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therefore, the Alamkāras should not be pressed too far, and if pressed, they should culminate in the promotion of Rasa, 160 in neglecting this golden advice, the poet degenerates into follies. Finally, Hemachandra has differentiated Alamkāras from the Guņas on the ground that while the former are like ornaments with which the body is decked and which, for that reason, decorate the soul indirectly, the latter are intrinsic and inherent to the emotional context of a poem. None the less, these poetic embellishments are as much a part of the poetic medium as any other element in poetry. Aesthetic Considerations
This is so far as the General nature of the Alamkāras is. concerned. But it is absolutely necessary to know what the poetic and aesthetic considerations are that underlie the conception and employment of poetic adornments before a theorist deals with the individual figures of speech. Dr. K. Krishnamurty observes : "In the first place, it is never possible to appreciate the definitions of particular figures in the absence of a general notion of Alamkāras. Secondly, it is not at all possible to exhaust all the individual figures in any scheme of rhetoric, since they are innumerable. Just as the modes of human speech are infinite, the figures of speech in poetry too are infinite, based as they are on human speech."161 The Distinction between sabdālaṁkāra and Arthālamkāra
The external framework of poetry consists of Word and Sense, often called Kāvyasarira on the analogy of human body, and Alamkāras or poetic figures make this body poetic charming by certain expressive devices. And without stating directly, Bhāmaha implies his acceptance of the figures of word and sense i.e., Śabdalamkāra and Arthālamkāra in 'Sabdābhidheyālamkārabhedād' (1. 15) i.e., we accept the distinction of Śabdālamkāra and Arthālamkāra (though others hesitate to do so). Dandin also agrees with this view by saying (1.10) 'Śariram tāvadişțārthavyavaccinnā padāvali'; for here he emphasizes
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