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Chandovišeşaniveśya gunasampattiriti kecit I So'yamanavagahitaprayogānāṁ vibhāga-kramah 11
pp. 200-2011 5 1 In the section on Vamana, we have referred to the views of those who considered Guņas as Pātha-dharmas and to Samadhi in Vamana as a Guņa of the metre. 15 2
After this illuminating critical analysis of the Viveka text on Guņas by Dr. Raghavan, we now turn to the text itself with a view to attempt a short summary of the refutation of the ten Guņas of Bharata, Dandin and Vamana. A Critical Summary of the Viveka Passage on the Disposal of the Ten Gunas
On page 274, of the Kavyānušāsana, under Sūtra 1, Chapter IV, Hemachandra's Viveka commentary begins by stating that the Guņas are three only, viz., Madhurya, Ojas and Prasāda, and that they primarily pertain to the Rasas as pointed out earlier while describing their general nature ( 1. 12 ). Hence, when some theorists posit these other excellences as residing in the sabda and the Artha, it is not proper.
With these words, Vāmana's list of the ten Guņas (KASV. 3.1.4.) is introduced anonymously. These Guņas are Ojas. Prasāda, śleşa, Samatā, Samadhi, Madhurya, Saukumārya, Udaratā, Arthavyakti and Kanti. These are called the ten qualities of the Bandha or style of composition.
(1) Then, first of all, Bharata's definition of Ojas is paraphrased or summarized. It is based on Verse 106, Chapter XVI of the Nātyaśāstra (G.O. S. Edn.), and it means that Ojas is the endowment of grandeur by the poet to a subject which is in itself inconspicuous or low by means of the powers of words and senses.
This Ojas is illustrated by a verse (402) which describes lowly creatures like jackals, birds, dogs, insects, etc., that hover around a dead body, and the poet eulogizes the ability of the corpse to oblige all creatures.
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