style (riti) is a special arrangement of words to present the ideas effectively.

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alapter X STY L E style (riti) is a special arrangement of words to present the ideas effectively Vamana is the exponent of the riti doctrine He defines that r1ti consists in the special arrangement

1 alapter X STY L E style (riti) is a special arrangement of words to present the ideas effectively Vamana is the exponent of the riti doctrine He defines that r1ti consists in the special arrangement or combination of words and that the speciality lies in the possession of gu~a-s1 Bharata in his Natya~astra mentions the concept of pravftti which bears a resemblance to the conception of r~ti2 DaDoin uses the word marga in the place of rtti 3 ~nandavardhana4 is quite appreciative of the originality of the doctrine of riti propounded by Vamana Mammata does not admit ifti as a separate element of poetry, yet he enumerates vrtti which has been defined as the arrangement of wetters 5 Vi~vanatha defines i1ti as a suitable arrangement of words which directly adorns the body of poetry and ultimately helps the realisation of, 1 Vi~istapadaracanarItih visesogunatma KASV, I, III, V7-8 HSP, p380 2 NS, VI, XIV 3 KD, I, V42 4 DR, III, 46 5 KP, IX, p322

-246- rasa-s and the like 6 According to Kar~ap~ra riti is the peculiar arrangement of letters which manifests excellence He is of opinion that the arrangement of letters contributes to excellence,

2 -246- rasa-s and the like 6 According to Kar~ap~ra riti is the peculiar arrangement of letters which manifests excellence He is of opinion that the arrangement of letters contributes to excellence, and is congenial to the sentiments Rfti (style) is the basis of excellence - (guqa ) Hence Karnapura embarks upon a discussion of riti or style 7 Typ es of style Yamana describes three types of style, viz, vaidarbhi, gau9i and pancali 8 Dandin accepts only two varieties of r:rti which the calls as marga and divides it as vaidarbha and gaugiya 9 Following Yamana, Anandavardhana mentions the three varieties of di~~ion10 Bhoja, on the otherhand, conceives six types of riti adding 6 sn, IX, p270 7 varnavinyasavi~esogunahetukah Varnavi- _ t _ nyasav1sesa 1t1 varnanam rasanuguqagu~anurodhopadhikaracana vi~esa ityartha~ yadyapi gu~avivekenaiva sa labhyate tath~pi tadvi~esabodharthamritikiranamarabhyate AK, IX, p351 8 KASV, I, KD, I, DA, III, 47

-247- avanti, magadhi and lati to the list~l VidYanatha, Rudrata and Raja~ekhara admit only t~ree kinds of style ~aradatanaya like Bhoja refers to six types of style combining Vamana's three and

3 -247- avanti, magadhi and lati to the list~l VidYanatha, Rudrata and Raja~ekhara admit only t~ree kinds of style ~aradatanaya like Bhoja refers to six types of style combining Vamana's three and Bhoja's lati with saurastri - ~ ~ and drav1d1 12 $ingabhupala, - - recognises three variet1es of style, viz, komala, ka}hina and mi~r~ and confesses that they are the same vaidarbhi, gau9i and pancali respectively of vamanat 3 Vi~vanatha comprehends four types of riti by adding lati to the three types mentioned by Vamana 14 Kar~apura follows Vi!van~tha as is seen from the line VaidarbhI 'Vaidarbhi pancali gaudi latiti caturvidha~15 vamana holds the view that the vaidarbhi style possesses all the ten varieties of excellence and is free from all blemishes Most of the rhetoricians prefer the style of vaidarbhi because it is endowed with all the ten varieties of excellence But Bhamaha says that one need not condemn the gaugi nor hail the vaidarbhi The two kinds of style have their own distinguishing features 11 BSP, pp ~, pl1 13 MS - A Study, I, p64 14 AK, p AK IX p351

-248- Kuntaka supports the view of Bhamaha and points out that these two varieties of riti are equally meritorious Or else, no poet worth the name would have tried to write in the gaugi style if it

