“A poem may have a good idea (artha), but the words therein may not be grammatically sound (pada-śuddhi). It may have even this, but it may lack style (rīti). Given even this, the work may not have a proper organisation of its contents (ghaṭanā). Assuming even that, it may not be equipped with new tropes (vakra-gati). Should that be there too, it would still be a waste if the poem is devoid of rasa. Oh, how deep the art of poetry is!”
As has been indicated in the Series Editorial, and in the Volume Editorials of the earlier volumes, Western Indology has steadily endeavored for two centuries (and with a great deal of success) to take full control of Indic studies. Alaṅkāra-śāstra (the discipline in Sanskrit that studies the very concept of literature in its origins as well as effects) has been flourishing in India easily for over two thousand years, and the Rasa Theory propounded by this śāstra, with greater and greater ramifications and clarifications through centuries, has much to contribute towards many issues in modern psychology and poetics. The fanatic votaries of Euro-centrism would, of course, continue either to trace everything good or great to Greece or proclaim that these have little relevance to the present day, after all.