Indian Aesthetics – Semester 4

Topics to prepare for exams

1. Development of theories of –
- Rasa
- Dhvani
- Bhava
- Alankar
- Auchitya
- Riti
- Guna Dosh
- Vyanjana

 NOTES FROM CLASS DICTATION SHOULD BE REFERRED

 Further below are extra notes to add on to explanation/answers.
 Note: The Second part of the syllabus i.e. – “Inter-relation of Visual & Performing
arts” is cancelled for the exam syllabus this time, since the college is closed in lieu of
Corona Virus epidemic
 As some of the topics are repetition from the previous semester, so the notes (class +
extra) should be referred for studying.
INTRODUCTION 
There cannot be any poetry without words. Indian Poetics evolved out of dramaturgy. The
poetry invokes emotional response; and that is followed by the understanding of its emotive
language and the appreciation by the reader of the true import of the poet.
The success of a good Kavya involves three aspects:-
 Pratibha ( the poet’s creative inspiration)
 Body of the Kavya (its form by way of word and meaning)
 Rasa (the aesthetic effect)
 Bharat’s  Natyasastra is the earliest known treatise on Poetics and dramaturgy. His
Natyasastra mentions four Alamkaras( Poetic figure), ten Gunas (excellences), ten Dosas
(defects) and thirty six Laksanas (characteristics) of poetic composition.
In Indian poetics, scholars had different viewpoints, so they formed different sampradayas
(school of thought). The chief schools are:-
 Alamkara (poetic figure)
 Rasa (aesthetic pleasure)
 Riti (style)
 Guna (attribute)
 Dhvani (suggestion)
 Vakrokti (obliquity)
 Aucitya (propriety)

DHVANI SCHOOL OF POETRY

It is regarded as a “meaning school” which gives suggestion. That suggested sense is not
apprehended by mere knowledge of grammar and dictionary. It is only apprehended by the
knower of the poetic meaning, who knows how to recognize the essence of poetic meaning. 
The suggestive word, the suggested meaning, the power of suggestion; and their mutual
relationship are virtually the lifeblood of Indian poetics.
The word dhvani is used for:-
      i.     Conventional symbol- the articulate sound.
      ii.    Conventional meaning
     iii.   The power of word to convey the suggestive meaning
    iv.    The suggestive meaning
      v.     Poetic work containing the suggestive element.
Anandavardhana-“ Dhvanyaloka”
Dhvani school of poetry was formulated by Anandavardhana who wrote “Dhvanyaloka” in
the middle of the 9th century. It brought focus on the potential power of the word in a kavya.
Here, the word together with its literal sense forms the body of Kavya.
Anandavardhana  in Dhvanyalokam takes up three main types of implicit sense:-
        Vastu dhvani
        Alakaara dhvani
        Rasa dhvani
In Vastu dhvani some rare fact or idea is implied. In Alankaara dhvani some alankaara or
figure of speech is suggested. In Rasa dhvani rasa is evoked. Both Vastu dhvani and
Alankaara dhvani can be expressed by direct meaning or vakyaartha, by suggestion or
vyangyaartha. But the third variety of implicit sense of rasa dhvani can never be expressed in
the direct meaning of words.
In other words: it is not the direct literal and obvious meaning that is explicit in poetry, but it
is the suggested, indirect and emotive meaning that matters. The primary meaning can be
understood by all. But the suggested meaning is understood only by those who are gifted with
some imagination and a sort of intuition. The mere knowledge of word is not enough to
understand and enjoy the poetic import or the essence of the kavya. It needs intuition or
Pratibha.
Mammatacharya calls  Pratibha as:-
“nava-navaanvesha-shalini prajna”, Means the ever inventive and resourceful intellect.
Mammata seems to suggest that Anandavardhana graded the entire body of kavya into three
classes:-
  Dhvani kavya- The poetry that suggest as the true kavya, the best (uttam), where dhvani
the unspoken suggestive element is dominant
  Gunibhuta-kavya- well endowed descriptive poetry, as the middle where dhvani is
secondary to Alamkara, and serves as a decoration for the spoken or expressed meaning.
  Chitra-kavya- poetry that structured into various patterns or drawings.
Some dispute Mammata’s statement and point out that Anandavardhana did not say any such
things.
The Dhvanyaloka is divided into four chapters called Uddyotas. In the beginning of the first
Uddyota Anandavardhana summarizes the purpose of writing his book:
“Kavyastama dhvanir iti budhair yah samamnata- purvah.”
It means the soul of poetry has already been recognized, the theory of dhvani is the essence of
poetry. Anandavardhana has borrowed the term “dhvani” from the field of grammar.
Anandavardhana discusses all the factors connected to dhvani doctrine such as Alamkara,
Guna, Riti, etc. He assigns their true place in relation to rasa and dhvani.
 The technical term Sphota pertaining to dhvani of the grammarians has been employed by
the Rhetorecians in a slightly different sense.
The supporters of Dhvani theory maintain that the situation, the context, the speaker, the
words and their meanings all conjointly produce the suggestion.

