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The term rasa or the sentiment primarily denotes taste or favour, however in literature; it has the connotation of emotional experience of beauty. Bharata, the author of the 狈腻峁瓂补艣腻蝉迟谤补, is said to be the first exponent of the theory of rasa. His famous 谤补蝉补-蝉奴迟谤补 runs as follows- 鈥�rasa is the outcome of the combinations 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.^[1] It can be mentioned here that in the earliest literary treatises, rasa was not treated as an indispensable and separate canon for assessing a 办腻惫测补. The purport of the remark is that rasa did not enjoy the principal status in a 办腻惫测补, which it gets later on. Even 叠丑腻尘补丑补^[2] and 顿补峁囜笉颈苍^[3] include rasa within the range of Rasavat, the figure of speech. Again, 痴腻尘补苍补 recognizes it within the purview of 办腻苍迟颈^[4], the 补谤迟丑补驳奴峁嘺. Bham膩ha and 顿补峁囜笉颈苍, as two propagators of the school of 补濒补峁僰腻谤补 and 痴腻尘补苍补 as the propounder of the 谤墨迟颈 school, are seen to have assigned a secondary status to rasa. It was only after the advent of 膧苍补苍诲补惫补谤诲丑补苍补 and 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补, a distinct exposition of rasa, along with its relation with poetry comes into light. In his commentary Locana^[5], upon the Dhvany膩loka of 膧苍补苍诲补惫补谤诲丑补苍补, Abhinavagupta enunciates precisely that the Rasadhvani is the principal type of dhvani or suggestion, the soul of poetry. 惭补尘尘补峁璦 maintains that rasa and 补濒补峁僰腻谤补 are different, from each other.^[6] He also acknowledges the rasa-蝉奴迟谤补 of Bharata.^[7] 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补, in his rhetorical masterpiece defines a literary piece to be a 办腻惫测补 proper, only when it is consisting of rasa.^[8] 痴颈艣惫补苍腻迟丑补 opines that, of the rasas, 艢峁涐箙驳腻谤补, 痴墨谤补 and 艢腻苍迟补, any one of them, should be predominant in a mah膩办腻惫测补, all the other rasas should be auxiliary to it.^[9]

Following the thread of the discussion that rasa was not treated as an essential phenomenon in the works of the older literary critics, it should not be assumed that the earlier writers on poetics were not at all conversant with the concept of rasa. It will not be justified to take a hurried assumption that they either, lack the idea of rasa or they fail to understand the aesthetic appeal in poetry neither, their treatises are without rasa. Not to speak of others, even 叠丑腻尘补丑补^[10] asserts that a mah膩办腻惫测补 should delineate all the eight rasas separately. Again, 顿补峁囜笉颈苍 was quite aware of the difference between 蝉迟丑腻测颈产丑腻惫补蝉 and rasa. 搁耻诲谤补峁璦 also treated rasa in his rhetorical work 碍腻惫测腻濒补峁僰腻谤补 (of 搁耻诲谤补峁璦). Bharata states clearly in his 狈腻峁瓂补艣腻蝉迟谤补, that nothing can be done without rasa.^[11]In the 搁补蝉补驳补峁単腻诲丑补谤补, Jagannatha says that rati comes out from the 膩lambana惫颈产丑腻惫补 i.e. 顿耻峁�y补苍迟补, 艢补办耻苍迟补濒腻 etc. and the udd墨pana惫颈产丑腻惫补 i.e. moonlight etc., with the help of flowing of tears etc. as rasa.^[12] Thus, there is difference between the older and later poeticians, regarding rasa, in their approach only.

It has been already mentioned that different rasas are depicted in a mah膩办腻惫测补 and among them, either 艢峁涐箙驳腻谤补 or 痴墨谤补 is delineated as the principal sentiment, 艢腻苍迟补 is also treated in some; all others are subordinate sentiments. 痴颈艣惫补苍腻迟丑补 states that 蝉迟丑腻测颈产丑腻惫补蝉 like rati etc. are suggested by 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 蝉补帽肠腻谤颈产丑腻惫补 and thereby rasa is manifested.^[13] The rasas are as follows-艢峁涐箙驳腻谤补 or the erotic, 贬腻蝉测补 or the comic, 碍补谤耻峁嘺 or the pathetic, Raudra or the furious, 痴墨谤补 or the heroic, 叠丑补测腻苍补办补 or the terrible, 叠墨产丑补迟蝉补 or the disgustful, Adbhuta or the marvellous; these eight are flavours and so is the 艢腻苍迟补 or the quietistic held to be by some.^[14]

