Studies in the History of Sanskrit Poetics v2.c81.s1.90

v2.c81.s1.90

styles of dramatic composition (Bharata iii 25), have been included by Udbhaṭa (i 4 f) under *anuprāsa* or alliteration, as they are formed by a special arrangement of letters for conveying different ideas, suitable (Abhinavagupta adds, *Locana* pp. 5-6) to different *rasas*. Ruyyaka therefore says: *vṛttis tu rasa-viṣayo vyāpāraḥ, tadvatī punar varṇa-racanaiha vṛttiḥ*, pp. 20-21. The *rīti*, on the other hand, is mostly a matter of objective adjustment of the different 'excellences' of a composition, although admitting *artha* as an element of consideration; while the *vṛtti* concerns itself with the psychological effect produced by the arrangement, as well as by the sense of which that arrangement is a vehicle. One and the same *rīti* may conceivably produce different *vṛttis*, and the same *vṛtti* may be produced in different *rītis*, although a fondness for symmetry led the theorists to assign a distinct *vṛtti* to each *rīti*. Ānandavardhana expressly distinguishes between the dramatic *vṛtti* and the poetical *vṛtti* by saying that the former is dependent upon the sense, the latter upon the expression: *vācyāśrayo yo vyavahāras tā etāḥ kauśikādyā vṛttayaḥ, vācakāśrayāś cōpanāgarikādyāḥ*. They enhance the beauty of drama and poetry respectively by being used according to the drift of the *rasa* in the composition: *vṛttayo hi rasādi-tātparyeṇa samniviṣṭāḥ kām api nāṭyasya kāvyasya ca chāyām āvahanti*, p. 182.