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perspective : The verbal form of a work cannot be said to possess the qualities of energy or sweetness (except by way of analogy), unless we mean by it that the underlying sentiment is vigorous or sweet. The Guņas, therefore, are related to the Rasa, as virtues like heroism are related to the soul of a man. The verbal form, the mere sound, produces the excellences only as a means or instrument; the real cause is the Rasa, even as the soul is the true cause of virtues like heroism in a man. The same consideration applies also to the case of poetic figures (Alamkāras), and their place in poetry is justified by their relation to Rasa. They are compared to ornaments on a man's body; and as such, they adorn words and meanings which constitute the body' of poetry. They thus serve to embellish indirectly (through sound and sense ) the underlying soul of sentiment, but not invariably. If the Rasa is absent, they produce mere variety of expression. It should also be noted that the Gunas are accepted, after Anandavardhana, as three in number, and it is maintained that combinations of particular letters signify particular Guņas, so that the three Vșttis of Udbhata (and roughly the three Ritis of Vāmana) are equalised to the three Guņas defined by him. 1 2 6
Mammața categorically asserts that Guņas are three only and that it is not necessary to accept the ten Guņas of Vāmana. He, therefore, makes his three Guņas comprehensive enough to include in them the ten Guņas postulated by the earlier authorities. Thus, when we critically consider the ten Gunas, we find that some of them can very well be subsumed under Mammața's three comprehensive excellences; some constitute mere absence of blemishes while others are sometimes positive blemishes. Thus, Mammața's Ojas comprehends Vāmana's śleşa, Samādhi and Udāratā; Vāmana's Arthavyakti is merely an aspect of Prasāda; Vāmana's Samatā, consisting of a certain uniformity of diction, is often a fault; while Saukumārya and Kānti, defined as freedom from harshness
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