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Alankara section in the Agni Purana is a hopelessly loose heaping of all sorts of ideas taken from this and that writer and does not deserve to be treated seriously as representing any systematic tradition. Dr. De supposes in his Sanskrit Poetics that it represents a systematic tradition which stands separate from that of the orthodox Kasmirian writers and which is followed by Bhoja. It is not a Purana compiler of such a nature that hints at new paths in special Sastras and surely the compiler who borrows from Tantravarttika, Bhartymitra, Bharata, Dandin and Ananda, may well borrow from Bhoja, who takes credit for the new Rasa theory propounded by him in his Srngaraprakasa. The truth therefore is that the Alankara section in the Agni Purana is definitely later than Bhoja, from whom it borrowed not only the AhankaraAbhimana idea of Rasa expounded in his Srngaraprakasa and already referred to in his Sarasvatikanthabharana, V. 1, but also some Sabdalankaras and other ideas. The Alankara section of the Purana is spread over eleven chapters, (chs. 337 to 347). The first chapter deals with Kavya and of it, the Purana says that Rasa is the life. Sl. 337/33 places Rasa above Vagvaidagdhya which can be said to be identical with the concept of Vakrokti as applying generally to poetic expression as such and as a whole. The

next chapter deals with drama. The third is completely devoted to Rasa and from this third chapter up to Sloka 17 of the sixth chapter, the subject dealt with is Rasa. For, the fourth which speaks of Ritis and Vrttis, deals with Buddhyarambha-Anubhavas; the fifth which is called angakarma nirupanam deals with Sarirarambha Anubhavas, such as the Alankaras of the Alambanas in the shape of damsels, the glances etc.; and the first part of the sixth again deals with Rasa. The rest of the sixth, and the seventh treat of Sabdalamkara and are followed by the eighth speaking of Arthalankara. Chapter 345 describes Ubhayalankara, chapter 346, Gunas and the last chapter (347), Dosas. Vrtti is Cesta and Pravrtti is Vesa or Aharya. Riti is Vacana or speech.' Says Rajasekhara, and following him Bhoja also in his Sr. Pra.: tatra vesavinyasakramah pravrttih, vilasavinyasakramah vrttih, vinyasakramah ritih | ( [Kavyamala, N. S. Press, Bombay], p. 9) vacana Vrtti is dramatic action as such and one of its varieties is Bharati which however, being speech, is the Vacikabhinaya which is examined from the point of view of various Ritis. Aharya is invariably Nepathya, dress and make-up. No doubt, it forms a part of Vrtti, even as Riti forms a part of Vrtti. We find the graceful dress included in the definition of the Kaisikivrtti etc. In graceful action, graceful dress also is comprehended. Therefore Vrtti and Pravrtti are intimately related, as Shakespeare also says, ' apparel oft proclaims the man.' As the Visnudharmottara says, Pravrttis are ² | Aharya which is dress, is Pravrtti-Vesavinyasa. I See my article on Vrttis in JOR., Madras, vol. VI, part 4 ; vol. VII, parts 1 and 2. * Vide JOR., Madras, vol. VII, part. I, pp. 49-51.

