Analysis of Guṇas, Vṛttis and Rīti

[Note: The illustrations for these are found under the sections Rasas and Alaṅkāras. Hence they are not repeated here]

Jīvānandana Nāṭaka of Ānandarāya Makhin, is a combination of simple and intricate expressions with an ornate style beset with embellishments. The style facilitates the playwright to employ the major Guṇas (Mādhurya, Prasāda and Ojas), the four Vṛttis (Kaiśikī, Sāttvati, Ārabhaṭi and Bhārati) and the three Rītis (Vaidarbhī, Pāñcālī and Gauḍī), in this play.

The style of poetry depends on the mode of uniting the long and short syllable, sounding soft or harsh, with different rhythms. They are composed suitably in this play to harmonise the matter and manner of expression and they also nourish the sentiments.

In Jīvānandana Nāṭaka, the poet effectively uses different combinations of Mādhurya or Prasāda guṇas with Kaiśikī Vṛtti and Vaidarbhi and Pāñcāli Rītis in the depiction of rasas like Śṛṅgāra, Karuṇa and Adbhutarasas.

Bharatī Vṛtti is found evenly spread throughout the play bringing out Hāsyarasa in combination with Vaidarbhī effectively and in places of dialogues tinged with Vīra and Adbhuta, it combines with Ojas.

The admixture of Ojas or Kānti with Ārabhaṭī or Sattvati Vṛttis and Gauḍī Rītis are invariably employed in the delineation of Raudra, Bībhatsa, Bhayānaka and Vīrarasas.

The combination of Kaiśiki Vṛtti with Prasāda Guṇa and Vaidarbhi Rīti is found in the depiction of Śāntarasa.