376. 378 HISTORY OF SANSKRIT POETICS

378 HISTORY OF SANSKRIT POETICS

speech as in the case of भवेप The व्यक्तिविवेक (p.88) remarks that although there are many alankaras, yet even a capable poet employs only a few and that Upama is like the life of alankaras and is extremely enjoyable when it is implied. Vide Dr. Nobel in Z. D. M. G. vol. 66. pp. 283-293 and vol. 67 pp. 1-36 for the study of individual alankaras such as व्याजस्तुति, सहोक्ति, विनोक्ति, प्रतिवस्तूपमा, दृष्टान्त, व्यतिरेक. Vide Prof. S. P. Bhattacharya on 'Neo-Buddhist nucleus in Alankārasāstra' in JASB. in vol. XXII (Letters 1956) part I pp. 49-66 and 'Influence of Buddhist logic on Alankarasastra' by Shri Anantlal Thakur in GOI (Baroda) vol. VII pp. 257-261. The latter paper is full of dogmatic assertions made without any serious effort at research on technical words e.g. it asserts that words स्वसंवेदन, विप्रतिपत्ति, नान्तरीयक, भविनाभाव are exclusively terms of Buddhist logic. नान्तरीयक occurs in महाभाष्य on पा. I. 2. 39 and in शोकवार्तिक, वाक्याधिकरण, verse 343. The word विप्रतिपत्ति occurs in the last verse in कौटिल्य's अर्थशाख. One should like to know the Sanskrit Buddhist work eomposed in 2nd century B.C. in which these two words occur. The word विप्रतिपत्ति occurs several times in the पूर्वमीमांसासूत्र of जैमिनि in the sense of 'conflict or contradiction' in V. I. 18, VIII. I. 32, IX. 3. 15. II The Riti School. Vämana is the foremost repre- sentative of this school. aust also devotes considerable space to what are called ritis by others and most later writer, on alankaras have to say something about them. arHq in his own way made a distinction between gunas and alankāras (p. 376 above). Vamana speaks of ten gunas of word and the same ten gunas of sense, viz. भज:, प्रसाद, श्लेष, समता, समाधि, माधुयं, सौकुमार्य, उदारता, अर्थव्यक्ति, कान्ति. दएडी mentions ten gunas under the same names, but makes no difference between gunas of word and those of sense. The doctrine of gunas was an ancient one. It was shown above that the inscription of रुद्रदामन् (150 A. D.) refers to some gunas such as माधुर्य, कान्ति, उदारता and कौटिल्य also spoke of certain गुखs. It may be noted that कौटिल्य in II. 9. mentions six गुरs of a royal writing (शासन) or order viz. अर्थक्रम, सम्बन्ध, परिपूर्णता, माधुर्य, औौदार्य, स्पष्टता, while the ना्यशाख names ten which include माधुर्य and उदार or उदात्त. This shows that कौटिश्य is much earlier than रुद्रदामन and the नाट्यशास in the theory and practice of Poetics. That poets of certain regions cultivated certain poetic features is made clear in his rafta

THE RiTI SCHOOL 379

by Bana who is earlier than any extant writer on poetics (except भरत). 'श्लेषप्रायमुदीच्येषु प्रतीच्येष्वथमात्रकम्। उत्प्रेक्षा वाक्षिणात्येष गौडेष्बवरडम्बर: ॥ (हरषचरित Intro. verse 7). Here we have two important words, दाक्षियात्य and गौड. Bana was not a दाच्ियात्य and hence he cannot be charged with any local patriotism or partiality for दाव्ियात्यs. दसडी does not employ the word रीति at all. Instead, he uses the word मार्ग throughout (काव्यादर्श I.9, 40, 67, 75, 101). He expressly says that there are several dictions distinguished from each other by nice distinctions, but that he will describe only two, वैदर्भ and गौडीय, because the points of dis- tinction between the two are very clear. It is interesting to note that he refers to गौडीय मार्ग or पद्धति as पौरस्त्य and employs the word डम्बर found in बाख as regards गौडs (इत्यनालोच्य वै षम्यमर्थालक्कार- उम्बरौ। अवेक्षमाया ववृधे पौरस्त्या काव्यपद्धतिः। I. 50). Vide also काव्यादर्श I. 83 for पौरस्त्य. On the other hand he applies the word दाक्षिात्य to वैदर्भमार्ग (अतो नैवमनुप्रासं दाक्ियात्याः प्रयुञते॥ I.60). In I. 92 he employs the word aaf and states that the Gaudas are very fond of अत्युक्ति. Even the काव्यमी. chap. VII. (p.30) employs the word मार्ग 'किमर्थ पुनरनुपदेश्ययोर्बाह्मपार मेश्वरयोरवाक्यमार्गयोरुपन्यास :- इत्याचार्या :. ' The सरस्वतीकएठाभरण states that the different ways such as Vaidarbha are known as marga 'वदर्भादिकृतः पन्थाः काव्ये मार्ग इति स्मृतः । रीङ्गताविति धातोः सा व्युत्पत्त्या रीतिरुच्यते॥ II. 27th कारिका (Nir. ed. of 1934). The ध्व. (III. 52 p. 290) remarks: 'एतद्ध्वनिवर्नेन निर्शीतं काव्यतत्त्वमस्फुटस्फुरितं सदशक नुवद्धिः प्रतिपादयितुं वैदर्भी गौडी पान्चाली चेति रीतयः प्रवर्तिताः' This is probably a reference to बामन. The ध्वन्यालोक makes little of Ritis. Instead it says a good deal on वृत्तिs and सङ्टना. The नाट्यशास्तर(17. 96) enume- rates the same ten gunas. In the नाट्यशासत्र gunas and alankaras occupy a subordinate position (17. 108). Vide नाट्यशास K.M. ed. 16. 97-108 and A.B. vol.II (GOS) p.334 chap.16. 96-112 for ten gunas. They are dcscribed in the 17th chap. along with 36 other ornaments of poetry, while rasa occupies a prominent place in the नाट्यशारत्र. Dandin gives gunas great prominence (I. 40-101) and the treatment of gunas and alankāras takes up almost the whole of his work; his work, however, assigns the most prominent place to alankāras of śabda and artha and practically makes no distinction between guņas and alankāras (vide p. 374), while वामन differentiates between them. दरडी thinks that the ten gunas are the essence of the vaidarbha style or way or diction (मार्ग or रीति), whilc the gaudi style generally presents