There are three powers of words or three aspects of Dhvani

 Abhidha (denotation)
 Laksana ( implication)
 Vyanjana  ( suggestion)
According to Anandavardhana a word is not only endowed with the two powers of denotation
and implication but also that of suggestion.
 Abhidha is basic and other two saktis rest upon it. Abhidha may be defined as that power
of words which conveys the conventional meaning or the literal meaning of the expression.
 Laksana is the second power of the word is, it is indication power. It consists in the
external characteristics of the expression which are indicative of something deeper.
 Vyanjana is the third power which means what is suggestive.
We arrive at the suggested sense either through ‘Abhidha’ or ‘Laksana’. According to
vaiyaakaranaas sphota is vyangya or what is suggested.  In verbal expression ‘abhidha’ and
‘laksana’ form the nature of the condition and ‘Vyanjana’ or ‘dhvani’ is of nature of
contents. Abhidha and Laksana are ways and Vyanjana is the end.
The Dhvani theory, in all its minute details has five thousand, three hundred and fifty five
subdividions of suggestive poetry. Dhvani is what one overhears in good poetry, the meaning
that echo after a statement has been made. It is basically a semantic theory.
Indian rhetoricians have made a meticulous study of both the meaning and emotive context of
words. Words have at least two meanings, one literal meaning, the other suggested meaning
which is described as dhvani or the meaning that echoes.
Sphota is a distinct entity, by itself. It is a gradual process, the mind acquires progressively
greater and greater aptitude for receiving further glimpses; with the utterance of the last
sound unit the process comes to a close. Dhvani is so termed because it sounds, rings, or
reverberates because it is sphota. The idea of one thing indicating something else which it is
not is the distinguishing character of dhvani.
Anandavardhana, who was an advocate of rasa, was also the greatest exponent of Dhvani. He
concluded that rasa was expressed only through dhvani. His commentator Abhinavagupta
lays down that dhvani can be employed in the whole work or in just the meaning or only in a
word.
Vyanjana Meaning – A word (artha) has three functions; it signifies or denotes (abidha), it
indicates (lakshana – based on certain qualities of the object denoted, we may be reminded
of something else) and it suggest (vyanjana). That which is suggested, that goes beyond the
Mukyartha is vyanjana.
In poetry, each word does the function of Dhvani Vritti which activates the potential, hidden
meaning in each word. With vyanjanartha, each word transcends its literal meaning, acquires
an additional glow and a plurality of meanings emerge, opening up the poem for multiple
interpretations. As a result, Dhvani makes possibilities for portraying/presenting multiple
Bhavas and thereby invoke Rasa better.

-
 BHAVA AND RASA

In the Indian tradition, aesthetic experience is explained in terms of the concept of Rasa. Rasa
can be explained as the aesthetic relish of the emotional tone in the suitably cultivated
audience member. Bharata compiled the meaning of the multifaceted word Rasa into one
sentence.

‘rasyate anena iti rasaḥ’ i.e. that which is relished is Rasa.

Bhāva, literally, means ‘existence’ and ‘mental state’. In aesthetic contexts, it has been
translated as ‘feelings’, ‘psychological states’ and ‘emotions’. Bhāvas, in the context of
performance, are the emotions represented in the performance. According to the
Natyaśāstra, , the oldest surviving compendium on the knowledge of performing arts:
“Bhāvas are so called, because through Words, Gestures and Representation of the Sattva,
they infuse (bhāvayanti) the meaning of the play (into the spectators).”