These three, Riti, Vrtti and Pravrtti (speech, action and dress) are all Anubhavas, and are classed as gasfolgia: by Bhoja in chapter XVII of his Srngara Prakasa.' Singabhupala also follows Bhoja and says in his RAS., I, p. 64: buddhayarambhastatha proktah ritivrttipravrttayah | Following Bhoja's Sr. Pra. the Purana also considers the three, Riti, Vrtti and Pravrtti as Buddhyarambhanubhava : bodhaya esa vyaparah ? su ( sa ) buddharambha isyate | tasya bhedah trayah, te ca ritivrttipravrttayah || ( 339 / 53, 54.) The Buddhyarambhas, Riti, Vrtti and Pravrtti, form the subject-matter of the next chapter (ch. 340). In ch. 339, sls. 44-45 begins the treatment of Anubhavas: mano- baga-buddhi-vapusam smrticchadvesayatnatah | arambha eva vidusam anubhava iti smrtah || | Sls. 46-50 describe ATHIZI:, s/ls. 51-53 (first half), l. 53 (second half), 54 and ch. 340 I: and ch. 341, as is said in its first verse, describe describes FHI: | These are all Anubhavas and are called Abhinayas. From the point of view of the four kinds of Abhinaya, these are re-distributed and the study of Anubhavas closes with sl. 2 of ch. 342, after which some general aspects of Rasa are taken up. Vagarambha is Vacika; Mana- arambha is Sattvika (Sattva ==manas; anupahatam hi manah sattvamucyate says Bhoja in his Sr. Pra., ch. XI); Sarirarambha is Angika I pp. 208-236, vol. III, Mad. MS.; vide also Saradatanaya who follows Bhoja. Bha. Pra., pp. 11-12. *See Bhoja. SKA., V, SI. 40, p. 477.

and Pravrtti which is one of the three Buddhyarambhas is Aharya.' What about the other two Buddhyarambhas, Riti and Vrtti? Vrtti pertains to all action. Its first variety called Bharati and the Buddhyarambha called Riti are Vacikabhinaya and are to be taken along with the Vagarambhas, Alapa etc. According to the traditional meanings, Arabhati will be Angikabhinaya, Sattvati Vrtti will be Sattvikabhinaya and Kaisiki Vrtti will be all Abhinaya that is graceful. But to adopt the more correct meanings of these concepts, as explained in my paper on the Vrttis in the JOR., Sattvati will go with Sattvikabhinaya and Arabhati and Kaisiki will go with all Abhinayas, forceful and graceful respectively. Chapter 340 of the Purana is called Ritinirupana. Correctly speaking, it must be called buddhayarambhanirupanam or ritivrtti- pravrttinirupanam ; for, in the foregoing chapter, manaarambha and have been dealt with and its succeeding chapter (ch. 341) treats of. As it is, it treats of not only Ritis but of Vrttis also. This is the smallest chapter in the whole section and of its eleven verses, the first four are concerned with Ritis. Then begins a treatment of Vrttis. Sl. 5 enumerates the four Vrttis; sl. 6 defines Bharati and up to the first 1 eazanfgeanfeasi amefat arfaa, afaa: 1 sarirarambha sraharyo buddhayarambhapravrttayah || 342/2 This verse does not mean that Riti, Vrtti and Pravrtti, which are the three Buddhyarambhas, are Aharya. How can speech and action be two varieties of dress? One cannot contend that the Purana has a new theory to expound viz., dress means speech and action also. The last part of the verse really means that Pravrtti, which is one of the Buddhyarambhas, is the Aharyabhinaya (buddhayarambhesu trisu, ya trtiya pravrttiriti sa aharyabhinayah | ) Even such a clumsy text as the Agni Purana cannot mistake Aharya as any thing but dress. See also IHQ, X, no. 4, 1934, pp. 767-779, where I have reconstructed and interpreted many of the passages in this section of the Purana.

