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Rati gradually attains perfection in Mahārāga as the juice of sugarcane passing from its raw stage āma to Guda and from Guļa to Sarkarā ultimately reaches perfection in crystal Sugar. Kavi Karņapūra illustrates this point by giving a quotation :
यथेषणां रसो ह्यामः पाकात् पाकान्तरैर्गुडः । गुडोsपि पाकतः पाके चरमे स्यात् सितोपला । तथा रतिर्भावपूर्वरागरागाख्यपाकतः । अनुरागः स प्रणयप्रेमभ्यां पाकमागतः ।
FETTET I HERMISTudil (p. 128) Rati in accordance with the change of condition assumes various forms (I) Priti (II) Maitri (III) Souhārda (vi) Bhāva.
Kavikarņapūra believes that Rasa is really one only because it consists of nothing else but pure consciousness and bliss. But due to the different super-imposed conditions in the form of different Sthāyi Bhāvas and their accessories it assumes many forms- Vira, Hāsya, Bībhats etc. The author probably under the influence of Nārāyāna the great grand father of Visvanātha regards wonder (camatkāra) the most prevalent feeling in the relish of all Rasas. Be it a love between Srikrsna and Radhā or a fight between Rāma and Rāvaņa, in the aesthetic experience of ail the Rasas it is the feeling of wonder which pervades and sustains throughout. Says he :
रसे सारश्चमत्कारो यं विना न रसो रसः ।
Jag harcarca iacuat 27: 11 (p. 137) Why Adbhuta is predominating, the author has an answer for it. In the enjoyment of Rasa, one relishes ones' Vâsanā which causes, the mind to expand. The expansion of mind brings the feeling of wonder. Thus it is wonder (Camatkāra) which is present whenever Rasa is relished. Contrary to the tradition, the author takes the heroic sentiment for discussion first and love (śrngāra) in the end. He treats all the eight Rasas laid down by Bharata illustrating their Vibhāvas, Anubhāvas, Sāmcāris respectively. He accepts śānta Rasa also and admits Nirveda as its Sthayi Bhāva. The author advances an argument for the acceptance of Santa Rasa that in the experience of Sānta the expansion of mind in the form of extinction of Tịşņā is felt at highest degree in comparison with other Rasas. He classifies Rasa into two new categories --Aprākrta and Prākrta. The dominant feelings like love, pathos etc when experienced by original characters and the conniss
