6.1. Study of the Gunas, Ritis, and Vrittis

VI—GUNAS, RITIS, VRITTIS, ALANKARAS AND THEIR AUCITYA OR PROPRIETY—(A) GUNAS, RITIS, AND VRTTIS—In his definition of 'KAVYA; Dhanapala's royal patron and contemporary poet-critic Paramara Bhojadeva, the author of the SKB, has assigned an equal place to Guna and 498 Alankara along with Rasa. And while dealing with the Dosas of which he requires Kavya to be kept clear, he has a enumerated a special set of them called Aritimat. In the 499 opinion of Dr. P.C.Lahiri, these Aritimat Dosas or poetic samagro'pi parisajanah prasantena vicarayan virasatam samsarasthitah sthasnusu klesayasa bahulesu dvegadayisu brhatsvapi svarga bhogesvabhilasa maslaksyat | 497. T♛(N),p.413 (4ff.) - samjata samvegah 19-41-220: 498. Sarasvati-kanthabharana, I, 2: nirdosa gunavatkavya maladakarairalamkrtam | rasanvitam kurvan kirti priti ca vindati || " 499. cf. Concepts of Riti and Guna in Sanskrit Poetics,pp.148-176. dahiduh iko kavih

820 defects, as the very name indicates, serve to make Riti defective by the prominence given to the opposites (viparyayas) of some standard excellences in a composition. The Gunas, which in Bhoja's treatment, appear to be common to all the Ritis are: Slesa (compactness), Samata (evenness), Saukumarya (softness), Prasada (lucidity), Artha-vyakti (explicitness of sense), Kanti (dignity or agreeability), Ojas (ahundance of compound words), Madhurya (sweetness) and Audarya (elevation). Bhoja gives a derivative definition of the term Riti and takes it to be synonymous with Marga which he describes a as the way or manner of composition which the people of Vi- 500_ darbha and other lands follow. Bhoja enumerates six Ritis, viz., Vaidarbhi, Pancali, Gaudiya, Latiya, Avantika and Magadhi, and these are determined both by the presence or absence of certain standard excellences as in the treatment of the Riti theorists and of compound words as in Rudrata. In the interest of brevity and in order to absolve ourselves from the charge of 'Durjanata' levelled by Dhanapala himself against the critics who give too much importante to 501 the Gunas, we shall keep away from being entangled, and 500. Sarasvati-kanthabharana, II, 27: vaidarbhadikrtah patha kavye marga iti smrtah | ron ‌‌gata viti dhatoh sa vyutparttya ritirucyate || 501. Tilakamanjari, Intro. vs.14: kavya hono gunanvakti 22114 kalada iva durjanah || :

821 perhaps hopelessly lost, in the jungle of twenty-four aun a Sabda-gunas, twenty-four Artha-gunas, and twenty-four Vaisesika-gunas, which in turn are further classified in three categories called Pada-gunas, Vakyagunas and Vakyartha-gunas. Our interest here is to see how Dhanapala has utilized the general poetic excellences (gunas) in relation to various manners of composition (ritis) and the part they play towards the realisation of Rasa. (1) Vaidarbhi : The Vaidarbhi Riti is marked by a few compound words and presence of all the Gunas. Dhanapala has very rarely employed this manner of composition since he was not prepared to sacrifice Ojas (superabundance of compound the words) which is/very essence of forceful Sanskrit prose style. It is utilized generally during the delineation of sentiments like Karuna, Hasya, Santa, and at times, of Raudra also, only to relieve the monotony of other Ritis. And it is a genome good medium for general narration of the story proper. The poetic qualities like Slesa (compactness), Samata (evenness), Prasada (lucidity), Artha-vyakti (explicitness off sense), Kanti (agreeability) and Audarya (elevation) are to be seen in varying proportions in the following instances: (i) In Karuna, e.g., 502 aslisya kanthamamuna mukaharaina hrdi nivistaina | saruva varito me tvadurah parirambhanarambhah || 502. Tilakamanjari,p.396(21-22).