4 -248- Kuntaka supports the view of Bhamaha and points out that these two varieties of riti are equally meritorious Or else, no poet worth the name would have tried to write in the gaugi style if it had been considered low in standard The determinant of poetic diction is the character of the poet Vamana defines vaidarbhi as follows: samagragu~opeta vaidarbhi16 Rudra~a, Bhoja and Raja;ekhara agree with him Vi~vandtha defines it as: madhuryavyanjakairvarnair racana lalitatmika av:ttiralpav;ttir~ vaidarbhi ritiri~yate,17 Kar~apura follows the footsteps of Yamana and Visvanatha in defining vaidarbhi avrttiralpavrtti samastagunabhusita vaidarbhi satu ~rngare According to him, few or na compound, karune ca pra~asyate,,18 the vaidarbhi diction contains very and is in possession of the ten 16 vaidarbhi is endowed with all the varieties of excellence KASV, I, It contains (a) either absence of compounds or presence of only short compounds, (b) letters suggesti~ of the quality of rnadhury~ which serve to make the nature of composition sweet and tender SD, IX, Concept of riti and guna in Sanskrit poetics p AI<, I X, p 351

-249- varieties of excellence" l He also notes that this style is mostly associated with the, srflgara - ( erotic) and the karu~a (pathetic) sentiments The vaidarbhi style also exhibits the

5 -249- varieties of excellence" l He also notes that this style is mostly associated with the, srflgara - ( erotic) and the karu~a (pathetic) sentiments The vaidarbhi style also exhibits the excellence of meaning (arthasausthava) the absence of the excellence of meaning one cannot say that the diction is vaidarbhi Karnapura also examines kavyapaka l9 dealt with by Vamana and Raja~ekhara In Kavyapska indicates the maturity of poetry as a whole and consists of clear and complete presence of all varieties of excellence 20 Rhetoricians mention two kinds of paka, viz, ~abdapaka and arthapaka t Sabdapaka is the maturity of expression resulting from the perfect fitness of a word to the intended sense arthapaka the depth of sense, which is of various kinds, is brought about by the different tastes or different poetic sentiments Vidyan~tha names the two types of paka as draksapaka (maturity of grapes in which the taste - -_:'--- flows simultaneously from within amwithout) and NarIkelapaka (ripeness of coconut in which the husk is rough, In 19 The word paka means ripeness, maturity or fruition KASV, (Bombay, 1953), p42 20 gunasphutatvasakalye kavyapakam pracaksate

-250- but the kernel is tasty~ Ratnesvara alludes to various kinds of paka: sahakara (mango), vartaku (egg-plant) and nilakapittha (feronio Glephantum)~l Rajasekhara, on the otherhand, mentions nine

6 -250- but the kernel is tasty~ Ratnesvara alludes to various kinds of paka: sahakara (mango), vartaku (egg-plant) and nilakapittha (feronio Glephantum)~l Rajasekhara, on the otherhand, mentions nine types of paka 22 Karnapura refers only to two kinds of -paka, viz, rasala (mango) and vart~ku (egg plant fruit): 'pako pyasyah sahayah syadamravartt~kupakavat,23 He is of opinion that the vaidarbhi style is co dqqive to rasalapaka because of its splendour' In rasihapaka beauty increases steadily, and in its final state it becomes most attractive splendo~r exists in the first stage itself in vartakupaka 24 The two metres, viz, vasantatilaka and upendravajra help the flow of the vaidarbhi style The pancali is marked by the use of natural sounds De, S K, HSP, I I, p 42 picumanda (nimba azadirachta indica), badara mrdvika (grapes), vartaku (egg-plant fruit), (jujube), tintidi (tamarind), sahakara (mango), kramuka (betel-nut) trapusa (cucumber) and narikela (coconut) KM, (GOS), pp,20-21 AK, IX, p363 purvam purvada~ayaccettadurottaranamyata tad~ rasalapakah syadviparite tadanyakah ibid, p363

It should contain fewer and smaller compounds than are found in ~au9iya According to vamana the pancaliriti must essent'ally possess two varieties of excellence madhurya (sweetness) and saukumarya

