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be simply an arrangement and collocation of letters moest to the Rasa. Our author admits 4 Ritis in place of commonly accepted three Rītis. They are Vaidarbhi, Goudi, Pancali and Lati. In accepting Läti as the fourth Rīti Kavi Karnapura is influened by Bhoja who first of all speaks of this Riti. Incidently while treating Rītis our author touches the concept of Paka dealt with by Vāmana and Rajasekhara. Vamana says that the kavya Pāka is the maturity of poetry as a whole and consists of dear and complete presence of all Gunas. Our author refers two Pākas only out which the Rasala Pāka is helpful to nourish the Vaidarbhi Rīti and not the Vartakupāka.
The Xth Kirana treats the topic of poetic blemish (Dosa). With the advent of Dhvani system the Dosas like Gunas came to be related to the Rasa. They are no longer absolute entitities but attributes who prevent or hinder the relish of Rasa. From the time of AnandaVardhana Dosas are governed by the theory of propriety (Aucitya) The poetic blemishes like Śrutikatu etc are defects because they are inappropriate and diminish the value of work of art. Mammaţa the chief exponent of Dhvani School in his Kavya Prakasa set the standard for Doșas which was mostly followed by later rhetoricions. Kavi Karṇapūra defines Dosa as- at: on the pattern of Dhvani School. Dosa is Dosa because it detracts the relesh of the Rasa. Dosa actually belongs to the Rasa. But in may belong to Sabda and Artha also for they are the medium through which the Rasa is experienced. Hence Dosas can be first classified into Sabda, Artha and Rasa. Sabda Dosa can further be divided into Padāṁśa and Vakya. Thus they are five number-(i) Pada (ii) Padāmsa (iii) Vākya (iv) Artha (v) Rasa. Dosas can further be divided into Nitya (Permanent) and Anitya (occasional) depend ing upon the fact of hindrence in the aesthetic relish permanently or occasionally. When Dosas donot hinder the feeling of the Rasa they are no longer Dosas. Thus the concept and division of Doșa is centred round the concept of Rasa and Dhvani system and Kavi Karnapura being the strong advocate of Rasa defines and classifies Dosas on the lines set out by Dhvani Vādins especially Mammata.
From the resume of the chapterwise contents of the Alamkara Kaustubha it appears that Kavi Karṇapūra like Hemachandra, Vidyadhara, Vidyanath etc. is basically a derivative writer who followed in main the most prevalent Rasa Dhvani system and
