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अनुसंधान - १७•83
It is rather easy for Ramanadra to depict the sentiments of fear (bhayānaka) bibhatsa (Disgust) of marvell or wonder (adbhuta), when occasion arises he depicts the sentiments of roudra (the furious) and the pathos (karūṇa). One very convincing illustration of the depiction of the bibhatsa sentiment may be cited here. The description of the temple of Katyayani (Act IV V V-123, pp 45-46) is very graphic and creates disgust in the mind of the readers or spectators when the play is enacted on the stage.
Kaumudimitrāṇanda: Appreciation
Kaumudimitraanda is an extravagantly fanciful composition. The supernatural or magical element plays a dominent role througout the play. It presents so many marvallous incidents appealing to the audience and contributing to the sentiment of wonder or the marvellous (adbhuta-rasa) right from the beginning to the end. Thus the Siddha King nailed to a tree by Varuna, the regent of the ocean, is set free from imprisonment by means of a jem of mysterious power. Again, Maitreya has won the favour of the King's vassal by curing him by a magic herb. Kaumudi is attracted to Mitrāṇanda, her prospective husband by the lovecharm he had received from Varuņa. She and Mitrāṇanda flee to Lanka. There the pair would have been in miserable plight. Since Mitrāṇanda is taken for a thief by the city police. Mitrāṇanda, however cures prince Lakṣmipati with the aid of the hālāhalahāri vidyā (lore) from death given to him to revive the dead by the goddess Janguli on the occasion of his marriage. In Act VIII Mitrāṇanda by a magic formula induces the corpse in whom the Käpälika has breathed life and which takes a sword in its hand, to strike that wicked Kāpālika, who, however, overcome with fear, disappears. Act X ends happily with husband and wife united in the residence of the Siddha King by the efforts of Maitreya. The various marvellous incidents mentioned above excite the sentiment of wonder (adbhutarasa) in the spectators/audience. According to Bharata, the sentiment of wonder should be introduced in the concluding nirvahana Sandhi, but our poet Rāmacandra introduces it in almost each and every Sandhi. Kaumudi and
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