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Though the 弄rubha峁単a contains the pathetic (办补谤耻峁嘺) as its principal sentiment and heroic (惫墨谤补) as the subordinate sentiment, the other sentiments like furious (raudra), tranquility (艣腻苍迟补) and odious (产墨产丑补迟蝉补) are also applied in the drama.

Pathetic (Karu峁嘺) 鈥�

The 弄rubha峁単a is totally different type of drama. Only the last part of the drama contains the pathetic (办补谤耻峁嘺) sentiment and the same is manifested only after Duryodhana鈥檚 thighs are broken by 叠丑墨尘补 and Durjaya, the son of Duryodhana, meets his father. The scene involving conversation of Duryodhana and Durjaya is really pathetic and heart rending.

Durjaya wants to sit on the lap of Duryodhana, but Duryodhana is unable to offer his lap to him and tells him to sit anywhere else he wants to sit except his lap:

鈥�迟测补办迟惫腻 paricitam putra! yatra tatra tvay膩syat膩m, adyaprabh峁泃i n膩st墨dam purvabh奴ktam tav膩sanam鈥�
  鈥�(verse.44).

Duryodhana鈥檚 love for his son touches great high:

鈥�du岣�kh膩n膩manabhij帽eyo mam膩峁卥a艣ayanocita岣�, nirjitam durjayo 诲峁涐梗峁璿腻 kinnu 尘腻尘补产丑颈诲丑腻蝉测补迟颈鈥�
  鈥�(verse.42).

Heroic (V墨ra) 鈥�

The drama is full of heroic sentiment and it plays an important role in the drama. The war between the Kauravas and the 笔腻峁囜笉补惫补蝉 is really a heroic deed. The best example of heroic (惫墨谤补) sentiment is the fighting between 叠丑墨尘补 and Duryodhana.

叠丑墨尘补 fights with great power but Duryodhana fights cleverly, because he is well trained in the art of fighting:

鈥�sa峁兣沬k峁�ito narapatirbalav膩nstu 产丑墨尘补岣�鈥�
  鈥�(verse.9).

Odious (B墨bhatsa) 鈥�

The other sentiment, which is employed in the play, is odious sentiment. The odious sentiment is very natural to the drama, involving descriptions of horrific scenes, when the war comes to an end. The dead bodies of kings, soldiers, charioteers are spread everywhere. Elephants, horses fall down like huge boulders. Warriors fall down as the victimsand their roaring is heart rending. The birds, with bloodstained beaks, loosen the ornaments from the bodies of the kings. Everywhere bows, arrows, skins, umbrellas, chowries, javelins, spears, maces, hammersand swords are scattered. Jackals and vultures drag the dead bodies of the warriors. Their huge long wings out-spread in the sky like fans, with bits of flesh. It has been described, as if someone had witnessed the spectacle of the war. 叠丑腻蝉补 describes the war as if he was present near the battleground. The scene is described in seven verses (fifth to eleventh).

Furious (Raudra) 鈥�

Since the drama contains heroic sentiment, the furious sentiment comes naturally. Anger, altercation, fight are the results of furious sentiment. The furious sentiment is employed, when 叠丑墨尘补 strikes on the thighs of Duryodhana by mace, getting secret sign from 碍峁涐梗峁嘺. 叠补濒补谤腻尘补 gets angry because 叠丑墨尘补 trounced

Duryodhana. Thus, 叠补濒补谤腻尘补 wants to kill 笔腻峁囜笉补惫补蝉 by his plough:

鈥�膩k峁�iptal膩峁単奴lamukhollikhitai岣� 鈥︹�︹��p膩峁囜笉uputr膩n鈥�
  鈥�(verse.32).

叠补濒补谤腻尘补 loses his control watching the favouritism of 碍峁涐梗峁嘺. The violation of the law of the battle worries him:

鈥�ra峁嘺gatamatisandhim m膩m ca n膩vek峁�ya darp膩t鈥�
  鈥�(verse.27).

Tranquility (艢膩nta) 鈥�

Duryodhana is a powerful, rude and proud king. He does not want to bow his head in front of anyone. However, after the break of his thighs by 叠丑墨尘补, he becomes a changed man. He tells 叠补濒补谤腻尘补 that he should not get angry. He consoles 叠补濒补谤腻尘补 saying that he has fulfilled his vow.

His brothers have gone to the heavenand therefore he should follow now their path:

鈥�m膩 m膩 bhav膩nevam, pratij帽膩vasite bh墨me gate bhr膩t峁浥沘te divam, mayi caivam gate 谤腻尘补 惫颈驳谤补丑补岣� kim kari峁�yati鈥�
  鈥�(verse.33).

The last part of the play, up to the death of Duryodhana, contains tranquility sentiment. Duryodhana鈥檚 conversations with his son Durjaya, father 顿丑峁泃补谤腻峁ａ弓谤补, mother 骋腻苍诲丑腻谤墨 and queens 惭腻濒补惫墨 and 笔补耻谤补惫墨 are calm and quite.

He advises his son to behave properly with 笔腻峁囜笉补惫补蝉:

鈥�ahamiva p膩峁囜笉av膩岣� 鈥︹�︹��诲谤补耻辫补诲墨 cobhe m膩t峁泇at p奴jayitavye鈥�
  鈥�(弄rubha峁単a, T. Ganapati Shastri, p.109).