(ii) In Hasya,e.g., 503 822 bhuyo'pyaso sahasamavadata, narendra na vayam paksino na pasavo na manusyah | katham phalani mulanyannam caharamah | papacarah khalu vayam | kimanena dvijasyaiva madira svadasondaryakathanena madhyetara vastutatvaprakasanena | (iii) In Santa, e.g., 504 ksunno'pi rohati taruh sino'pyupaciyate punascandrah | iti vimrsantah santah samtapyante na vidhuresu || (iv) In Raudra also, e.g., 505 durvinite, kvagata tvamiha | kim tavagamanakaryamatropajatama, | kasta- vasminnaste | kaina te durmatiriyam datta | hritapi na tapasvilokasya | 1 (2) Pancali : The Pancali Rati may contain compounds of not more than five or six words. The Gunas Madhurya (sweetness) and Saukumarya (softness ) should predominate therein, but in any case Ojas (emphatic assertion) and Kanti (dignity or conspicuous presence of Rasas) must not be present in it. This manner is very common with Dhanapala and is normally utilized in the course of delineation of sentiments like Srigara, Vira, Karuna and Adbhuta, as in the following instances : (i) In Srngara, e.g., 506 tarihada haviccheda ramena patrasandadambarena vihitapatrapaniva varsasalilapuritasu vilasasarasisu nimamajjura mbhojinivanani | ghanadhara- bhivrstamurtayastadacidarsanaduhkhita va duravinatah patledara mbukanika- visara majana masrjannupavanadrumah | 503. Tilakamanjari, B.50 (23ff.). 505. ibid., p.335(13-16). / 504. ibid., p.402(17-18). / 506. ibid., p.179(20ff.).

(ii) In Vira, e.g., 507 823 varamvara manyonyakrtatarjanayosca tayora kinatikrstamukka tatkala- pasvaditagalaminavisarino lamghitadisom duradhvaga rajakaryopayo- ginastiksnah paritositasuraganah suparvano mahajava vajinascapa- tyatositah sitipaladarakah kvacidrajadhyaksa svakrstasubhataka gramakamkatah sayakah prasanuh | 508 (iii) In Karuna, e.g., . mukadehayasca me gatramarena duramakrstadrstamatsahasotpanna- sadhvaseva sarvvatah samakampatasa vasikapadapasakha | kampatara litakulaya- kotarodinani vistarina papatavirutena haharavamiva kurvanani paryantesu babhramuh sasambhramaniva vihamgamakulani | (iv) In Adbhuta, e.g. 509 drsyam bhumibhrto'sya deva kimiha skandhasthavidyadhara- sreniyasya vahanti yasya samatamanye'pi gotracalah | drastavyastvamananyatutyamahima madhye dharitribhrtam yenaghah krtakhecaram pratatina badhdasya murdhni sthitih || (3) Gaugiya : The Gaudiya Riti should contain long compounds and the Gunas Ojas (superabundance of compounds and emphatic assertion) and Kanti (dignity and conspicuousness of Rasa) should prominently shine in it. This manner has been usually employed by Dhanapala in the delineation of sentiments like Srigara, Vira, and in the descriptions of 507.Tilakamanjari,p.89(9ff.). 508.ibid., p.306(16ff.) 509.ibid., p.240(20-23). •