According to the Natyaśāstra:

Vibhānubhāva vyabhicāri samyogada rasanispattih.
i.e. Sentiments (Rasa) is produced from a combination of Determinants (vibhāva),
Consequents (anubhāva) and Complementary Psychological States ( vyabhicāri bhāva).
The ‘vibhāvas’ or Determinants are the conditions and objects which give rise to the
emotions. For example, in Hamlet, the determinants of the emotions within the play are
Hamlet’s mother’s hasty remarriage to Claudius, the brother of her murdered husband and the
visit paid to Hamlet by the ghost of his murdered father, among others. These factors arouse
Hamlet’s suspicion against his uncle and mother.

The ‘anubhāvas’ include the performer’s gestures and other means to express the emotional
states. These may be involuntary such as sweating, shivering and trembling or voluntary such
as deliberate actions and gestures. Hamlet’s madness, pale countenance, unexpected
behaviour, irrelevant remarks in conversation, his accusation of his mother and killing of
Polonius are the consequents of the emotional state caused in him by the suspicions he
harbours about the murder of his father.

The ‘vyabhicāri bhāvas’ are the Complementary Psychological States which exist temporarily
in a performance but contribute to the overall emotional tone of the play. In Hamlet, Hamlet’s
fear of his father’s ghost, angry outburst at his mother, sarcastic attitude towards the king, his
feigned insanity, despair at the death of Ophelia are some of the fleeting emotions which
contribute to the major theme of the play. The Vyabhicāri Bhāvas are 32 in number.

The overarching emotional tone of the play is known as the ‘Sthayibhāva’ or Durable
Psychological State (permanent/dormant emotion/feeling present in one and all, only come
out when needed). The Natyaśāstra ascribes a kingly position to the Sthayibhāvas as ‘they
 have a large suit’ i.e. they have a larger sphere of influence that the bhāvas which come and
go (Vyabhicāri Bhāvas). For example, the Sthayibhāva inHamlet is that of Hamlet’s avenging
anger.

Thus, the transformation that precipitates aesthetic experience is the conversion of the
Sthayibhāva into Rasa by the addition of Vibhāvas (Determinants), Anubhāvas
(Consequents) and Vyabhicāri bhāvas (Complementary Psychological States).
Pramod Kale in his book “The Theatric Universe” explains that the Natyaśāstra is a practical
guide to effective communication addressed to the performer in theatre. He explains the
concept of Bhāvas and Rasa saying that Bhāva enables the performer to “recreate the images
contained in a dramatic text, so as to bring about the proper effect” and Rasa is the
“framework of rules and regulations, to explain and achieve an effective communication, a
rapport between the performers and the spectators. He gives us a table of the Sthayibhavas
(Constant Modes) and their corresponding Vibhāvas (Indicators) and Anubhāvas (Sensors).

Constant Modes Indicators Sensors

Pleasure (Rati) The season; decorating the body with
garlands; anointing it (with colours and
perfumes); ornaments; feasting; being in
beautiful house etc.
Mirth (Hāsya) Mimicking others’ actions; nonsensical
speech; forwardness; foolishness etc.
Smiling face; sweet talk; play
of the eyes and eyebrows;
sidelong glances etc.
Laughter and other
expressive emotions as
already mentioned.

Sorrow (Sokā) Separation from dear ones; loss of
wealth; execution; imprisonment and
other sad experiences etc.
Weeping profusely; moaning;
crying; loss of colour;
breaking of voice; weakness
of limbs; falling down on the
ground; lamentation;
screaming; deep sighing etc.

Wrath (Krodha) Manhandling; dragging; quarrel; debate; Dilation of nostrils and eyes;
antagonism etc. biting of lips; throbbing at
temples etc.
Vigour (Utsāha) High spirits; strength; courage; bravery Poise; courage; sacrifice;
etc. learning etc.
Fear (Bhaya) Offence against the king or teacher; a Hands and feet trembling;
view of wild beasts; deserted house, palpitation of the heart;
 forests, mountains, elephants; a stormy immobility; drying of the
day, dark night; hearing the cry of owls mouth and the tongue;
and other nocturnal beings; getting perspiration; shivering;
berated etc. seeking refuge; running;
getting dragged etc.
Disgust (Jugupsā) Hearing, seeing or telling of things The whole body drawing in;
unpleasant. face pinched; head jumping;
spitting.
Wonder (Vismaya) Illusions, delusions caused by magic and Widening the eyes; starting
supernatural powers; excellence of man’s without batting an eyelid;
art in painting, sculpture etc. raised eyebrows; hair-raising;
head shaking; saying ‘well
done’ etc.