In the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 of 惭补峁卥丑补办补, various kinds of poetic sentiments are found to be depicted. 惭补峁卥丑补办补 himself states that his poem is full of rasas.^[15] In his poem, 惭补峁卥丑补办补 delineates all the sentiments, some in broad details and some in short; however, his claim is quite justified as all the rasas get attention from the poet. Ofcourse, his depiction of the rasas is in conventional manner, like that of 碍腻濒颈诲腻蝉补, 叠丑腻谤补惫颈 and 惭腻驳丑补; even then, it can attract the heart of its readers. The poet shows his unprecedented mastery in making fusion of different rasas, which is much appealing. The 补峁単墨谤补蝉补 or the predominant sentiment of this poem is 痴墨谤补 or the sentiment of heroism. Next to the heroic sentiment, 艢峁涐箙驳腻谤补rasa or the sentiment of love occupies its place to be number two. 惭补峁卥丑补办补 provides a full-fledged description of the parting scene of the lovers from their beloveds in canto XXI. 20-29 and thereby heightens the beauty and grandeur of the sentiment of heroism, by interlinking it with that of the sentiment of love. Similarly, cantos VI-XV creates background for gradual development of the heroic sentiment from XVIII-XXIV, by mixing it with the sentiment of love. Raudra or the sentiment of fury comes next to the erotic sentiment and thereafter 贬腻蝉测补 or the sentiment of humour comes. Whereas according to Bhatt, Bhakti and 艢腻苍迟补 occupy next place to that of erotic. All the other sentiments are treated as subordinate ones. Of these, the sentiments of pathos, terror, disgust, wonder and tranquility are delineated in brief, however with equal importance as far as possible. 惭补峁卥丑补办补 gives detailed delineation of 艢r峁単膩ra, Raudra and 贬腻蝉测补, along with the main rasa i.e. 痴墨谤补. Anyway, on the basis of preponderance, a discussion on the rasas delineated in the 艢谤墨办补峁囜弓丑补肠补谤颈迟补 is presented below-

[1. 痴墨谤补 or the sentiment of heroism]

[2. 艢峁涐箙驳腻谤补 or the sentiment of love]

[3. Raudra or the sentiment of furiousness]

[4. 贬腻蝉测补 or the sentiment of humour]

[5. 碍补谤耻峁嘺 or the sentiment of pathos]

[6. 叠丑补测腻苍补办补 or the sentiment of terror]

[7. 叠墨产丑补迟蝉补 or the sentiment of disgust]

[8. Adbhuta or the sentiment of wonder]

[9. 艢腻苍迟补 or the sentiment of tranquility]

[10. 叠丑腻惫补]

[11. Vatsala or parental affection]

Thus, 惭补峁卥丑补办补 employs all the rasas as well as 叠丑腻惫补 and Vatsala in his poem with grand success. However, as it is the case with his other poetic embellishments also, regarding the soul of poetry i.e. rasa (as evinced by 痴颈艣惫补苍腻迟丑补), the poet commits some mistakes. Firstly, it seems that he lacks the sense of proportion or balance, as sometimes subordinate rasa surpasses the principal rasa, that is to say the extensive delineation of 艢峁涐箙驳腻谤补 over that of 痴墨谤补 makes him fall prey to the demerit of exaggeration. Secondly, the expression of flavour by its own term i.e. by the word flavour or relish (rasa) or such words as amorous desire (艢峁涐箙驳腻谤补) and the like, is the defect occurred in some instances. This means 惭补峁卥丑补办补 commits a rhetorical mistake called rasasya sva艣abdav膩cyat膩, wherein, he suggested the sentiment by direct expression with the name of the sentiments or their permanent mood i.e. 蝉迟丑腻测颈产丑腻惫补 and concomitant mood i.e. 蝉补帽肠腻谤颈产丑腻惫补.^[16] The examples are vismaya in III. 77; adbhuta in V. 13; 艣峁涐箙驳腻谤补 in XV. 13; rati in XV. 47; 惫墨谤补 in XIX. 43; 艣峁涐箙驳腻谤补 and 产墨产丑补迟蝉补 in XXIII. 41. Except these two instances, the overall delineation of rasa in 惭补峁卥丑补办补鈥檚 艢谤墨办补峁囜弓丑补肠补谤颈迟补 is praiseworthy.

Footnotes and references:

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[1]:

tatra vibh膩v膩nubh膩vavyabhic膩risa峁儁ogadrasani峁�patti岣�/
狈腻峁瓂补艣腻蝉迟谤补., V, page 292

[2]:

rasavaddar艣itaspa峁ａ弓膩艣峁涐箙g膩r膩dirasa峁� tath膩 /
碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补)., III. 6

