Chapter
1 Int| poetry are used to give "savor" (rasa) to the message.
2 Int| discussion to the notion of savor and how it could be conveyed.
3 Int| from the emotion. Thus, the savor of grief is not grief, but
4 Int| grief, but compassion. The savor of energy is not energy
5 Int| admiration for heroism. The savor of love is not love but
6 Int| experience of sensitivity. The savor of astonishment is a sense
7 Int| decidedly unpleasant, while the savor of the emotion was to be
8 Int| reader/listener to taste, one savor was supposed to dominate.
9 Int| practice of announcing the savor they were trying to produce,
10 Int| passing that their particular savor was the highest of all.
11 Int| states explicitly that the savor of Dhamma is the highest
12 Int| of Dhamma is the highest savor, which indicates that that
13 Int| indicates that that is the basic savor of the work. Classic aesthetic
14 Int| aesthetic theory lists the savor of Dhamma, or justice, as
15 Int| varieties of the heroic savor (the other two deal with
16 Int| also holds that the heroic savor should, especially at the
17 Int| marvelous for the reader to savor. This savor is then what
18 Int| the reader to savor. This savor is then what inspires the
19 Int| features that can produce savor. Examples from these lists
20 Int| more suited to a particular savor than others: strength and
21 Int| traditions of kavya -- concerning savor, rhetoric, structure, and
22 Int| However, the question of savor is related to the other
23 Int| his/her actions if their savor is to be sweet [158, 363].
24 Int| the heroic and marvelous savor of the verses plays a role
25 Int| Dhamma bears its deepest savor, surpassing all others.
26 Int| also tried to convey its savor. I'm operating on the classic
27 Int| the other. To convey the savor of the work, I have aimed
28 Int| conforms with the heroic savor of the original. The freedom
29 Int| you will someday taste the savor, not just of the words,
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