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of sentiment (IX. 79b). While Cheka is defined as the repetition of the several consonants only once, the Vșttyanuprāsa is the repetition of even the one consonant more than once. Interestingly, Hemachandra includes all these sub-types of Mammaţa under his comprehensive Anuprāsa. He believes that there is no strikingness in repeating, one consonant but once. Hence, it follows that the repetition of one letter should be more frequent, but that of a group of letters may be once or more frequent.
Normally, Anuprāsa is devided into Chekānuprāsa, Vșttyanuprāsa and Lāțānuprāsa. While there is a regulation as to the number (two or more) of letters in Chekānuprāsa, there is no Niyama as such in the Vșttyanuprāsa except that it should be favourable to Rasa-development. The Vrttyanuprāsa or Anuprāsa-jāti, which according to Mammața consists of one or several consonants repeated twice or several times, includes under it the three Vșttis or styles called Upanagarika, Puruşā and Komala, In fact, Udbhața explicitly states : "The separate grouping of similar consonants in the three styles of composition (suiting the different Rasas) the poets always call Alliteration or Anuprāsa, 165 This means that one must understand the three Vittis (styles) first; for Anuprāsa, which is inherent in them will be understood easily from them.166
But as Hemachandra has correlated these three styles with the three Guņas in chapter four he omits this topic here altogether, while Mammața gives a detailed treatment of these three Výttis along with the figure Allitration. Mammața's effort is to reorganize the different concepts of poetics so as to bring them in relation to Rasa. Hence he stresses that Vrtis mean the function of the particular letters which help the suggestion of Rasa. Hemachandra, too, relates them to Rasa through the three Guņas in his own way - of course in confirmity with the teachings of Ānandavardhana. 167
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