half of sl. 10, we have the varieties of Bharati (VITATATI:) described. Then there are two lines, one giving a short definition of Arabhati and the other abruptly stopping in the midst of the enumeration of the varieties of Arabhati. There still remains to be treated the fourth variety of Arabhati, the whole of the Kaisiki and the Sattvati Vrttis and the whole subject of Pravrttis. Therefore I think that the text of the chapter as printed in the Anandasrama Series, is incomplete. The whole of the Alankara Sastra is included in the Vacikabhinaya section of the Natya Sastra which is one fourth of drama, being the Bharati Vrtti. This Bharati Vrtti is studied and analysed into Laksanas, Gunas and Alamkaras. Closely akin to these is a composite study of the Bharati Vrtti in terms of Ritis or Margas, which was attempted at a later time. Still another study of the Bharati Vrtti is what Bharata gives us in chapter XXIV as the twelve 'Margas" of the Vacikabhinaya. The expression in the shape of Alapa, Vilapa etc. can itself be examined from the point of view of Laksanas and Alankaras and of the Ritis of Dandin. There is little difference between the text of a drama and a Kavya. The Vacikabhinaya portion is often treated as Kavya. All 1 ' ete margastu nirdistah yathabhavarasanvitah | kavyavastusu nirdistah dvadasabhinayatmikah || alapasca pralapasca 1 ga omni fe fadur arganfuauifani: 11 N. S. XXIV. 49-57. Here, if one wants verbal identity in the shape of the word Marga, one can have it, but much value is not attached to this fact that Vilapa etc. are also called Margas. Anyway such occurrence of the word Marga in Bharata is to be noted by one interested in the history of the word Marga, as it is applied as a synonym of Riti. 12

Kavya is drama of the Bharati Vrtti. That and the realm of fi: are identical and that the Ritis as pointed out in a study of a drama's Vacikabhinaya are identical with the Ritis pointed out in a Kavya will be plain on a persual of Singabhupala's treatment of Ritis in his R.Alankarasarvasva o Ruyyaka 鈿玱n ' 6 The question of what things constitute the differentia of the various Ritis, I have tackled in the main chapter Riti above and in the chapter on the History of Gunas in my work on Bhoja's Srngaraprakasa. Also, in the third instalment of my paper on Vrttis in the J.O.R., VII. 2, I have pointed out some facts which are relevant to this discussion. An analysis of Dandin's Gunas shows the existence in them of such things as Alankara, Samasa and metaphorical usage. According to Rudrata the Ritis are Samasa Jatis. Vaidarbhi is the collocation with no compound while the compounded collocation, according to the number of words compounded, produces the Pancali, the Lativa or the Gaudi. Another line of thought shows us the development of Ritis as Anuprasa Jatis, varieties of Vrttyanuprasa. These appear in Bhamaha, are clearly formulated in Udbhata's Kavyalankara-sara-sangraha, and are called merely Vrttis by Ananda. By the time we reach Mammata, the three Vrttyanuprasa Jatis become identical with the three Ritis, viz., Vaidarbhi, Pancali and Gaudi. This line of enquiry lights up the early history of Riti and in Dandin's treatment of it we find all these ideas. For, what is Dandin's Samadhi Guna, if it is not metaphorical usage? What is Ojas, if it is not the Samasa on the basis of which Rudrata defines the Ritis? Again, what is the first Sabda variety of Dandin's Madhurya except the sweetness born of Anuprasa, on the basis of which Sabdalamkara, three Vrttis are born and which eventually get identified with the three Ritis? (Dandin, I, 51-58.) As a matter of fact, the subject of Anuprasa is

dealt with by Dandin only in chapter I as comprehended in his Madhurya Guna of one variety pertaining to Sabda (for, of the other Madhurya of Agramyta, we have the two subdivisions of Sabda and Artha) and not in the chapter on Sabdalankara, a fact which has misled Mr. K. S. Ramaswamy Sastri to say that Anuprasa Sabdalamkara is absent from Dandin. Even Yamaka is touched here by Dandin but is left out for special treatment in the Sabdalankara section. And what is this Sabda Madhurya of Dandin, viz. Anuprasa, except Sabdalankara? When we come to Vamana, we have even Rasa coming in as constituting the Guna of Kanti of Artha, in the study of Riti. Therefore it cannot be said simply and naively that some absolute entity called Guna, which is quite different from Alankara etc. defines Riti in Dandin and that other writers and their definitions of Ritis in other words and other ways differ wholly from Dandin's. The Agni Purana borrows its definitions of the Ritis from Bhoja, (chapter XVII, on Anubhavas, in the Sr. Pra.), where Bhoja himself borrows from Rajasekhara. Later than these, Bahurupa Misra, in his commentary on the Dasarupaka, (Mad. MS.) reproduces these definitions of the Ritis with the mention of Bhoja's name. The Kavya Mimamsa says: anuprasavad yogavrttiparamparagarbha jagada 1. --vat samasavad -sa gaudiya ritih | (p. S.) 2. - isadasamasam isadanuprasam, upacaragarbha ca jagadha啶� sa pancali ritih | (p. 9. ) 3. - yat sthananuprasavad, asamasam, yogavrttigarbha ca jagada -yat--- sa vaidarbhi ritih | (p. 9. ) 1 See his Sanskrit Introduction to his edition of Udbhata's Kavyalankara-sara-sangraha with Tilaka's commentary in the [Gaekwar Oriental Series, Baroda] series (p. 19).

