Concept of Guna/Dosa

 

INTRODUCTION

This theory examines literary compositions in terms of qualities (guna) and defects (dosa), both of form and meaning. From Bharat downwards every theorist has more or less, concerned himself with this aspect of compositions. But it is Dandin and subsequently, Udbhata who make guna/dosa the primary features, the locus of literariness.  

BHARATMUNI

Acarya Bharata does not treat the Guna-doctrine systematically and does not state categorically whether they belong to Sabda or Artha, or in what relation they stand in poetry. He states merely that ten Gunas are the mere negation of dosa ;but this cannot be a general definition of Gunas.

 1. Ojas:  vigour or brilliance of long compounds;

2. Prasada:  clarity and lucidity;

3. Shlesha:  well knit composition skillfully employing many shades of meanings;

4. Samata:  evenness of sound within a line;

5. Samadhi:  ambivalence through the use of metaphors;

6. Madhurya:  sweetness in the refinement of expression;

7. Sukamarata: soft and delicate;

8. Udaratva:   liveliness;

9. Arthavyakti: directness avoiding obscure words, pun etc; and,

10. Kanti: glow or luminous elegant turns of phrases or grace

BHAMAHA

In the begining of the second chapter Bhamaha deals with ‘Gunas’ with the help of which the kavya is beautified. He gives a few guidelines for better composition. Instead of the ten gunas enumerated in the ‘Natyashastra’ he accepts only three

·         Madhurya

·         Prasada                      

·         ojas

 

Madhurya:

According to Bhamaha Sweetness means sweetness of sound and simplicity i.e. freedom from complexity of meaning.

Prasada:

According to Bhamaha clearness means such clarity of meaning that from the learned to the child, all are equally able to grasp it.

Ojas:

According to Bhamaha powerfulness means the use of compounds.

Bhamaha, who was also a logician, concerns himself with defects. In two chapters (Kavyalamkara), he enumerates and discusses the general defects of expression and form and the defects springing from failure of logical thinking.

VAMANA

Vamana  has said that Kavya is an organic whole composed of elements where Guna (quality or poetic excellence) and Alamkara (the principle of beauty) are also vital to it. Thus, Kavya has two dimensions: the substance (Vastu) of which it’s made (words and meaning); and the value of beauty for which it is made (Guna and Alamkara). The merit of Vamana’s theory lies in coordinating this principle with other elements of Kavya. According to Vamana  the special features that create beauty (shobha) of Kavya are the Gunas. As he says

Kavya-shobhayah kartaro dharmah Gunah

(Guna) is highly essential (nitya) for a Kavya (Purve niyatah). According to him there can be no luster in the Kavya without Guna

pūrve guṇā nityāḥ tair vina kavya sobha anupapatteh-

Thus, Vamana assigns greater importance to the notion of Guna or stylistic element or poetic excellence; and, Alamkara comes next.  In the process, Vamana attempted to clarify the distinction between Guna and Alamkara. Vamana retained the ten Gunas enumerated by Bharatmuni. He modified their names, and also increased the number of Gunas to twenty. 

While retaining the ten traditional Gunas, Vamana created  two sets of the same ten Gunas under two broad heads: Sabda-Gunas (qualities relating to words) and Artha-gunas (qualities relating to sense or meaning).  These two classifications are sometimes referred to as the subtle (Artha Sarira) and gross (Sabda Sarira) bodies of Kavya. 

That again goes back to the two basic concerns of the Sanskrit Poetics -Sabda and Artha – the word and its meaning; the first is about how the word is treated in the text, and the other is about the shades or the layers of meaning that the word is capable of revealing. Both, Sabda and Artha brighten the beauty (Kavya shobha) and enhance the quality of Kavya –

 khalu śabdā-arthayor dharmāḥ kāvya śobhāṃ kurvanti te guṇāḥ.

Thus, Vamana (Kavyalamkarasutra) also concerns himself with ideal qualities of literary compositions and the short comings. But, for Vamana ,dosa are restricted to the figures of speech.

DANDIN

Dandin takes a more wholistic view and assimilates the concepts of rasa and riti in his connection of guna and dosa. In this sense, in Dandin, guna and dosa are primary attributes of literary compositions. In chapter 1 (Kavyadarsa) he discusses various qualities as attributes of riti and riti for him is a method of expressing and evoking rasa, states of being. In the third chapter he discusses,

·         Logical failures

·         Linguistic failures

·         Failures of accurate reference to facts of life and world (loka)

·         Failure in communicating the described meanings

Dandin, with a remarkable insight then added that through sheer originality and poetic power, any of these defects may be transformed into an excellence.

After Dandin, Udbhata tried to correlate guna/dosa with both alamkara and riti and claimed that excellences and defects are not independent features which can be distinguished in isolation- in fact, guna and dosa are properties  of figural composition.

CONCLUSION

In some thories , it is mentioned that Nir-doshatva or faultlessness is itself a Guna. Thus Gunas and Doshas are not absolute entities. Their merits or defects are relative; and, each, in its turn, enhances or diminishes the beauty of the composition depending on the context in which it is placed.