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treatment of the topic of Guņas (Ch. IV) is indeed remarkable, for its presentation and style invariably remind us of Rājasekhara's K.M.290 We have endeavoured to study Hemachandra's treatment of Guņas at two levels as fully as possible, and tried to view it in the background of Anandavardhana's conception of and Mammata's treatment of the poetic excellence.
So far as Hemachandra's treatment of six figures of word is concerned, it is shown to be based on the N.S. XVII, KD, Rudrata, SK II, KP (VIII, X) IX, Abh. Vol. II (pp. 385-392) and Devisataka with Kayyata's commentary, whereas the treatment of twentynine figures of sense "is mainly based on the works of Udbhața, Rudrața, Kuntaka, Mammața, and to some extent on the SK and Locana".291 "Although Hemachandra takes his cue from Kuntaka and his reasoning in reducing the number of Arthālaskāras is not always satisfactory nor convincing, the fact remains that his treatment of this topic is, to a good extent, novel, 292 Prof. S. P. Bhattacharya opines that "the Arthalamkāra section .... is the weakest portion in the K.A., as is also the case in the K.P. Hemachandra's efforts to reduce their number-67 in Rudrata's K.A. and 61 in the K.P. but 29 in the K.A. which have been provoked by Kuntaka's attitude in the V.J., towards particular Alamkāras -- are at the root of this, which is something unusual in him. Besides Udbhata and Rudrata (and his commentator Namisādhu), the acknowledged authorities on the subject in the old school, he has requisitioned the help of the V.J. and very likely the Udbhața-Viveka of Rājānaka Tilaka ...... Hemachandra's apparent half-hearted compliance with the theory of Parivịttisahatvāsahatva. ..... a point discussed and dismissed by Rājānaka Tilaka ..... and the rejection of (the extra Śabdālaskāras and) a few Arthālamkāras sponsored by Bhoja in the S.K. are significant. Of equal, if not greater, importance is his incorporation of Mahimabhatta's cogent observations in relation to Svabhāvokti (V.V. pp. 390-91 :
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