To these three, Bhoja adds the fourth Latiya which the Purana takes. In the above definitions of the three Ritis, three factors count-Samasa, Anuprasa and Yaugika or Aupacarikaprayoga. Of these, Samasa (of Rudrata's Ritis) is the Guna of Ojas; Anuprasa (of the Vrttis which are finally identified with the three Ritis) is one of the two kinds of of Dandin; and Upacara mentioned by Rajasekhara is Dandin's Samadhi, metaphorical expression, personification etc. There is however no trace of Yoga Vrtti as a part of the laksana of Riti in Dandin. Dandin has also said that Vaidarbhi has a kind of Anuprasa, has something like Pag, for it is a discriminate employer of such varieties as , and that it is Gaudi which loves Anuprasa as such and Samasa as such. The Vaidarbhi of Dandin also has little or no compound. This Bhoja follows in the Anubhava-chapter in his Sr. Pra. (chapter XVII) and the Agni Purana borrows from him when it says that 1. Pancali is upacarayuta, mrdri and hrasvavigraha, 2. Gaudiya is dirghavigraha and anavasthitasandarbha, 3. Vaidarbhi is upacarairna bahubhih yuta or upacaravivarjita .. natikomalasandarbha and muktavigraha, and 4. Latiya is anatibhuyaupacarata, sphutasandarbha and nativigraha (Sls. 2-4.)' I In the definition of the Latiya, the following line is printed wrongly : parityakta'bhibhuyo'pi rupacarairudahrta | It must be thus corrected: parityaktatibhuyobhirupacarairudahrta | and it means that the Latiya does not have too much of metaphorical expression.

Bhoja's definitions are as follows : 181 1. yad anatidirghasamasam anatisphutabandham, upacaravrttimat, padanuprasaprayam, yogarudhimad vacah sa pancali | 2. yad atidirghasamasam, parisphutabandham, natyupacaravrttimat, padanu- prasayoga, yogarudhiparamparagarbha vacah, sa gaudiya | 3. yad asamastam, atisukumarabandham, anupacaravrttimat, stha- nanuprasayogi, yogavrttimad vacah, sa vaidarbhi | | 4. + yad isatsamastam anatisukumarabandham, natyupacaravad, yanuprasayogi, rudimad vacah, sa latiya | lati Sy, Pra. Mad. MS., chapter XVII, vol. III, pp. 212-6. The word Vigraha in the Agni Purana stands for Samasa; for, it is for a Samasta word that we give Vigraha. Thus the characteristics which are given in the definitions of Ritis in Rajasekhara, Bhoja and the Agni Purana are not wholly unrelated to Gunas and these Gunas themselves are not certain absolute entities standing apart. The Upacara is Dandin's Samadhi and the feature of Vigraha or Samasa comes under Dandin's Ojas. Therefore it cannot be held that "the Ritis in the Purana have not been distinguished from one another by the presence or absence of certain poctic excellences (Gunas)."' 1 See also my Srigara Prakas/a, vol. I, pt. I, pp. 198-9.