The Sanskrit language has been the vehicle of Indian thoughts in all their variations at all periods in our history. Bharat's aesthetic principle reign supreme in Sanskrit literary criticism. His theory of Rasa is present in every work of literature. Rasa is the psychological study of emotions which deals with the delight, one takes in literature. Rasa has been translated by Haas as sentiment but the term sentiment does not seem to have been accepted as equivalent to Rasa by any of the later authors, Who have written on this subject in English for they have freely used the Sanskrita term Rasa even in the midst of their English composition not substituting any English term for it. Rasa has two distinctly separate senses quite detached from each other. While in the phrase Rasa-theory Rasa means poetic relish, with reference to its constituents (Vibhavas, Anubhavas etc.). The term conveys the sense of emotion. There is no single word in the English language which can denote both these senses. The term sentiment evidently has got nothing to do with the former meaning of Rasa, viz., poetic relish with the later meaning, viz., emotion, it is sometimes identified and confused. The Rasa theory is not known in the west even though it is present in English literature. Why should we not apply our own theories to the western literature? With this feeling an attempt has been made to explore the Rasas in Tennyson's Idylls of the King. The purpose of the present work is to study Tennyson's Idylls of the King through Rasa Theory i.e. Sanskrit literature. In fact the Rasa Theory was postulated by Bharat Muni for Drama (Nataka) only. But according to Abhinavgupta, poems are also fit for the study of Rasa. He specially considers the narrative poems as affording sufficient room for the evocation of Rasa.
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