824a forest and etc. (i) In Srngara, e.g., 510 kadacitsakutuhaladevatadaravalokitah kaminijanabharanasatkaraturya- ravasamvardhitesta ramtara vilapinam vaitalikanamiva kailisakuntanam dhvanibhi- radhiyamana rabhasah sarabhasadasana gravamsadalitadantacchdamavayakcagraho llasadbhrukuti - bhunitalala tadesama vaisapara vasapravrta kara prahara vyaharanmani valayamavira lodgata- sramasvaidati myadromamcakavacamana vara tamukta ka sumasara pasara vyapadesadupajatatusti- naiva manasabhuva devena patyamanapuspavrstih utkrstakarana prayoga ramaniyama- tyadbhutam ratasamaramatatana | Here the Gaudiya Riti almost slips into the Pancali. (ii) In Vira, e.g., 511 ityanavartakrtakolahalani badhdagariprsthasarivolayamanasayasapra- sapulani calitarathavitkaraca kitasa kini cakravala davilokitanyudguna- krpanapadatapadapatakampitaghara yabhavanta sarvvato smatsenyarajanya- kani | (iii) In the description of a temple, ange as in : ( tasya ca madhyabhage ) 512 acchamanikuttimocchlatprabhapatalanimmaigna- mulataya plavamanamiva, sughatitasphatikopalapattakalpitanalpapithabandhanya- cchtayantarida sthitamiva vibhavyamanam samkimayura ropadhyamanabimbagatacalaccinamsukapatakam (ayatanam dadarsa ) | kvacitsitabhujamga- (iv) In the description of a forest, as in : 510. Tilakamanjari,p.8486202317¸a§§§§faaaa(C) 17(6ff.). 511. ibid.,p.93(6ff.)./ 512.ibid., p.214(9ff.). 513. ibid.,p.199(18ff.). 513

825 (9) duravata ra tumgatatabhiru kotipasanapatalaskhalana bahumukha- pravrttamukharasrotojala bhirana tinibida nirgundilatagulmagu pili krti pala- valuka bahulavicchinmantaralapulinami kula kulanalavana nilinana hala- nivahaka halakolahalabhih sailanimnaga bhirnimmi krtantaralaya (vindhyatavibhuva ) 1 (4) avantika : It is an intermediate type between Vaidarbhi and Pancall and admits of compounds of three or four words and there is perhaps no hard and fast rule regarding the presence of the Gunas. Dhanapala has utilized this manner very often in the delineation of most of the Rasas and in general narration, as for instance in : (1) aho camcalasvabhavata cittaparinateh | aho vikara bahulata taru- nyagateh | aho duhkhadayakatvam sukhabhilasanama, 1 aho vyasanadana- vaidagdhyamanadhinatayah | aho kayaparinativicara vidveso dappatraiिka- vilasitanama, | aho mativiparyayapradanatatparya devapratikulya - ; 514 sya--- 1 or in (11) athasau munikanyaka samaptajapavidhirutthaya krtadevatapranama - grhitapuspapatalikya prsthatah paricarikayanugamyamana hasitamadamata hamsa- gatimirnigatya manthare padanyasera yatanaparyantavartisu prasadakesu prati- sthita jinapratimah kramai Tpujata, | 515 (5) Latiya : The Latiya Riti is a peculiar admixture of all the Ritis. It is perhaps meant that a particular few or all the Gunas may be present in it, and may be marked by compounds of all variable lengths. This had been very conve- 514. TMNN),p.149(5ff.). / 515. ibid., p.256(7ff.). -nient

826 to Dhanapala in the delineation of almost all the Rasas and in the descriptions of cities, heroes and the heroines, as it affords full freedom in varying the syntactical style and length of the compounds in keeping with the form and content of the poetic imageries and serves to relieve the monotony natural in sustained series of a single manner. The typical instances of this manner of composition may be found in the descriptions of Ayodhya, 516 King Meghavahana 517 Tilakamanjari, and so on. 518 (6) Magadhi: The Magadhi Riti is a defective mode of speech where uniformity is lacking throughout the composition, i.e., where the composition begins with a particular Riti but breaks in the interval, making place for some other Riti. This type is generally illustrated when Dhanapala depicts the agitated state of mind as in the case of Tarangalekha 520 or Mahodara. Thus, it seems that though Dhanapala has tried hi's 519 hand at all the six styles mentioned by Bhoja, he has kept in view the prescription of Rudrata about the use of particular 521. Riti for delineation of particular Rasa. And, with Dhanapala, the Gunas Slesa and Samata arise from his consciousness 247. 516. Tilakamanjari,pp.7-12. /517.ibid., pp.12-16./518.ibid.,pp.245- 519. ibid., pp.335-336. / 520.ibid., pp.382-383. 521. Kavyalankara of Rudrata, XV, 20: vaidarbhipancalyau preyasi karune bhayanakara bhutyoh | Kavyalankara of Rudrata,XV, la ‌ya gaudiye raudre kuyadyathaucityam || bhayanakad ‌bhutayoh

