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The 叠丑补测腻苍补办补 rasa or the terrible sentiment creates feeling of fear in mind. The terrible sentiment has its basis the permanent mood of fear. The determinants of this sentiment are like hideous noise, sight of ghost, panic and anxiety due to untimely cry of jackals and owls, empty house or forest etc. Trembling of hands and the feet, horripilation, change of colour are accepted as the consequent state of this rasa. The transitory states are paralysis, perspiration, fear, stupefaction, agitation, death and the like.^[1]

In the 惭腻濒补迟墨尘腻诲丑补惫补, 叠丑补惫补产丑奴迟颈 has delineated the sentiment of fear in an excellent way. In the 5th act of this 笔谤补办补谤补峁嘺 叠丑补惫补产丑奴迟颈 puts some verses to suggest 叠丑补测腻苍补办补 rasa. As for instance the verse paryantapratirodhimedura......................^[2] etc itself reveals the expansive frightful darkness of cemetery ground as also the disclosure of brilliancy of the fires of the funeral pyres. It also reveals several unfamiliar actions of demons that they make challenging roars by their confused 办颈濒办颈濒腻 noises in the cemetery ground. Here, the terrible sight of ghosts is the 腻濒补尘产补苍补惫颈产丑腻惫补, frantic sports of ghosts are the udd墨panavibh膩vas, confused 办颈濒办颈濒腻 noise is the 苍耻产丑腻惫补补 and the great joy of ghosts is the 惫测补产丑颈肠腻谤颈产丑腻惫补. Again, when 惭腻诲丑补惫补 made an announcement at the cremation ground that he would sell human flesh to the ghosts, instantly, the cemetery ground seems to be in motion all around, noisy with the indistinct and tumultuous uproar of the formidable demons walking about all sides and crowded with the goblins that they made their appearance. However, this scene unequivocally creates the feeling of fear in the minds of spectators.

Moreover, in the verse tatp峁泃hurasano gram膩sya gartam.....................^[3] etc. where the most formidable nature of ghosts is described and they are compared with old Rohina trees which has the horrible hollows on account of active pythons therein. Hence this verse is an example of 叠丑补测腻苍补办补 rasa. Again, a terrible sight of frightened 惭腻濒补迟墨 is found while 础驳丑辞谤补驳丑补峁囜弓补 has raised his sword with the intension of killing her. At that moment, however 惭腻诲丑补惫补 has appeared there and having seen him unexpectedly 惭腻濒补迟墨 embraces 惭腻诲丑补惫补 due to fear.

Thus, 叠丑补惫补产丑奴迟颈 has created every situation perfectly to suggest 叠丑补测腻苍补办补 rasa. Although, 叠丑补惫补产丑奴迟颈 delineates this sentiment only in the 5^th act, yet he properly uses the frightful aspects at proper places to suggest the 叠丑补测腻苍补办补 rasa.

 

Footnotes and references:

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[1]:

atha 产丑补测腻苍补办辞 苍腻尘补 bhayasth膩yibh膩v膩tmaka岣�/sa ca vik峁泃aravasatvadar艣an a艣ivol奴k tr膩sodvega艣奴峁噛膩g膩r膩ra峁噛agamanasvajanavadhabandhadar艣ana 艣rutikath膩dibhirvibh膩 vairutpadyate/tasyapravepitakaracara峁嘺nayana capalapulakamukhavaivar峁噛a svarabhed膩dibhiranubh膩vairabhina ya岣�prayok 迟补惫测补岣�/bh膩v膩艣c膩syastambhasvedagadgadarom膩帽caca vepathusvarabhedavaivar峁噛 a艣a峁卥膩mohadainy膩vegac膩palaja岣峚t膩tr膩s膩pasm膩ramara峁嚹� 诲补测补岣�
狈腻峁瓂补艣腻蝉迟谤补,VI. p. 326

[2]:

paryantapratirodhimeduracayasty膩na峁� cit膩 箩测辞迟颈峁Ｄ� /
mojjvalya峁� parabh膩gata岣� praka峁璦yaty膩bhogabh墨mam //
sa峁僺akt膩kulakaleya岣� kilakil膩kol膩halai岣� sa峁僲ad膩 /
dutt膩l膩岣� ka峁璦p奴tan膩prabh峁泃aya岣� 蝉腻峁价腻惫颈峁嘺峁� kurvate //
惭腻濒补迟墨尘腻诲丑补惫补,V.11

[3]:

tatp峁泃hurasanogram膩syagartam /
dadhati vid膩rya vivar峁嘺d墨rghadeh膩岣� //
laladajagaraghorako峁璦r膩峁嚹乵 /
dyutimiha dagdhapur膩峁嘺rohi峁嚹乶膩m // Ibid.,V. 15

[4]:

Sankaran, A. Some Aspects of Literary Criticisim in Sanskrit, p.42