Studies in the History of Sanskrit Poetics v2.c85.12

v2.c85.12

Mammaṭa then proceeds to discuss the *guṇa* and *doṣa*, not in relation to poetry in general as his definition would imply, but in relation to their subserviency or otherwise to the awakening of *rasa*. The *guṇas* as excellences of composition are interpreted in a new sense (after Ānandavardhana) and brought into effective relation with the underlying sentiment in a work, as qualities which serve to heighten its charm. The verbal form of a work cannot be said to possess the qualities of energy or sweetness (except by way of analogy), unless we mean by it that the underlying sentiment is vigorous or sweet. The guṇas, therefore, are related to the rasa, as virtues like heroism are related to the soul of a man. The verbal form, the mere sound, produces the excellences only as a means or instrument; the real cause is the rasa, even as the soul is the true cause of virtues of like heroism in a man. The same consideration applies also to the case of poetic figures (alaṃkāras), and their place in poetry is justified by their relation to rasa. They are compared to ornaments on a man's body; and as such, they adorn words and meanings which constitute the ‘body’ of poetry. They thus serve to embellish indirectly (through sound and sense) the underlying soul of sentiment, but not invariably. If the rasa is absent, they produce mere variety of expression. It should also be noted that the guṇas are accepted, after Ānandavardhana, as three in number³, and it is maintained that combination of particular letters signify particular guṇas, so that the three vṛttis of Udbhaṭa (and roughly the three rītis of Vāmana)