827 of poetic skill; Saukumarya, Madhurya, Prasada and Arthavyakti sprout from his sense of music, natural alliterative tendency and preference for prefere familiar words; Ojas, Kanti and Audarya ensue from his concentration and skillful choice of fitting vocabulary and depth of sentiment. ፋታ As to the concept of Vrttis, Bharata meant by it the use of words as will promote the realisation of Rasa, while Bana and Rudrata meant by it the varieties of compounded collocation. Bharata has mentioned four Vrttis, viz., Bharati, Arabhati, Sattvati and Kaisiki. Dhanapala mentions Kaisiki as the best of the Vrttis. 522 Bana mentions the Padavrtti in which the Padas are uncompounded. 523, As has been pointed out by Dr. V. Raghavan, 524 Bhoja maintains that mainly three kinds of Vrtti, distinguished by three Gunas, viz., Saukumarya, Praudhi and Madhyamatva, Bhoja does not call these by the old names Upanagarika etc.; he applies those names to varieties of Srutyanuprasa. Though fortunately these Vrttis disappear in later literature, 525 they had a firm grip on the minds of poets like Dhanapala and others of the age. According to Rudrata, collocation of words is of two kinds, compounded and uncompounded. The latter is of only 522. Tilakamanjari, p. 159 (16) : kaisikimita sabdavrtinamu 523. Kad(BS),p.285: --3215299814 524. Some Concepts of the Alankara Shastra,p.189. asamasta pada vrti mivadvandvam-- ! / 525. ibid.,p.190.

828 ' one kind and is called the Vaidarbhi Riti; the collocation with compounds is of three kinds, and are related with Gaudiya, Pancalf and Latiya if the compounds are too long, of two or three words, and of five or seven words respectively. Long before Bhoja, Rudrata knew the Vrttis which were Anuprasa Jatis. And Dhanapala too mentions Jati as one of the best figures of speech (alankrti). 526 Thus, though in poetics we have many concepts having the name Vrtti, such as (i) varieties of alliteration (anuprasa-jati); (ii) varieties of compounded collocation (samasa-jati); (iii) the significatory capacities of words; and (iv) the old Vrttis like Kaisiki etc., of these the first will be taken up when we consider the Alankaras. The second and the third, being more or less identical with the Ritis, donot need further discussion. As to the fourth, the whole field of Sravya Kavya, in the opinion of Dr. V.Raghavan, 527is Bharati Vrtti. Descriptions of love, evening, moonlight, seasons etc., must be Kaisiki and of war etc., Arabhati. Sattvati, if we accept it as the name of action, is as absent from Kavya as is Bharati is present. Bharati or the text of the 528 whole Kavya will, opines Dr. V. Raghavan, be modified acco❤ rding to the stuation, by Kasiki and Arabhati, producing 527-526. Some Concepts of the Alankara Shastra,p.182. 528. ibid. 526. Tilakamanjari, p. 159 (16 st): Gift Thainisani...

829 two main varieties of Bharati going by the names of Vaidarbhi Riti and Gaudiya Riti. The two and the only two Gunas necessary here for classification are Madhurya and Ojas, characterising the two extremes of Srngara and Raudra. This simple and strictly logical position of Vrtti in Kavya thus precludes further discussion here.