- Vibhāvas (Indicators) are like reasons for Anubhāvas (Sensors) which are like the
physical reactions
The Natyaśāstra analogizes this relationship with the preparation of food. It states:
“Just as well-disposed persons, while eating food cooked with many kinds of spice, enjoy its
tastes, and attain pleasure and satisfaction, so the cultured people taste the Durable
Psychological States while they see them represented by an expression of the various
Psychological States with Words, Gestures and Sattva, and derive pleasure and satisfaction.”
J.A Honeywell states that
“(Rasa) is not an objective entity which exists independently of the experience as the object
experienced; the existence of Rasa and the experience of Rasa are identical.”

Thus, without an audience to discern Rasa from the anubhāvas of the performers, Rasa does
not exist. Similarly, without the performers or a performance, Rasa does not exist. For Rasa
to exist, there needs to be a source which transmits certain emotions and a receiver who will
receive and feel these emotions. The transmitter- receiver can be a theatrical performance and
its audience, a written poem and its reader, a piece of music and its listener or a painting and
someone who looks at it.

Theatre is a kind of mimesis of the world and thus Rasa, as the specific quality of theatre,
also derives from it, this special relationship. Theatre takes place in the world and the world
too has a presence in theatre. By imitating the actions of the world in their universality rather
than their actuality, theatre is often more ‘real’ than the real world.
Angelika Heckel states that:

“The essential trait of the theatrical performance is to be sought in the presence of the
situation, the sphere between the stage and the audience is the place of this presence.”
‘Abhinaya’ is the means of conveyance that uses the stage to establish this ‘between’ in a
theatrical performance. Abhinaya, however, cannot transport Rasa. Only when the
relationship between the stage and the audience is realized as an event, Rasa is realized, for
which there are requirements, also, on the part of the audience. This ‘between’ appears when
the audience grasps the ‘artha’ of the play through the ‘bhāva’ which is unfolded in the
performance.

Auchitya

- To use all the elements of poem which beautify the poem appropriately is called
auchitya. (to use all the elements of Indian aesthetics like Rasa, Alankar, Riti etc in
appropriate place in poetry is called Auchitya)
- Introduced in Auchitya-Vichar-Charcha
- Called theory of coordination or theory of propriety as it coordinates all the factors of
the Natyashastra
- To use all the elements of the poem which beautifies the poem in appropriate place is
called Auchitya.
- Comes from Hindi word ‘Uchit’, which means appropriate. To use Rasa, Alankar, Riti
etc in appropriate place in poetry is called Auchitya.
- According to Kshemendra, whatever is improper, detracts from Rasa, hence is to be
abandoned (an-uchit)
- Kshemendra was a Sanskrit poet of 11th c from Kashmir, a student of another very
famous poet Abhinavgupta.
- Born in a rich, cultured family which followed shaivism but he adopted Vaishnavism
when he grew up. He studied Vaishnavism in detail and started writing about it, for
e.g. he wrote about the 10 avatars of Vishnu (Dasavatara-chitra)
- He also wrote plays, descriptive poems, satirical novels, commentaries on other
literatures, but his most famous work was Auchitya vicharcharcha from 11 th c from
where the concept of Auchitya developed. The book talks about auchitya or propriety
as an essential to the sentiment depicted in a literary work. Apart from importance of
this concept, the work is rich in illustrations and contains valuable criticism of what
Kshemendra regards as literary flaws or defects.
- Interestingly this is the only theory which is accepted by all the poets without any
arguments.

The theory of propriety or appropriateness claims that in all aspects of literary composition,
there is the possibility of a perfect, the most appropriate choice - of a subject, of ideas, of
words, of devices. The concept of propriety with reference to custom, subject, character and
sentiment recurs in almost all theorists and is often discussed in association with figures of
speech, guna/dosa and ritis. It has been used for propriety in delineating bhavas according to
characters, and in the choice of margas (for example, in the use of compounds, etc.)
according to the speaker, content and type of literary composition. Kshemendra made
Aucitya the central element of literariness. He defines Aucitya as the property of an
expression (signifier) being an exact and appropriate analogue of the expressed (signified).

According to kshemendra, whatever is improper detracts from Rasa, hence is to be

abandoned. In his work acharya khsemendra points out that ‘the auchitya or propriety is the
soul of poetry and when any description oversteps its proper bounds it hurts the Rasa of the
poetry’. Nothing hinders Rasa as ‘un-auchitya’- inappropriateness. Auchitya is the greatest
secret of Rasa.

