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correct meaning of this term 'Viparyaya'. For, "some Gunas are given by Danḍin himself as excellences of both Margas."140
Riti is shown by Dr. V. Raghavan to correspond to the term 'style' in English as against Dr. S. K. De (SK Poetics-II, p. 115) who maintains that 'Riti' is not equivalent to 'style'. This 'Riti' is associated with Gunas, and is based on Gunas. Dr. V. Raghavan says that "though Bhamaha does not definitely give in so many words the relation of Guna and Riti, we can clearly see that his verses imply the theory of Riti as based on Guna.. When we analyse Daṇḍin, we see that not only Gunas, but Alaṁkāras also go to distinguish the Ritis."141
As for Dandin's Gunas, Dr. Raghavan notes: "Thus, an examination of Danḍin shows that the Margas are characterised not merely by a set of fixed features which pertain to collocation alone. The Gunas mean much more than what they seem to."142
It is in Vamana that we have a declaration to the effect that Riti is the soul of poetry. And this Riti is constituted by the Gunas - both of word and sense. Dr. Raghavan observes : "These comprehend poetic expression in all aspects.... Thus these so-called Gunas comprehend Bandhaguṇas, Alaṁkāras and Rasas. ... Vāmana defined his Gunas in such a way as to enable us to take them as characteristics of the best style of poetry.... To the two Riti's, Vaidarbhi and Gauḍi, Vāmana first added a third, the Pañcāli. The Gaudi in Vamana is not the bad style in Dandin. It is a good style. ... The Pancali is the Vaidarbhi devoid of Ojas and Kanti. "143
Vamana's partiality, however, is for the Vaidarbhi style of poetry; for he asks poets to practice and achieve that style (KASV 1.2.14-18).
Incidentally, the ideas of styles or Riti's have always been associated with qualities such as sweetness, force, vigour, clarity, etc. This led to the practice of Riti's by all poets of all places and its geographical overtones got lost. As a result,
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