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in Sanskrit literature, rasa has been the touchstone of any work composed; some old writers accepted it as an ala枪k膩ra, while others as something separate, the spirit or soul of the literary work. Followers of the School of Dhvani established its superiority and prominence in poetry. RASA THEORY While discussing rasa in the sixth chapter of the NS 14Bharata opines that no sense proceeds without rasa. Bharata describes the 'Realisation' (nispatti) of rasa in the following sutra: - 啶むい啷嵿ぐ 啶掂た啶�啶距さ啶距え啷佮き啶距さ啶掂�嵿く啶�啶苦�氞ぞ啶班た啶膏�傕く啷嬥�椸ぞ啶む�� 啶班じ啶ㄠた啶粪�嵿お啶む�嵿い啶苦�� 啷� [tatra vibh膩v膩nubh膩vavyabhic膩risa峁儁og膩t rasani峁�patti岣� | ] This means that realisation of rasa results from the union of vibh膩va, anubh膩va and vybhic膩ribh膩va. Every good piece of art contains this rasa. Bharata further clarifies his s奴tra with an instance stating that flavour or relish (rasa) results from a combination of various spices, vegetables and other articles. Similarly, rasa results from the combinations of various emotions. The various types of nayakas (heroes), nayik膩s (heroines) and other men and women that are described in a play are defined as prak峁泃is or the characters and those that take up the roles of the characters are pray艒kt膩s or the actors and actresses .It may briefly be stated that, in 14. a f氓 wulg脿 plucef: yad脿 | 啶むい啷嵿ぐ 啶掂た啶�啶距さ啶距え啷佮き啶距さ啶掂�嵿く啶�啶苦�氞ぞ啶班た 啶膏�傕く啷嬥�椸ぞ啶︵�嵿ぐ啶膏え啶苦し啷嵿お啶む�嵿い啶苦�� 啷� [tatra vibh膩v膩nubh膩vavyabhic膩ri sa峁儁og膩drasani峁�patti岣� | ] NS VI 34 42