Kshemendra is called Kavya Coordinator since he pointed out all the factors from
natyashastra that should be coordinated; also he showed the path of how the kavya or the
poem should be correct in all aspects- be it social or moral (It should be acceptable and
maintaining the decoram and decency is important) he wanted to point out that there should
be a co-ordination or a balance between all the aspects of Kavya be it Rasa, Alankar etc. all
of these should be balanced and complement each other. And he specifically wrote and
mentioned about the importance of this perfect balance in relation to Rasa. Hence scholars
also call the theory of auchitya as the theory of coordination because it coordinates all the
factors of natyashastra.

‘Auchityam Rasa Siddasya Striram Kavyasya Jivitam’ –without auchitya, the poetry is
lifeless, though it possess embellishments like figure of speech or style- putting it in a proper
place they beautify the poem otherwise they all become blemishes.

In verses 8-10 of his book, Ksemedra enumerates the areas, locations or sites of literary
compositions where the concept of aucitya is pertinent: Pada (phrase), vakya (sentence),
prabandhartha (meaning in whole compositionj, guna (excellences, qualities), alamkara
poetic figure), rasa (state, of being), kuraka (casa ending), kriya (verb), linga (gender or
marking) vacana (number), visesana (qualification), upsarga (prefix), nipata (redundancies),
kala (time, tense), desa (country), kula (family), vrata (custom), tattva (truth), sattva (mherent
self), abhipriya (motive), svabhava (nature), Sara samgraha (essential properties), prdtibha
(inmate ability), avastha (condition,state) vicaka (thought), namn (name), asirvada
(blessings).

These are the situations or places he has listed that auchitya should be present, but apart from
these too he says that in every situation in a poetry there should be auchitya or propriety
without which the poem or the work of theatre would be imporper. It should be decent and
agreeable to all. It should follow a set protocol so that the person who is reading the poem or
the audience – should feel that same feeling as shown.

The importance of Kshemendra’s work is that not only he gives examples for what is an
auchitya or a proper work but also mentions examples of how inappropriate works would
look like (un-auchitya)

Auchitya ---- he gives an example from his own previous work (vinyavalli)

He comments on Bhima – calls him ‘god of death of kauravas, rod of death (dramatic
expression to show the strength of his arms and about the dreadful deeds of Bhima) – very
much suited the sentiment (Raudra Rasa)

Un-Auchitya ----- an example from another poet (RajaShekhara’s work)

Rajashekhara says that may the world rest in the arms of Duryodhana, which s like Stalk of
Lotus.

He compares very strong arms of a warrior who is known to have fought the most famous
battle of Mahabharata – is not a very appropriate comparison. (lotus=delicate, arm =pillar)

Guna and Dosha

Literal meanings
Guna – qualities of good writing
Doshas- flaws to be avoided

- We have already studied mention of Rasa and Alankar in Bharatmuni’s Natyashastra.

It also mentions many elements of Dramatics, Indian visual and performing art. It is a
book that deals with all applied topics.
- Apart from this it has a mention of 10 gunas (excellences), 10 dosas (defects) and 36
Lakshanas (characteristics) which are required for poetic compositions.
- Here in the reference of poetry/ kavya, guna means all the good qualities a kavya must
have and dosa means all the flaws or mistakes which must be avoided in a writing
- The theory of guna and dosa has been mentioned in many literary works (apart from
natyashastra). Interestingly guna and dosa are relative to contexts and different ages
and are rephrased differently by different theorists. While primarily discussed in the
context of literature, they stand on solid foundations for applicability of all art forms.
A work of art, in order to be successful, must avoid certain defects and display certain
positive qualities. This applies to fine arts as well as to the other art forms.
- Guna can also be described as Merit
- Dosa as Defect
- Bharatmuni mentioned 10 gunas. These gunas were later elaborated in detail by later
aestheticians, like Dandin devoted a section of the 1st chapter to the 10 gunas
Bharatmuni had mentioned earlier. Dandin segregated them into two sections
Shabda Guna – guna/qualities which are showcased through the words used.
Artha Guna – guna/qualities which are showcased through the meaning of the written
words/work
(Bharat had not discussed much on guna doctrine, he had just mentioned them. Nor
did he state whether they belonged to Shabd or Artha; he merely stated that 10 gunas
are the mere negation of dosa)
Dandin went on and said that gunas that make a kavya beautiful are called Alankar.
Guna implies to excellence or to special attribute seen or felt in a poetry.