[3]:

rasavad rasape艣ala峁�/
K膩vy膩dar艣a., II. 235

[4]:

d墨ptarasatva峁� 办腻苍迟颈岣�/
碍腻惫测腻濒补峁僰腻谤补蝉奴迟谤补v峁泃ti., III 2. 14

[5]:

yastu svapne鈥檖i na sva艣abdav膩cyo na laukikavyavah膩rapatita岣� kintu 艣abdasamarpyam膩nah峁沝aya sa峁僾膩dasundaravibh膩v膩nubh膩vasamucitapr膩gvinivi峁ａ弓ar aty膩div膩san膩nur膩gasukum膩ra-svasa峁僾id膩nandacarva峁嚹� vy膩p膩rarasan墨yar奴po rasa岣� sa 办腻惫测补vy膩p膩raikagocaro rasadhvaniriti, sa ca dhvanireveti sa eva mukhyatay膩meti// Dhvany膩loka., vol. I, page 74

[6]:

ras膩bh膩vatad膩bh膩sabh膩va 艣膩nty膩dirakrama岣�/
bhinno ras膩dyal峁僰膩r膩dala峁僰膩ryatay膩 sthita岣� // K膩vyaprak膩艣a., IV. 26

[7]:

k膩ra峁嚹乶yatha k膩ry膩峁噄 sahak膩ri峁噄 y膩ni ca raty膩de岣� sth膩yino loke t膩ni cenn膩峁瓂a办腻惫测补yo岣モ��.../
vibh膩v膩 anubh膩v膩艣ca kathyante vyabhic膩ri峁嘺岣� vya峁卥ta岣� sa tair惫颈产丑腻惫补i岣� sth膩y墨bh膩vo rasa岣� sm峁泃a岣�// Ibid., IV. 27, 28

[8]:

v膩kya峁� ras膩tmaka峁� 办腻惫测补峁�/
S膩hityadarpa峁嘺., I. 3

[9]:

艣峁涐箙驳腻谤补惫墨谤补艣膩nt膩n膩meko鈥欋箙g墨 rasa i峁�yate/
a峁単膩ni sarve鈥檖i ras膩岣�// Ibid., 317

[10]:

caturvarg膩bhidhane鈥檖i bhuyas膩rthopade艣ak峁泃 yukta峁�/
lokasvabh膩vena rasai艣ca sakalai岣� p峁泃hak //
碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补)., I. 21

[11]:

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

[12]:

samucita lalita sa峁僴ive艣ac膩ru峁嚹� k膩vyena samarpitai岣� sah峁沝ayah峁沝aya峁� pravistai峁ａ弓ad墨yasah峁沝ayat膩sahak峁泃ena bh膩van膩vi艣e峁�amahimn膩 vigalitadu峁�yanta/
rama峁噄tv膩dibhiralaukikavibh膩v膩nubh膩vavyabhic膩ri-sabdavyapade艣ai岣� 艣akuntal膩dibhir膩lambanak膩ra峁嘺i岣�, candrik膩dibhirudd墨panak膩ra峁嘺i岣�, a艣rup膩t膩dibhi岣� k膩ryai岣�//
cint膩dibhi岣� sahak膩ribhi艣ca sambh奴ya pr膩durbhavitenalaukikena vy膩p膩re峁嘺 tatk膩lanivarttit膩nand膩峁吪沘vara峁噅帽膩nen膩t eve pramu峁ａ弓aparimitapram膩t峁泃v膩dinijadharmena鈥︹��raty膩direva rasa岣�//
搁补蝉补驳补峁単腻诲丑补谤补., I

[13]:

艣峁涐箙驳腻谤补h膩syakaru峁嘺raudra惫墨谤补bhay膩nak膩岣� /
b墨bhatso鈥檇bhuta itya峁ａ弓au ras膩岣�, 艣膩ntastath膩 mata岣�// S膩hityadarpa峁嘺., III. 182

[14]:

vibh膩ven膩nubh膩vena vyakta岣� sa帽c膩ri峁嚹� tath膩/
rasat膩meti raty膩di岣� sth膩y墨 bhav膩岣� sacetac膩m// Ibid., III. 1

[15]:

i)svaya峁� maul墨ndup墨y奴峁�ap奴rai岣� sikteva 艣a峁僢hun膩/
sarasatva峁� d膩r岣峢ya峁� ca v膩ktasy膩vyagramagrah墨t//
     艢谤墨办补峁囜弓丑补肠补谤颈迟补., XXV. 3
ii) udyadvaidyutad墨ptisodarasarats膩rasvatajyoti峁Ｄ� p奴tastadvacas膩峁� rasa岣� 艣rutipu峁璦i岣� sa峁僺atsad膩m膩pape/
te峁Ｄ乵unmi峁�it膩las膩lasagatau d峁沰艣uktipa峁卥tau 艣anai-r膩nand膩艣rup峁涐梗anmay墨 tu jagha峁璭 mukt膩phal膩n膩峁� tati岣�//
     Ibid., XXV. 146

[16]:

rasasyokti岣� sva艣abdena sth膩yisa帽c膩ri峁噊rapi/
S膩hityadarpa峁嘺., VII. 12