Studies in the History of Sanskrit Poetics v2.c81.s1.75

v2.c81.s1.75

śobhānupapatteḥ). In other words, the *guṇa* stands to poetry in the *samavāya*-relation (see *Kāmadhenu* on III. 1. 4), while the *alaṃkāra* in *saṃyoga*-relation, *saṃyoga* being explained as mere conjunction and *samavāya* implying inseparable connexion or inherence (*nitya-sambandha*)²⁵. To put it in the usual figurative language, the *guṇa* is related to the ‘soul’ of poetry (viz., *rīti*), while the *alaṃkāra* rests merely on the ‘body’ (viz., *śabda* and *artha*). The *alaṃkāra*, without the *guṇa*, cannot of itself produce the beauty of a poem, but the latter can do so without the former. But Vāmana justifies at the same time the existence of the *alaṃkāra* as an element of poetry, and supports a phase of poetry, which is indeed admitted by Ānandavardhana but not properly understood by him, and which is elaborated only by his follower Ruyyaka who, however, takes his inspiration on this point from the *Vakroktijīvita-kāra*.