Riti
 - Introduced by Acharya Vamana
- Acharya Vamana (later half of the 8th to early 9th century) was an Indian Rhetorician
(people who aim to inform, persuade or motivate a particular audience). He was a
thinker philosopher, aesthetician. He famous work Kavya-lankar sutra is considered
as the first attempt at evolving a philosophy of literary aesthetics. He regarded that
Riti is the Soul of Kavya.
- His philosophy –oriented investigation into the constitution and nature of a kavya
revealed certain strikingly new facts and treatment of its element were highly
imaginative and refreshingly original.
- Riti means style or method, mode of expression. According to Vamana this style or
method which an artist or poet uses to express himself in the formation of a kavya
constitutes the soul of poetry.
- Riti is the theory of language of literature. It is a theory ‘Vishista Pada-rachna’ – a
specific way to create, formulate or arrange, in clear indentified manner.
- Words used for Riti- Marga & Vrtti.
- Later Anandavardhan (9th c) distinguished these styles on the basis of the use of
particular kinds of compounds. Dandin uses the term Marga and talks about two kinds
of Margas. Mammata designated the different modes of Vrttis.
- Proper organisation of language is Riti. ‘Tareeka’ – ‘Kavya ko likhne ka tareeka’
- Words and phrases have to be properly selected and organised in poetry and this is
necessary for Rasas and Bhavas.
- Riti / Style of a work is also defined by its Gunas (excellence) as well. Every
writer/poet/artist has his/her style of writing or creating poetry. There is a sense of
particular diction or language which they choose to create their work. This makes
Riti. It is the language of the poetry and that is what Vamana focused on, according to
him this choice of language only makes a poetry or kavya soulful.
- Riti may be called diction, particularly when guna-dosha becomes part of the
discussion. But Riti is much more than just diction.
- Basically it is a theory that handles the psycho phonetic fitness of language for
speaking themes and sentiments, and therefore becomes a study of craftsmanship and
psychology of speech.
Vamana called the first section (Adhikarana) of his work as Sarira-adhikaranam – reflections
on the body of Kavya. After discussing the components of the Kavya-body, Vamana looks
into those aspects that cannot be reduced to physical elements. For Vamana, that formless,
indeterminate essence of Kavya is Riti.

Then, Vamana said; the essence of Kavya is Riti (Ritir Atma Kavyasya); just as everybody
has Atma, so does every Kavya has its Riti. And Riti is the very mode or the act of being
Kavya. Thus for Vamana, while Riti is the essence of Kavya, the Gunas are the essential
elements of the Riti. The explanation offered by Vamana meant that the verbal structure
having certain Gunas is the body of Kavya, while its essence (soul) is, Riti.
Riti represents for Vamana the particular structure of sounds (Vishishta-pada-rachna Ritihi)
combined with poetic excellence (Vishesho Gunatma). According to Vamana, Riti is the
going or the flowing together of the elements of a poem.

The language and its structural form lead us to the inner core of the poetry. And when the
language becomes style (Riti), it absorbs into itself all the other constituent elements of
poetry. It allows them, as also the poetic vision, to shine through it. Vamana, therefore,
accorded Riti a very high position by designating Riti as the soul of Kavya- Ritirnameyam
atma kavyasya – Riti is to the Kavya what Atman is to the Sarira (body). Here, it is explained
that in his definition of Riti, Pada-rachana represents the structure or the body while Riti is its
inner essence. Through this medium of Vishishta Pada Rachna the Gunas become manifest
and reveal the presence of Riti, the Atman.

Riti is a theory of language of literature. Though it was described for the first time in
Bhartmuni’s Natyasastra itself under the rubric of Vrtti. It is Vamana who developed it into a
theory as the theory of “Vishista Padracana” . Riti is a formation of or arrangement of marked
inflected constructions.
Two other words used for riti are Marga and Vrtti. Dandin uses the term Marga and talks of
two  Margas. Mammata designates the different modes as Vrttis.

In general sense, we all have same behaviour but we are thinking differently. In this creation
of poetry creator involved his characteristics or himself. In general way, we can say that -  
 “ Every writer has own style to write with own originality.” So, this Self- identification also
known as Riti.

 Riti correlate with Themes, Effect on the viewers, Sentiments.