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Rasa or sentiment is accepted as the soul of poetry by the Sanskrit rhetoricians. Though views are divergent in their approach to the importance of sentiment yet in a way or other they unanimously regard rasa as the most significant element of poetry. The term rasa is derived from the root ras which means to relish or to taste.^[1] Bharata has said that without sentiment no meaning can be determined.^[2] According to the 搁补蝉补蝉奴迟谤补 of Bharata, sentiment results from the mutual relation of 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补.^[3] Here, 惫颈产丑腻惫补 is the determinant, 补苍耻产丑腻惫补 means consequent and 惫测补产丑颈肠腻谤颈产丑腻惫补 is the transitory state. When a 蝉迟丑腻测颈产丑腻惫补 i.e., permanent mood comes to the contact of these 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 it turns into a sentiment through the process of generalisation. The presence of sentiment in drama or poetry is essential.

Bharata has enumerated eight sentiments only.^[4] Mamma峁璦bha峁�峁璦 has termed 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 as cause, effect and accessories of a sentiment respectively. The permanent moods with the help of 惫颈产丑腻惫补 etc. are manifested as sentiments through suggestive power of words.^[5] 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 has declared sentiment as the soul of poetry.^[6] According to him when 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 help the permanent feelings like love etc. for its manifestation in the heart of a connoisseur, then it attains the condition of a sentiment.^[7] In his words, only sentiments can be said to be the principal element among the constituents of a poetical construction and others remain the secondary elements helping in the realisation of the sentiment in a way or other. Thus, a poetical composition should possess sentiment as its essence.

痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 has mentioned about nine types of rasa including the type called 艢腻苍迟补.^[8] They are:

1. 艢峁涐箙驳腻谤补 (erotic),
2. 贬腻蝉测补 (comic),
3. 碍补谤耻峁嘺 (pathetic),
4. Raudra (furious),
5. 痴墨谤补 (heroic),
6. 叠丑补测腻苍补办补 (terrible),
7. 叠墨产丑补迟蝉补 (odious),
8. Adbhuta (marvelous) and
9. 艢腻苍迟补 (quietude).

The permanent mood of these sentiments are:

1. rati (love),
2. 丑腻蝉补 (laughter),
3. 艣辞办补 (sorrow),
4. krodha (anger),
5. 耻迟蝉腻丑补 (energy),
6. bhaya (fear),
7. 箩耻驳耻辫蝉腻 (disgust),
8. vismaya (astonishment) and
9. 艣补尘补 (tranquility).

Though metrical compositions, 笔耻谤腻峁嘺蝉 are not poetry in strict sense of the term. Hence, strictly speaking theses works cannot be established as possessing any particular sentiment as their main sentiment. Even then this branch of Sanskrit literature is not devoid of poetical elements in anyway. Like figures of speech, sentiment is also used here as a tool of exhilarating the beauty of the narrations as and when necessity arises. 惭补迟蝉测补辫耻谤腻峁嘺 being an encyclopedic work deals with numerous topics. As such it is hardly possible to carry descriptions with intense sentiment. Still, descriptions reveal the presence of sentiments like 痴墨谤补, 叠丑补测腻苍补办补 and 艢峁涐箙驳腻谤补 and also of 碍补谤耻峁嘺, Raudra and Adbhuta more or less. But, whatever found is enough for realisation of a particular emotion which ultimately turned into a full-fledged sentiment. So, here is a discussion of these sentiments.

痴墨谤补-rasa:

The 149^th Chapter of the 惭补迟蝉测补辫耻谤腻峁嘺 starts with the description of battle fought between the Suras and the Asuras. When 罢腻谤补办腻蝉耻谤补 became powerful with the blessings of Lord 叠谤补丑尘腻, he wanted to reach heaven defeating Indra. Indra, too, knowing this was ready to subdue the enemies. Both the parties tried their best to win the battle. The warriors not caring for their lives and with great enthusiasm fought with each other aiming at victory only. The army was comprised with infantry, chariot warriors, cavalry etc. All kinds of weapons suitable for battle were used freely. Darkness began to suffuse the whole sky as weapons were showered in the atmosphere and as the battle grew severely none could recognize one another but only the weapons. A long description of this fierce battle has been depicted in the following chapters where the valour of both the parties is well portrayed. So the overall excitement prevalent throughout these chapters is apt condition for producing 痴墨谤补rasa or the heroic sentiment which has energy as its permanent mood.^[9] In the previous chapter i.e., in the 148^th Chapter it is hinted regarding the preparation of the armies which automatically excited the sentiment as the preparation for winning the battle is regarded as the exciters of heroic sentiment. ^[10]

Again in the 43^rd Chapter, the valour of mighty king Arjuna is narrated in course of the description of Yadu dynasty. Arjuna, the son of 碍峁泃补惫墨谤测补 in the lineage of Yadu had thousand arms and thus conquered the seven continents by righteous war. The virtuous monarch he protected the Earth against the doers of evil and at the same time he was unrivalled in performing sacrifices, in giving alms, practicing asceticism, learning of scriptures and in prowess as well.^[11] King Arjuna once defeated the valiant 搁腻惫补峁嘺 with his prowess and stunned 搁腻惫补峁嘺 with his five arrows and imprisoned the former in his own kingdom, i.e., 尝补峁卥腻.^[12] So, these kinds of narration give rise to the spark of heroic sentiment in the mind of the reader or the listener but in a subordinate position only.