7 It should contain fewer and smaller compounds than are found in ~au9iya According to vamana the pancaliriti must essent'ally possess two varieties of excellence madhurya (sweetness) and saukumarya (softness), though it may have other gu~a_s25 But in any case ojas (floridity) and kanti (polish) are not present in it Vamana defines it as: a~li~ta~lathabhavamtu puranacchayayanvitam -26 madhuram sukumaram Ca pancalim kavayo vidu~ Karnapura follows the same idea in defining pancali style kathaprayo hi yatrarthi madhurya~rayqko gu~a~ -" na gadhata ba ~aithilyam sa pancali nigadyate 27 Saithilya (looseness of structure) and gaqhata (hardness) are absent in the pancali style GaudI The rhetoricians are unani~ous in pointing out that the gau9i style consists of harsh words and long compounds Dandin says that the reverse of the ten gu~a-s are seen in the gau~ style which means bad poetry madhuryasaukumaryopapannapancali KASV, I, 2-13 ibid, p21 AK, IX, p 363, esam viparyayah prayo dfsyate gau9avtmani KD, I, 40

-252 Gaugi is described by Vamana differently from that given by DaQgin - with ojas and kant~ He says that it is the same vaidarbhi, but displacing madhurya and saukumaryaq9, gaudiyamiti gayanti

8 -252 Gaugi is described by Vamana differently from that given by DaQgin - with ojas and kant~ He says that it is the same vaidarbhi, but displacing madhurya and saukumaryaq9, gaudiyamiti gayanti ritim riti vicaksanah samasthatyudbhatapadamojo, kantiguna~nittam According to Kar~apura, the gau?iriti possesses forceful sound in long compounds and alliterations endowed with all varieties of excellence specially characterised by ojogu~a} It is not Yet it is nisthuraksaravinyasa dirghavrttiryu~aujasa, gaudi bhavedanuprasabahula va- 30 He compares vaidarbhi style to Rukmini and the gauqi style to Parvati vaidarbhi garbhiniva sphurati rasamayi kamasu rukminiva gaudigadhopagudha prakatahathaghata 31 garvagarbheva gaur1 L'ati is simply a mixture of the two types of diction, vaidarbhi and pancali 29' KASV, I, AK, IX, p' ibid, p344 Rudrata is the first

-253- rhetorician who mentions lati as the fourth variety of diction of moderate length diction in two sets: He defines it as the use of the compounds He defines the four varieties of

9 -253- rhetorician who mentions lati as the fourth variety of diction of moderate length diction in two sets: He defines it as the use of the compounds He defines the four varieties of vaidarbhipancalyaupreyasikaru~e bhayanakadbhutayoḥ latiyagau9iyeraudr~kuryadyathaucityam32 - Karnapura considers the lati style as consisting of alli- teration profuse with looseness of structure (saithilya) employed by unwise (lata) people and abounding in softsounding letters, especially the letter tlt ~aithilya~ yatra rnrdulairvarnairladi bhirutkatam t Rhetoricians consider that the four varieties of diction, viz, vaidarbhi, gauql, pancali and lati are largely ~d upon the linguistic differences prevailing in different regions as, for instance, vidarbhi originating from Vidarbha (Bihar), gauqa from Bengal, pancala from uttarpradesh and lata from Gujarat 32 0 KA, II, 5 33 PK, p356

-254- Bharata has pointed out that -riti and vftti are different Later writers like Udbhata, Rudrata and Abhinavagupta agree with him Vi~vanatha, however, gives an indirect hint to the effect that

10 -254- Bharata has pointed out that -riti and vftti are different Later writers like Udbhata, Rudrata and Abhinavagupta agree with him Vi~vanatha, however, gives an indirect hint to the effect that the vrtti constitutes only a part of riti - Mammata regards the two as almost identical Karnapura not at all mention anything about the relationship between the two R~Sum~ Kar~apura clearly points out that riti is the peculiar arrangement of letters, which contributes to the excellence (gu~a) of kavya and is congenial to poetic sentiments (rasa-s) He accepts four types of style, vaidarbhi, 9au9I, pancali and lati His contribution towards the subjectymatter of poetic style consists in his thinking that the varieties of diction are intended to produce particular sentiments an~ ~resent suitable expeession of particular subjects, and that the gau9i riti, like other ifti-s is conducive to create particular rasa-s and express suitably certain incidents and situations

B. Close Reading of texts:

B. Close Reading of texts: Course Code CLIS 275 Indian Poetics/ Aesthetics Theory-I Semester No. of Credits Name of Faculty Member(s) Course Description: 150/200 words I/III (Wednesday and Friday 11.00 a.m. to 1.00 p.m.) 5 Dr. Nilakantha