prayoga, the spectator grasps the coming idea by virtue of mental union with the theme. The other verse (NS XV. 106) means explicitness of description of the nature of things as they appear in the world by means of well-known predicates.
But this quality of Arthavyakti (i.e., clarity of Abhinaya) is not different from Prasāda. This view is ascribed to Vāmana and his followers. Hence, where the thing is grasped before the expression, it is Arthavyakti.
But Dandin points out that this is Prasāda only presented in another garb. But Arthavyakti (KĀ, I. 73) is absence of implicitness (i.e., it is explicitness of sense); thus, if the ocean is to be described as red, its cause must be stated. If it is not stated, then there will be Neyatā.
But our author rejects this Arthavyakti as absence of the Doşa of Aneyatā. How can it be a Guņa ? For, if all the Doșas, which are many, are treated as Guņas in reverse, then there will be a hundred Guņas !
Vāmana's Arthaguņa Arthavyakti (VKAS 3.2.13) is the pictorial quality in a word-picture. It is a composite picture painted by a poet, where the different things making the spicture are distinct and clear.
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