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207
the permanent emotion into its corresponding aesthetic
sentiment.
Two explanations are given of the significance of
the adjective "permanent" (sthayin), sometimes translated as
"dominant," in the term "permanent emotion." The first and
possibly original interpretation is that the particular
bh膩va so qualified is the principal or prevailing emotion of
the literary piece. As such, according to the theorists, it
should not be overshadowed by any other moods that might be
introduced into the composition. Whether complementary or
seemingly opposed, the secondary emotions must be used only
in an interplay carefully orchestrated so as to strengthen
the primary mood. The other explanation builds on the idea
that the sth膩yibh膩va is constantly present in the mind of
the sensitive spectator in the form of a v膩san膩 or samsk膩ra,
"latent impression." In this respect it is, once acquired,
quite literally a permanent component of the psyche, though
its conscious experience may be occasional and transitory. 20
The notion of sthayibh膩va as samsk膩ra suggests
another important aspect of the rasa theory, namely, the
idea that whether or not an individual experiences rasa when
encountering a given literary work does not depend solely on
the skill and insight of the artist. Those desirous of
appreciating the work must have the latent impressions of
the appropriate emotion present in their minds in subtle