necessary and valuable information for various texts on the topics needed to make the work a Sarvlankārasaigraha. Not going into the details and discussious on the topics, be has furnished very valuable information dividing the subject matter into the following eleven chapters. CHAPTER 1 This begins with a few introductory lines to make the make the readers acquainted with the dedicatee Manva Bhupa and his request for the composition of this work Then Amrtānanda deals with the definition of kāvya' which is closer to Mammata's definition, the qualities good and bad of all the letters of the Sanskrit Alphabet, and of all the ganas of Prosody. Works like Chandassra have dealt with such topics but not so thoroughly as was done here. A knowledge of the qualities of the letters a11d ganas is quite essential for a good poet and so richly deserves description in a work of Alamkara Sastra. CHAPTER 2. This deals with the definitions of various types of poets classified under different varieties according to their tastes in Literary Compositions, The author has clas sified them into seven types as १ . रौचिक: २. वाचिकः ३. आर्थः ४, शिल्पिकः ५. मार्दवानुग: ६. विवेकी. ७. भूषणार्थी
'Then he treats of words and their connotation according to the context, thereby explaining the three Vrttis (शब्द तपः) and Saktigrāhakas. This subject has been dealt with in later text like the Kavyaprakasa , Sahitya Darpana and Rasaganga- dhara and in texts prior to his period such as the Vakya- padiya of Bhartrhari. CHAPTER 3. Amrtānanda treats in this chapter of Rasa and Bhāva and their varieties following his predecessors and explains that the Sthāyi Bhāvas develop into Rasas just as butter melts and takes the form of ghee, a very practical example. He has not attached any importance to Rasa and 1. तान्येव (वाक्यानि) कविक्लप्तानि सार्थानि सरसानि च । सालङ्काराणि निर्दोषाण्याहु. काव्वं मनीविणः ॥
