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the theme or the propriety of the poetic sense came to regulate the nature of Rīti. Thus arose the concept of Vịtti.
Dr. V. Raghavan writes : "The Rasas and the Arthas pertaining thereto (i.e., to a poem) have their own quality of sweetness, vigour, etc. These were studied by Bharata, and by others following him, in the concept of Vịtti. The Vștti was applied from Drama to Poetry. Kaišiki is the Vrtti of Sệngāra and Ārabhiți of Raudra, Vira and Bhayānaka and Bibhatsa Rasas. To this Vrtti, the Riti came to be related. The sweetness and delicateness associated with the Vaidarbhi made it possible to link it to the Kaišiki Vrtti and the śrngara Rasa. Sșngāra, Kaišiki Vștti and the Vaidarbhi Riti went together always. The Gaudi easily linked itself to Arabhati Vịtti and Rasas like Raudra. The Pāñcāli and the Lāțiyā occupy middling positions. ... Thus the emotional situation came to determine the mode of expression. Hence Bhoja treats of Ritis and Vrttis under Anubhāva. The Vrtti differs from Riti intimately connected with Rasa and its ideas. To the Rasa, Riti was related more on the basis of verbal expression, the Sabdasamghațanā. In this stage, the Guņas, Māhurya etc., which were still the constituents of Riti, become mere Sabdasanghațanādharmas."144 Anandavardhana on Vịtti and Riti
But when we come to Anandavardhana's Dhvanyāloka, we find that Vịtti is stated to be an expression appropriate to Rasa. The expression of Artha is the Vrtti of Kaisiki etc.; the expression of sabda is the Vștti of Upanāgarikā etc. These sabda-Vịtti's, Upanāgarikā, etc., are the Riti's. In Dhvanyaloka III. 33 and in the gloss thereon, Anandavardhana states this quite explicitly. Anandavardhana distinguishes Vịtti's on the basis of Śabda and Artha in Dhvanyāloka 111.47 ff. Abhinava considers both the Vittis as Rasocitavyavahāra and, holds that while Kaišikyādi all four are Arthavșttis, the sabdavșttis are three, viz., Upanāgarika etc.
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