has included it in Alankāra like his predecessors Bhāmaha and Dandin. He dealt with all the varieties of Rasa, giving illustrations and admits the theory that Rasa resides or rests in spectators alone (सामाजिकनि:). The former writers on Rasa viewed it to be produced by Nātya and thereby to Dramatic compositions only. Our author following. Rudrata and Rudrabhatta holds that Rasa is produced by other poetic compositions also and quotes the following in support of his view
श्रूयमार्णीभावाघैः काठयेषु रससम्भवः । इयमांन: सदस्यानां नाटकेषु रसोदयः ॥ Page 9 Alankara Sangraha.
Anandavardhana who upholds the Dhvani theory inclu- des Rasa in Dhvani and refutes the theory of Bhamaha and Dhudin. Our author nowhere mentions in the text about Dhvani a predominant factor is poetics, by which it is suggested that he right have survived in the pre-Dhvani period, or if in the Dhvani period, it must be before it had taken a strong footing. CHAPTER: 4. This chapter deals with the types of heroes, heroines and their qualities . Certain portions are taken verbatim from ancient texts for the purpose. While giving examples, our author very often quotes stanzas from Amarukam, wherever possible and from many other works, exhibiting his vast study of various texts of great authors Much of the portion of Dasarupaka has been adopted with slight modifications in this Chapter.
CHAPTER 5 . Our author deals with Ritis and Alankaras in this chapter. Following Vamana Amrtānanda holds that the soul of poetry is Ritis, and explains the ten gunas (श्लेषादयः ) which constitute the four Ritis, Vamana's predecessors have stated only two Ritis while vānama introduced one more, the Panchali. Rudrata introduced Lati and numbered the Ritis as four. Amrtananda admits the view of Rudrata and expresses four Ritis only. Bhoja enumerates six Ritis, adding Avanti and Magadhi , to the four Rudrata.
