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Poetry has been a very precious possession of the mankind from a very primitive period. Sanskrit kavyas were composed from as early a period as that of the Ramayana which marked the beginning of a more illustrations literary traditions. Even Rgveda, the earliest of all the extant literary compositions of the world, had a good amount of poetic element and even now claims a good degree of poetic appeal. Bharata was the profounder of rasa school. The most important factor in the dhvani theory is the vyanjana function of the words and meanings of the poetry. Bharata called the phenomenon of the suggestion of the Sthayibhava developing into a rasa is vyanjana. It is to be noted here that while Bharata used the term vyanjana only with reference to the suggestion of the sentiments (rasa), Anandavardhana had also matters of fact (vastu) and imaginary ideas (alamkaras) as suggested (vyanjita) by the words and primary meaning in poetry. Kuntaka, like Anandavardhana, is aware of the great importance of rasa in poetry, but like all other poetic concepts he includes rasa also in the varieties of vakratas, mainly in vakyavakrata, prakaranavakrata and prabandhavakrata. Kuntaka admits the view of Anandavardhana that if rasavad is not admitted in inanimate objects, the vast portion good poetry will include in nirasakavya. He divided rasa into three categories: -Mukhya cetanavinyasa like gods, human beings etc., amukhya cetanavinyasa like animals, birds etc. and acetanavinyasa or relating to inanimate objects. The uddipana vibhavas , by their minute description, become subordinate to rasas according to kuntaka. Thus he admits the importance of rasa in poetry but treats it objectively as vastu. Unlike Anandavardhana who treats it subjectively as the soul of poetry.