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P. 171. A. 3. S. 3.]
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, the author betrays a strange fancy for a description of the utterely useless things such as a forest, a city, kings etc.
Even in हर्षचरित, बाण, the author, introduces the history of his own family without any propriety and thus renders useless the big introductory portion of his book. Even the author of fag, has not escaped from this fault. In his poem, the chief sentiment is. The development of R with all its attendants such as water-sports, forest-sports etc., is therefore, thoroughly out of place in this poem. The poet, however, has devoted cantos aftes cantos to this description. All this militates against the development of the chief रस and thus results in the fault of रसप्रातिकूल्य.
On the other hand, the chief sentiment must be developed to the fullest extent. If there is a break in its development it leads to a fault. Continuity of the development of a is the essence of poetic beauty. For instance, in a (can this work be the same as स्वप्नवासदत्ता of भास ? ) the love for वासवदत्ता is the chief sentiment. This has heen, most properly, maintained unbroken by the author throughout the six acts.
Sometimes some authors indulge in developing useless things and setting aside the chief thing. Thus in, the king appreciates the description of spring as made by the bards and totally disregards its description made by the heroine as well as himself.
Similarly, as regards the characters: if they are human, they ought to be treated as human, if supernatural or divine, as supernatural or divine. If the treatment of these characters is done in a contrary manner, it offends against the development of a . A
i c
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