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Rasa. These Alamkāras, as a rule, add charm to the Rasa; but, sometimes they are not favourably disposed for the purpose of lending charm to the Rasa in a poem. However, when there is no Rasa worth mentioning in a composition, these Alamkāras merely end up rendering the words and sense. picturesque and striking. The gloss, thus provides guidelines in regard to determining the role and worth of the Alamkāra in relation to the Rasa. In addition to this, the concept of Alaṁkära is carefully distinguished from that of Guņa. Thus, while excellences or Gunas are the attributes of a Rasa, the figures are the embellishments of words and senses. In this way, the relations of Guņa, Dosa and Alamkāra with the body of a Kāvya as well as the soul thereof have been defined and determined following the Rasadhvani theory. In general, excellences, figures, styles of comosition etc. are described as the causes of the heightening of Rasa. Gunas are said to be related to words and sense, only in a metaphorical sense, since the word Guņa refers to words and meanings which develop excellence. Hence what is meant is that words and senses that reveal excellences, heighten Rasa. Even Mammața defines the qualities or Guņas as attributes of the Rasa like valour etc. which are attributes of the soul of a person. They are Nitya or permanent and always heighten the Rasa. Just as bravery etc. are attributes of the self, not of the figure or person of a man, so also sweetness etc. are the qualities of a Rasa and not that of the letters. Hemachandra, like Mammata, clearly states that the excellences such as Mädhurya etc, are the properties of Rasa alone and not of anything else, like words and senses. As for Dosas, we know that they are Anitya or impermanent in the Rasa-dhvani theory. Thus the position of the views of the Dhvani theorists and their followers including Hemachandra, can be briefly summarised as follows: 177 काव्यस्य शरीरम् , आत्मा रसः, गुणाः शौर्यादिवत् , दोषाः काणत्वादिवत् , अलंकाराः ETECTT 117
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