INDIAN AESTHETICS

RITI SCHOOL (VAMANA) :

That was given by Vamana, who lived during the later half of the 8th century A.D. He

introduced this brilliant concept in Indian literary criticism and highlighted the value of the riti

theory. This unique theory has everlasting value. Vamana's philosophy-oriented investigation into

the constitution and nature of kavya revealed striking new facts and figures. His analysis of

kavya and the treatment of its elements are highly imaginative and refreshingly original. He is

the founder of the riti theory. What does riti mean? Riti means the way you write, the style in

which you write, as explained by Vamana. Vamana discussed the style of poetry, how poetry

should be written. In the previous video, we studied Alamkara, how poetry is written using

embellishments and ornaments, a theory given by Bhamaha. Bhamaha talked about Alamkaras

and their two sub-categories.

Riti is another theory discussed by Vamana, who lived in the 8th century. He emphasized

the importance of a beautiful style in writing poetry. Vamana is the one who defined how poetry

should be written. Vamanasutra rises above routine treaties on the science of poetics. In his

books, he talked about the theory and his attempt to write poetry. This book is regarded as the

first attempt at evolving a philosophy of literary aesthetics on how poetry should be written,

focusing on his contemplation regarding kavya.

According to him, kavya is a living human being, a charming young lady penetrating

deeper until she sees the soul and catches a glimpse of it. This is how beautiful poetry should be

according to Vamana. Poetry is compared to a living soul, a beautiful girl pondering deeply to

catch the essence of the poetry. Unlike his predecessors and most of his successors, he presented

his findings in the form of different sutras, following the tradition of darshanas, which sought to
discover the soul of a particular thing. What is the ultimate aim? Why is poetry being written?

What is the essence, the Atma, the soul of poetry? The ultimate principle of the universe, the

factors that produce the beauty of kavya, were Alamkaras.

Remember that Bhamaha talked about Alamkara. Earlier, we saw that Bhamaha said the

factors that produce beauty in poetry are Alamkaras. Vamana disagreed with proponents like

Bhamaha and Dandin, emphasizing that gunas are more important. For rasa, rasa sutras are

important; you need one permanent emotion to evoke a good emotion. The nine rasas require a

permanent feeling. Similarly, Vamana stated that riti is made up of different gunas. When you

have good and correct gunas, riti is present, and riti is the soul of poetry, the style in which you

write.

He disagreed with predecessors like Bhamaha, who claimed Alamkara is the soul of

poetry. Vamana argued that Alamkaras are artificial and poetry can be written without them. He

believed gunas produce the beauty of kavya, while Alamkara only brightens it and adds artificial

essence. Vamana, the founder of this theory, identified two kinds of beauty.

One is natural beauty and the other is artificial beauty. Natural beauty, which arises from

the gunas, is the inherent beauty. Artificial beauty is due to figures of speech, the ornaments, or

the Alamkaras. Vamana emphasized natural beauty highlighted by the shabd that captures the

essence of poetry, adding to its beauty. Vamana introduced the concept of two kinds of beauty:

natural beauty, arising from the gunas, and artificial beauty, caused by Alamkaras. He noted that

natural beauty comes from the shabd, the essence of poetry, which highlights and brightens the

poetry, forming its soul.

Vamana stated that gunas were essential to kavya, while Alamkaras were optional. A

poem can be beautiful without embellishments if it incorporates the ten gunas or qualities, thus
creating the beauty of poetry. There are 10 gunas, and understanding them will clarify Vamana's

views. A piece becomes extremely beautiful by following these 10 gunas. When followed

correctly, they reveal the essence, creating true beauty. Vamana emphasized that when the ten

gunas are followed correctly, riti, the correct style, is created, becoming the soul of poetry. Riti is

the soul of kavya, as Vamana stated.

It may be noted that the English equivalent of riti is rhythm, not style, as critics believe.

Rhythm is derived from the Greek word meaning to move and to flow, indicating the flow in

poetry. Riti is to kavya what Atman (soul) is to Sharir (body). Just as a soul is essential for a

body to be alive, correct rhythm is essential for poetry to be alive.

Studying the etymology of the terms Atman and riti justifies Vamana's views. The word

Atman is derived from the root word meaning to move constantly and the root word "an,"

meaning alive. Similarly, understanding the roots of riti can further explain its significance. Riti

also comes from the root word "re," which means to move, making them similar. Hence, riti is

the soul of poetry. Vamana conceived two types of riti: shabdariti and arthariti, reflections of the

vital principle of the soul.

Now, let's quickly write about the three kinds of riti, the three kinds of writing:

1. **Vaidhabhi Riti**: This type of riti is a work written in accordance with the 10 excellencies

(the ten gunas). If a work has all 10 gunas, it is called Vaidhabhi Riti.

2. **Gandhi Riti**: This type of riti is characterized by the presence of kranti or ojas, the other

two gunas. If these two gunas are followed, it is called Gandhi Riti.
3. **Panchali Riti**: This riti is characterized by sweetness and softness. When a poem has an

extreme amount of sweetness, it is referred to as Panchali Riti.

The riti school holds that style or manner contributes to the excellence of literary

composition. The two most important aspects are: As I told you, there are Vaidhabhi and Gandhi

riti. Vaidhabhi Riti emphasizes polish, grace, representation, and excellent style. Gandhi Riti,

from a Bengali word meaning bombast, involves high exaggeration, force, and bombast. These

are the different kinds of riti. Vamana identifies different kinds of riti under Vaidhabhi Riti,

which includes ten gunas. These qualities needed in any poetry are:

1. Lucidity

2. Cohesion

3. Evenness

4. Sweetness

5. Tenderness

6. Explicit meaning

7. Proper explicit meaning

8. Fluidity

9. Grace

10. Transference

When all of these ten gunas are present, it is Vaidhabhi Riti. The second type, Gandhi

Riti, incorporates ojas and kranti to make the riti more beautiful. These are the different

categories.

Some critics argue that riti is not the correct description of the soul of poetry. Riti theory

failed to achieve wide popularity and was criticized by Anandavardhana. Mamata sought to
refute Vamana's main thesis, highlighting weaknesses in the riti doctrine. He pointed out that riti

focuses on external effects and neglects internal effects, as seen in the rasa and dhvani theories.

Critics argue that riti only addresses the external elements of poetry, similar to Alamkara, and

does not delve into the inner essence.

Indian aesthetics emphasizes the importance of inner essence, as seen in rasa and dhvani

philosophy. The rasa and dhvani schools are considered more important compared to the riti

school or Alamkara. There was a failure to establish riti as the soul of poetry. Anandhavardhanan

subjected it to trenchant criticism. Vamana, who began discussing riti around the 8th century

A.D., played a significant role in its development.

Vamana introduced the concept that poetry holds utmost value when beautifully written

with correct style. While some theorists prioritize embellishments over style, Vamana likened

kavya to a living being seeking the soul's essence. He emphasized two kinds of beauty: one

derived from gunas (qualities) and the other from Alamkaras (embellishments). The presence of

all ten gunas signifies natural beauty in poetry. Vamana's theory faced criticism, particularly from

Anandavardhana, who argued that riti only addresses external beauty, not inner essence like rasa

and dhvani. Varabhi and Bondhi are the two important styles focusing on the presence of gunas.

Gunas include sweetness, tenderness, transfer of meaning, and grace. When Ojas and Kranti are

present, it's called Godhi riti; when all ten gunas are met, it's Varabhi riti. Critics argue that riti

neglects inner beauty, unlike rasa and dhvani.