Kavyanushasana Critical Study

SR No.: 001713
Original Sutra Author: N/A
Author: A N Upadhye
Publisher: A N Upadhye
Publication Year: 1987
Total Pages: 558
Language: English
Classification: Book_English, Literature, & Kavya
File Size: 10 MB

Page 383

But critically speaking, it is quite clear from the lines quoted from the Kavyaprakāśa (IX. 80-81) by Hemachandra in support of his views expressed in the gloss (p. 292) that Hemachandra's immediate authority and source of information is Mammața. And, it was Mammața who codified the scattered but significant teachings of the Dhvani-theorists so as to bring the different concepts of Sanskrit poetics such as Guņa, Dosa, Lakşaņa, Vịtti, Riti, etc., into an effective relationship with the supremely important poetic principles of Rasa and Dhvani.
Concepts of Riti and Vịtti in the Pre-Dhvani and PostDhvani Periods
In the different stages of its development, the concept of Riti is associated with (a) regional or geographical modes of literary criticism, (b) a stereotyped and standardised manner of expression or diction or style of composition, and lastly (c) with the character of the poet.
Rīti in speech is a literary manner and it corresponds to Bharata's Pravịtti in manners. Bāna is the first classical author who refers to certain literary characteristics peculiar to certain geographical regions. He thus mentions four different traits of composition : (1) Over-using Double Entendré, (2) Plain Ideas, (3) Imaginative Conceits, and (4) Bombastic Diction.
From a theoretical point of view, Vaidarbhi and Gauļi represent the two earliest styles. While Bhāmaha was not keen to distinguish the two styles sharply, Dandin declared the Vaidarbhamārg to be the best style. It was so, because of the presence in it of ten Guņas which constitute its life. And, in the opinion of Dandin, the reverses of these ten Guņas, are seen in the Gaudi which is thus bad poetry.
Though Dandin talks of Guņas, his Guņas are not sharply differentiated from Alam käras. 139 Besides the word 'Viparyaya' in Dandin lends itself to many interpretations, and the distrinction between Vaidarbhi and Gaudi styles hinges on the
358