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R莫TI 139 Gu峁嘺s are given by Dan岣峣n himself as excellences of both
惭腻谤驳补蝉.'
Dandin mentions the ten Gu峁嘺s as the life not of poetry
as such, but of the style called Vaidarbhi. If, on the basis of
Dandin's formulation of Gu峁嘺s, one says that he belongs to
the Guna school, one can as well say that Da峁囜笉in belongs to
the R墨ti school. Really Da峁囜笉in belongs to the Ala峁僰膩ra
school, much more than Bh膩maha. For, to Da峁囜笉in, Gu峁嘺s,
Rasas, Sandhyanga, V峁泃tyanga, Lak峁�a峁嘺,鈥攁ll are Ala峁僰膩ra.
Apart from the word poetry, there is only one word for
Dandin, viz., Ala峁僰膩ra. The full development of Da峁囜笉in, as
seen in two directions in Bhoja and
well as of Bh膩maha, is
Kuntaka.
2 In poetic expression there is always a finally analysable
scheme of two definite styles, the simple and the grandi-
loquent, the plain and the elevated, the unadorned and the
figurative. In the former, natural description of emotion,
men and things is given with minimum artificial decoration.
Svabh膩vokti and Rasokti, to borrow Bhoja's classification,
predominate in it. Colour, ornament,-Vakrokti dominates
the latter. These two correspond to Da峁囜笉in's two styles;
only the Gau岣嵞� is Vakrokti run riot. Kuntaka's Sukum膩ra
M盲rga, which emphasises Vakrokti less, belongs to the former
class. Kuntaka's Vicitra m膩rga marks an emphasis on the
Vaicitrya that Vakrokti imparts. Aristotle also gives only
two styles, the good and the bad, the good being so by any
sort of virtue, i.e., good not only because of virtues of simpli-
city, elegance etc., but by virtues of vigour etc., also.
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1 His bad
Dr. S. K. De wrongly says in his Skr. Poetics II, p. 100 :
The ten Gu峁嘺s are non-existent in the Gauda."
2 * See my Bhoja's S'rng膩ra Prak膩s'a, Vol. I. Part 1, p. 123;
Part 2, p. 417.