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eur is Präkrta Rasa and it is Apraksta Rasa when it is experienced by divine characters like Srikrina etc. This view of the author that the dominant feeling experineced by original characters is Prákrata Rasa goes against even the belief of the author. The author gives here contradictory statements. In the end Kavi Karņapūra enters into details regarding the nature, equipment and varieties of different Rasas especially Śrngära Rasa which is treated with its varying emotional moods and situations. According to rank, character, circumstances, age, mood etc. all conceivable types of hero and heroine and their adjuncts are discussed. Sệngāra is first divided into Sambhoga (love in union) and Vipralambha (love in sepration). Then the four types of hero, the assistants of hero, his eight special excellances and so on are mentioned. The heroine also is classified into many divisions and subdivisions with reference to her relation with the hero as his wife (sviyā) or belonging to an other (Parakiya) and common to all (Veśyā). Sviya heroine is further divided according to her maturity in age and love into Mugdā, Madhyā and so on. Heroine is further classified in accordance with her situation or condition in relation to her lover having absolute control over her lover (Svādhinapatikā) or deceived by her lover (vipralabdhā) and so on. Gestures, moods, different shades of emotions are also discussed by our author on the pattern intiated by mediaval writers like Dháñjaya Viśvanātha etc.
The VIth Kirana takes up the issue of the excllances (Gunas) in poetry. In determining the nature and vāriety of Guñas our author being prodvani writer, sincerely follows the line initiated and established by Anandavardhan, Abhinavagupta and Mammața. The Guņas belongs in reality to Rasa. They are the qualities of Rasa and not of Sabda and Arthas held by Dandin and Vamana. As the qualities like heroism benevolence etc. reside permanently in the hero, the Gunas in the same manner are inherent qualities of the Rasa. The śabda and artha are not the locus of the Guņas in the strictest sense of the term. On the other hand Sabda and Artha simply reveal or manifest tha Guņas residing in the Rasa. Nāda or varnas are not the abode of the Gunas can be proved that in erotic poetry the harsh sounds like tha, șa, na etc donot exhibit the Oja Gūna because the heroic sentiment (Vira Rasa) is absent there. Thus Gunas reside in intimate relation in the Rasa without which they could not exist and existing with Rasa.they only serve to heighten the foeling of Rasa. Kavikarnapura follows Mammaţa, blindly as much as he repudiates
