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痴墨谤补^[1] or the sentiment of heroism belongs to the noblest men. It is generated from 耻迟蝉腻丑补 or energy, which is its 蝉迟丑腻测颈产丑腻惫补 or the permanent mood. It is said to be of the colour yellow and Indra, the king of the gods is its presiding divinity. Here, the 膩lambanavibh膩vas are the persons to be vanquished and the udd墨panav褨bh膩vas are their heroic utterances, advances and appropriate situations. Again, taking up of the arms and the like by the rivals are the 补苍耻产丑腻惫补蝉 and the 惫测补产丑颈肠腻谤颈产丑腻惫补蝉 are the firmness, resolution, pride, reminiscences, reasoning and horripilation.^[2] It may be mentioned here that 耻迟蝉腻丑补^[3] is that mood, by which one is encouraged to perform a particular act.

The principal rasa of the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 is 痴墨谤补. The very theme of the poem i.e. the annihilation of the Tripuras itself guarantees that. Again, in the poem, the hero i.e. 艢颈惫补 Himself announces about the main sentiment, as to be 痴墨谤补, by saying that He would display His valour.^[4] Moreover, various other indications are there in the poem, which claims that 痴墨谤补 is its predominant rasa. As for example, the first stanza of the 艢谤墨办补峁囜弓丑补肠补谤颈迟补, glorifies the fire of the 艢颈惫补鈥檚 third-eye, that burnt to ashes 碍腻尘补诲别惫补, the god of love. Similarly, there are plenty of references of the past deeds of bravery of the hero; such as the killing of 骋补箩腻蝉耻谤补, 础苍诲丑补办腻蝉耻谤补 etc. and deeds of other gods^[5] as well. By these references to the heroic activities of the hero and other gods, the rasa has been developed gradually. There is the description of the preparation and marching of the soldiers with Lord 艢颈惫补, to fight with the demons, in the cantos from XIX up to XXI. The udyama or 耻迟蝉腻丑补 of the 骋补峁嘺蝉, which is the permanent mood of the sentiment 痴墨谤补, is to be noticed while marching.^[6] There is also delineation of preparation of the enemies^[7] of the gods, in canto XXII. Besides, there is depiction of fierce fight between the army of both the rival troops in cantos XXIII and XXIV.

The poet combines 艢峁涐箙驳腻谤补 and Raudra with that of 痴墨谤补, thereby tries to heighten the charm of the rasa 痴墨谤补. As for example, 惭补峁卥丑补办补 employs the sentiment of love, in the parting scene of the soldiers from their beloveds.^[8] Another instance of mixing these two sentiments is found, when the gallant soldiers of the demons, express their determination to fight till their win or death, with the hope to get the celestial damsels either by victory or by death.^[9] Sometimes, the sentiment of love plays an important role by creating a favourable background for the sentiment of heroism. As for instance, there are some supplementary descriptions in cantos VI-XV. These descriptions are that of the spring season, plucking of flowers, water sports, swinging sports and so on, which no doubt nourish the attractiveness of 痴墨谤补rasa. However, in some places, it tends to overpower the principal sentiment. The example of this tendency, where the subordinate surpasses^[10] the main, is to be found in XXIII. 25, 44; XXIV.1, 2 etc. Except these over enthusiastic delineation, which is a blemish on his part, 惭补峁卥丑补办补 is successful in combining various sentiments in a pleasing manner. Regarding the descriptions of the 骋补峁嘺蝉 in canto XVIII and that of the demons in canto XXII also, the poet blends Raudra with 痴墨谤补 nicely.