Our author the deals with Alankāras relating to the Kāvyās of the Sravya type. Following Dandin he quotes all the 35 Alankāras and adds 8 more Pratmānalānkāras, namely, प्रत्यक्षानुमानशब्दोपमानार्थापस्यभावासम्भवैतिह्माः. Regarding the text of this chapter, he quoted some definitions and examples from Dandin. He has quoted as examples, stanzas from various texts of eminent poets. CHAPTER 6. This chapter mainly deals with the Dosas. Our author mentions 15 Padadosas, 23 Vākyadosas, and 22 Arthadosas. He has furnished a list of Poetical Conventions and some exceptions to the above dosas in a very simple manner. He has in this chapter, paid keen attention to pointing out the dosas in detail. Visvanatha has given a few more dosas in his Sahitya Darpana. Most of the examples given for these dosas in Kavya Prakasa of Mammata agree with those of our author.
CHAPTER 7. Amrtānanda deals with Dramaturgy in this chapter. There is not much difference in the text of this chapter and that of the Dasarupaka to some extent with slight modifications here and there, giving examples of his own or from texts of other authors. He also quotes some examples form texts now no longer extant, which reveal his scholarship.
CHAPTER 8. This chapter deals with Vrttis such as Kaisiki etc. which are more prominent in dramas as Rasa is better felt in them than in Sravya Kavyas. It is only with such view that Amrtananda included Rasa in Alankāras such as Preyas, Urjasvi, and Rasavat, following the footsteps of Bhamaha and Dandin. In this chapter be mentions the place of each Vrtti the various types of Dramatic compositions. He has copied the matter from Dasarupaka (the latter portion of the second prakasa.)
CHAPTER 9 . Our author deals with the varieties of Dramatic Compositions Rupakas and Uparupakas in this