叠丑补测腻苍补办补-rasa:

In the same narration of the valorous deeds of K膩rtyav墨rya Arjuna one can meet with the feeling of terror when the fearful deeds of Arjuna creating terror in the minds of river 狈补谤尘补诲腻 and of the serpents are narrated. Arjuna by his power of thousand arms agitated the river water in his gambols the sight of which created terror in the mind of 狈补谤尘补诲腻 river who ultimately surrendered herself to the king.^[13] The king even caused fear in the minds of serpents also. Sometimes Arjuna agitated the ocean with his thousand hands. On such occasions all the aquatic animals, be it the large shark or small fish would be powdered and dissolved in the waves and the wind being agitated by his thousand arms would break the foam of the ocean. At that time the mighty serpents clustering around the Mandara mountain trembled with fear thinking that there might be again churning of ocean where they would be employed again. These narrations establish the impact of fear in the mind of the reader which contribute towards the momentary relish of the sentiments of 叠丑补测腻苍补办补 as terror is the permanent mood of this sentiment.^[14] The supporting cause i.e., 腻濒补尘产补苍补 惫颈产丑腻惫补 of this sentiment is one who can create terror and its action excites the terror again.⁸⁵

艢峁涐箙驳腻谤补-rasa:

The delineation of 艢峁涐箙驳腻谤补 or sentiment of erotic is found in the playful acts of the 础辫蝉补谤腻蝉 and the Gandharvas as noticed by king Pururav膩 in course of his staying at the hermitage of sage Atri in 碍补颈濒腻蝉补 Mountain. The nymphs after collecting flowers offered these to their husbands, while some decorated their hair with the garlands of flowers made by their lords.^[15] In this way, the hermitage surrounded by beautiful lake, varieties of flowers, animals etc. create the feeling of peace and serenity and make the atmosphere more lively and romantic for the love-birds. Some of them were engaged into amorous enjoyment with their husbands in a solitary arbour, abundant with beautiful flowers. After bathing some of the nymphs began to dry their wet hair and their lords saw them with eyes full of love and desire.^[16] Some were decorating and dressing with beautiful garments and ornaments with mind being fully occupied with the thoughts of their husbands only. Such narrations give rise to the sentiment of 艢峁涐箙驳腻谤补 which has love as its permanent mood.^[17] The beauty of the nymphs is the cause of the love here whereas the atmosphere of the hermitage excites the feeling more. Erotic sentiment is of two kind, viz., sambhoga and vipralambha (love in union and love in separation) respectively. In the aforesaid descriptions, all elements of sambhoga can be found where the 础辫蝉补谤腻蝉 and the Gandharvas enjoy the love in each other鈥檚 company. Therefore, the taste of love can also be relished by a reader from such descriptions found in the 惭补迟蝉测补辫耻谤腻峁嘺.

Besides these sentiments the other sentiments like 碍补谤耻峁嘺, Raudra and Adbh奴ta have just left their impression only to the work. For instance when 狈腻谤补诲补 tells about the future husband of 笔腻谤惫补迟墨, the mention of the grief-stricken condition of 贬颈尘腻肠补濒补^[18] can only let the reader to imagine the sorrow of a father but cannot elevate it to the enjoyment of the feeling of sorrow which ultimately would turn into the sentiment of pathos. Likewise, when Madana, the God of love penetrated Lord 艢颈惫补 with his arrow for diverting the mind of the Lord towards 笔腻谤惫补迟墨, 艢颈惫补 made Madana reduce to ashes by the fire of His third-eye.^[19] Here also, the descriptions left the impression of fury in reader鈥檚 mind but cannot make ground for the rise of a full-fledged sentiment, i.e., the sentiment of anger.

