History of Sanskrit Poetics c6.95.3

c6.95.3

The ध्वन्यालोक makes little of Ritis. Instead it says a good deal on वृत्तिs and सङ्घटना. The नाट्यशास्त्र (17. 96) enumerates the same ten guṇas. In the नाट्यशास्त्र guṇas and alaṅkāras occupy a subordinate position (17. 108). Vide नाट्यशास्त्र K. M. ed. 16. 97-108 and A.B. vol.II (GOS) p.334 chap.16. 96-112 for ten guṇas. They are described in the 17th chap. along with 36 other ornaments of poetry, while rasa occupies a prominent place in the नाट्यशास्त्र. दण्डिन gives guṇas great prominence (I. 40-101) and the treatment of guṇas and alaṅkāras takes up almost the whole of his work; his work, however, assigns the most prominent place to alaṅkāras of śabda and artha and practically makes no distinction between guṇas and alaṅkāras (vide p. 374), while वामन differentiates between them. दण्डी thinks that the ten guṇas are the essence of the vaidarbha style or way or diction (मार्ग or रीति), while the gauḍī style generally presents the opposites or absence of the ten *guṇas* (except अर्थव्यक्ति, उदारता and समाधि which are required by the partisans of both styles) ‘इति वैदर्भमार्गस्य प्राणा दश गुणाः स्मृताः । एषां विपर्ययः प्रायो दृश्यते गौडवर्त्मनि ॥ (काव्या. I. 42); vide also I. 75, 76, 100. It must be remembered that ओजः was required in prose even in वैदर्भी, but not in पद्य; while the गौडीयमार्ग regards ओजः as highest even in पद्य. He speaks of the *guṇa* समाधि (अन्यधर्मस्ततोऽन्यत्र लोकसीमाऽनुरोधिना । सम्यागाधीयते यत्र स समाधिः स्मृतो यथा ॥