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The Sanskrit rhetoricians have given different opinions on 办腻惫测补. Bharatamuni,^[1] the profounder of rasa school, says that rasa is the most fundamental requisite in a 办腻惫测补. According to 叠丑腻尘补丑补^[2] 办腻惫测补 is a melodious form of word and meaning. 膧苍补苍诲补惫补谤诲丑补苍补^[3] states that dhvani is the soul of 办腻惫测补. Again, that 谤墨迟颈 is the soul of poetry as stated by 痴腻尘补苍补.^[4] 笔补苍诲颈迟补谤腻箩补箩补驳补苍苍腻迟丑补^[5] defines 办腻惫测补 as the word which produces a pleasing meaning. 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补^[6] gives the most authentic definition on 办腻惫测补 that rasa or the sentiment is the spirit of poetry. The above definitions surely establish that 办腻惫测补 is an impulsive outflow of human heart.

痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补^[7] gives the modern concept on 办腻惫测补; he divides 办腻惫测补 into two types鈥� viz., 诲峁泂测补 and 艣谤补惫测补. The word 艣谤补惫测补^[8] suggests that type of 办腻惫测补 which can only be listened to. It is again divided into two types,^[9] viz., padya (verse) and the gadya (prose). Padya is also subdivided into three types鈥� viz., 办辞艣补, kha峁囜笉a办腻惫测补 and mah膩办腻惫测补. Gadya办腻惫测补 has also two divisions, 办补迟丑腻 and 腻办丑测腻测颈办腻. Apart from these two, there is another form of 办腻惫测补 known as mi艣ra办腻惫测补 (mixture of verse and prose), which is also of three types viz., viruda, karabhaka and 肠补尘辫奴.

The word 诲峁沘艣测补, on the other hand, suggests that type of 办腻惫测补 which can be demonstrated or to be seen. It generally implies to 办腻惫测补 presented with audio-visual effects. Through the d峁浥泍a办腻惫测补, human emotions can easily be released. D峁浥泍a办腻惫测补 has two broad divisions-谤奴辫补办补 and 耻辫补谤奴辫办补. Here, 谤奴辫补办补^[10] has ten and 耻辫补谤奴辫办补^[11] has eighteen verities. 痴颈艣惫补苍腻迟丑补,^[12] asserts that it is that type of 办腻惫测补 where there is action. There are four types of acting^[13] (abhinaya) viz. 腻峁単颈办补 (physical), 惫腻肠颈办补 (verbal), 腻丑腻谤测补 (decorative), and 蝉腻迟迟惫颈办补 (emotional).