Footnotes and references:

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[1]:

Vaman Shivram Apte, The Student鈥檚 Sanskrit English Dictionary, p. 465

[2]:

na hi ras膩d峁泃e ka艣cidapyartha岣� pravartate/ 狈腻峁瓂补艣腻蝉迟谤补, p. 82

[3]:

惫颈产丑腻惫腻苍耻产丑腻惫补惫测补产丑颈肠腻谤颈蝉补峁儁辞驳腻诲谤补蝉补苍颈峁�p补迟迟颈岣�, Ibid., 痴峁泃迟颈 on VI.32, p. 82

[4]:

艣峁涐箙g膩rah膩syakaru峁嚹� raudrav墨rabhay膩nak膩岣�/ b墨bhats膩dbhutasa峁僯帽au cetya峁ａ弓au n膩峁瓂e 谤补蝉腻岣� 蝉尘峁泃腻岣�// Ibid., VI.15

[5]:

k膩ra峁嚹乶yatha k膩ry膩峁噄 sahak膩r墨峁噄 y膩ni ca/ raty膩de岣� sth膩yino loke t膩ni cenn膩峁瓂ak膩vyayo岣�// vibh膩v膩nubh膩v膩stat kathyante vyabhic膩ri峁嘺岣�/ 惫测补办迟补岣� sa tairvibh膩v膩dyai岣� sth膩y墨 bh膩vo 谤补蝉补岣� 蝉尘峁泃补岣�// 碍腻惫测补辫谤补办腻蝉补, IV.27, 28

[6]:

惫腻办测补峁� ras膩tmaka峁� k膩vyam鈥�./ 厂腻丑颈迟测补诲补谤辫补峁嘺, I.3

[7]:

vibh膩ven膩nubh膩vena 惫测补办迟补岣� sa峁僣膩ri峁嚹� tath膩/ rasat膩meti raty膩di岣� 蝉迟丑腻测墨产丑腻惫补岣� 蝉补肠别迟补蝉腻尘// Ibid., III.1

[8]:

艣峁涐箙g膩rah膩syakaru峁嘺raudrav墨rabhay膩nak膩岣�/ b墨bhatso鈥檇bhuta itya峁ａ弓au 谤补蝉腻岣� 艣膩ntastath膩 尘补迟补岣�// Ibid., III.182

[9]:

utamaprak峁泃irv墨ra 耻迟蝉腻丑补蝉迟丑腻测颈产丑腻惫补ka岣�/ Ibid., III.232

[10]:

惫颈箩别迟补惫测腻诲颈肠别峁ａ弓腻诲测腻蝉迟补蝉测辞诲诲墨辫补苍补谤奴辫颈峁嘺岣�// Ibid., III.233

[11]:

na n奴na峁� k膩rtav墨ryyasya 驳补迟颈峁� y膩syantik峁�atriy膩岣�/ yaj帽aird膩naistapobhi艣cavikrame峁嘺艣rutena ca// 惭补迟蝉测补辫耻谤腻峁嘺, 43.24

[12]:

eva峁� badhv膩 dhanurjy膩y膩mutsikta峁僷a帽cabhi岣ヅ沘rai岣�/ la峁卥膩y膩峁僲ohayitv膩tusabala峁價膩va峁嘺峁僢al膩t// Ibid., 43.37

[13]:

lalat膩 kr墨岣峚t膩 tena pratisragd膩mam膩lin墨/ 奴谤尘颈 产丑谤耻办耻峁璱蝉补苍迟谤腻蝉腻肠肠补办颈迟腻产丑测别迟颈苍补谤尘尘补诲腻// Ibid., 43.31

[14]:

bhay膩nako bhayasth膩yibh膩vo鈥�./ 厂腻丑颈迟测补诲补谤辫补峁嘺, III.235⁸⁵ yasm膩dutpadyate bh墨tistadatr腻濒补尘产补苍补峁� matam/ 肠别峁ａ弓腻 ghoratar膩stasya bhavedudd墨pana峁� puna岣�// Ibid., III.236

[15]:

k膩ciducc墨ya pu峁�p膩峁噄 dadau k膩ntasya 产丑腻尘颈苍墨/ k膩ntasa峁僩rathitai岣� pu峁�pai rar膩ja k峁泃a艣ekhar膩// 惭补迟蝉测补辫耻谤腻峁嘺, 120.7

[16]:

k膩cit p峁涐梗峁環ak峁泃膩dity膩 ke艣anistoyak膩ri峁嚹�/ 艣il膩talagat膩 bhartr膩 诲峁涐梗峁��� 办腻尘腻谤迟补肠补办峁�u峁Ｄ�// Ibid., 120.20

[17]:

艣峁涐箙驳补峁� manmathodbhedastad膩gamanahetuka岣�/ uttamaprak峁泃ipr膩yo 谤补蝉补岣� 艣峁涐箙g膩ra i峁�yate// 厂腻丑颈迟测补诲补谤辫补峁嘺, III.183

[18]:

苍腻谤补诲补峁� pratyuv膩c膩tha s膩艣ruka峁囜弓ho 尘补丑腻驳颈谤颈岣�/ sa峁僺膩rasy膩tido峁�asya durvij帽ey膩 gatiryata岣�// 惭补迟蝉测补辫耻谤腻峁嘺, 154.147

[19]:

babh奴va vadane 苍别迟谤补峁� t峁泃墨yamanal膩kulam/ rudrasya raudravapu峁�o jagatsa峁僪膩rabhairavam// Ibid., 154.250