Studies in the History of Sanskrit Poetics v2.c81.s1.82

v2.c81.s1.82

This brief summary of the views of the leading authors of this school will shew that the *rīti*-teachings mark a great advance on the *alaṃkāra*-doctrine in many respects. There are many points which are common to both these systems ; but, by clearly defining and working out the doctrine of *rīti* as that distinct characteristic of poetry which sharply separates it from dry philosophical or technical writings, the Rīti school seems to have first suggested and started the enquiry (only hinted at by Bhāmaha’s theory of *vakrokti*) as to what constitutes the essential charm of poetry, and anticipated the theory of *vicchitti* (or *ukti-vaicitrya*) elaborated later by Kuntala and other adherents of the *alaṃkāra*-doctrine. The Dhvanikāra pays an indirect compliment (iii 52) to the Rīti school for having first perceived, however dimly, the true nature of poetry, although he does not agree with its peculiar theory of *rīti*. The Rīti school also goes a step further than the Alaṃkāra school in including the *rasa* among the necessary characteristics. It is possible that Vāmana’s partiality for the drama, which he considers to be the best form of composition and from which he supposes other forms of poetry to proceed (I. 3. 30-32), led him to realise the importance of *rasa*, already worked out as fundamental in the drama by the dramaturgic Rasa school, and to incorporate it in one of the essential properties of poetry (III. 2. 14 and *vṛtti*). But, at the same time, it was perhaps his idea to make his definition of poetry comprehensive enough to cover a larger field and include those instances, e. g., which develop no *rasa*. The *kāvya-śobha*, a term which he probably borrows from Daṇḍin (ii i), or *saundarya* which conveys the same general idea as the word ‘beauty’, is regarded as the ultimate test of all poetry; and this beauty, in his opinion, agreeing with the common-sense view of the matter, is realised by carefully worked-out diction, which avoids the damaging flaws by adopting primarily the so-called literary excellences, as well as the poetic figures for the secondary purpose of heightening the effect thus produced.