Analysis of Vīra-rasa

Anandarāya Makhin employs this sentiment through many characters such as the hero, his minister, and on the enemy side, the king, minister, and soldiers (different diseases). The dramatist very artistically presents the speeches of various characters expressing their valour, which helps in the development of this sentiment.

(i) The dramatist opens the Mukha Sandhi, with Vīrarasa and Sāttvatī Vṛtti when Vijñāna Śarmā, minister of Jīvarāja enters the stage haughtily declaring that how could Yakṣmā catch his king Jīva when he himself is alive (I.16):

mayi jīvati jīvasya svāmino mantriṇi priye |
durbalo yakṣmahatakaḥ kathaṃ vābhibubhūṣati ||

(ii) The dramatist is justified in bringing out this Vīrarasa in the second Act also when the team members of Yakṣmā’s side, boast of their special talents and valours. The declaration of the Unmādas (II.15), Vraṇas (II.16), and Asmarīs (II.20) are fine examples for this.

(iii) Further in the first Act, the narration about Śiva’s subjugation of Yama (I.40), his swallowing the poison that had come out of churning the milky ocean (I.41), Devi’s anger in vanquishing Mahiṣāsura (I.44) and Śumbha and Niśumbha (II.45), bring out well, the Vīrarasa.

(iv) In the fifth Act, when the actual attack by the dreadful enemies of diseases is going on in the capital city, the powerful soldiers of various medicines sent by the minister against them, overpower them. Even at this juncture, Rājayakṣmā being quite powerful and invincible feels that he could cut all the weapons of Jīva’s side to pieces and win the war.

His declaration to the effect, is a fine instance of Vīrarasa (V.38):

śastreṇa sarvamapi khaṇḍaśa eva kṛtvā gṛdhravrajāya nikhilaṃ balimarpayāmi |
yenaudano diviṣadāṃ vikalīkṛto'bhūt kiṃ tasya me bhayamamī kitavā vidadhyuḥ ||

(v) In the sixth Act, when the war between the diseases and the medicines reaches the climax, the victory is slowly turning its face towards the hero’s side.

Vijñāna’s description of this situation is like a running commentary, establishing Vīrarasa (VI.88):

śastrāśastri gadāgadi prathamato nirvartite saṃyuge
  muṣṭīmuṣṭi talātali pravavṛtte paścādidaṃ bhīṣaṇam |
jitvārīniha deva tāvakabhaṭairāpūryate kāhalī
  śaṅkhaḥ saṃprati śabdyate dṛḍhataraṃ saṃtāḍyate dundubhiḥ ||

The use of weapons at first developing to be a physical fight is described here. The blowing of conches and beating of the drums proclaim the absolute success of the hero’s army adds value to it.