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expression by using Tat to suggest togetherness of word and sense, since Tat refers to Kavya in the singular number. Hence Sabdarthau means 'word and sense' together constitute poetry, for both the word and the sense contribute to the enjoyment of poetry. But Sabda is mentioned first because it is the abode of Artha. Thus "poetry" according to Hemachandra "is constituted by word and sense, which are (a) free from blemishes (b) possessed of qualities and (c) which have, as a rule, figures of speech also." Our author believes, with Mammata, that poetry is rarely without figures of speech (of 'Sarvtra salankarau' of Mammaṭa with 'Salankarau' of Hemachandra) but a poem, even if it is without any figure of speech, cannot be denied recognition as a poem, for that reason. It is, thus, quite clear that poetry is both word and sense together with excellences or poetic qualities and without blemishes or flaws of any kind, generally having adornments but at times without these last.
Now so far as excellences are concerned, we know that they are attributes of a sentiment (or poetic flavour or the emotive content or the soul of the poem) in which they directly reside, still, since they are suggested by words and sense, they are only metaphorically said to be the attributes of the words and the senses.
Traditionally all good poems are expected to be free from blemishes. Hemachandra's definition, therefore, begins by stating that a poem should be free from poetic blemishes or faults In this respect, Hemachandra is in good company, for Mammata and others also emphasize that poetry should be faultless. Thus in all three respects, viz., in respect of Guṇa, Dosa and Alaṁkāra, Hemachandra's definition toes the line of Mammata (K. P. 1.4)
Hemachandra's definition of poetry, like Mammaṭa's, in stating that (a) word and Sense constitute poetry, (b) they must be free from faults or blemishes, (c) they must be marked by excellences, and (d) in rare cases, they can be devoid of figures,
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