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261 G. H. TARALEKAR

The distinclion between two rSgas or the variclies of the same rSga ¹⁰ is based on the svara pattcms that are employed with their shades (śrutis). The svaras in ihe RSga musie appear in combination with lower and higher notes. Though only the svara pattems are there rnostly in slow tempo, some time-value is inherently there. TSla establishes firmly the RSga musie. This is due to the speeific arrangement of time measures (MStrSs). The time-measures of the paltem of the tSJa are again connected with tempo (laya). The tempo in the SlSpa part is expceted to be slow. The medium tempo further helps the effect of SlSpa employment. In the fast tempo, the TSna patterns are morę prominent. So the musicologists employ the tempo as per the melodie manifestalion. Slow tempo would be necessary in the expression of emotions like Pathos, fast tempo would be suitable in the case of emotions like the Heroie, medium tempo would suit the emotional expression like Love. The problem now is - are the words inevitable in the RSga musie? The musieal forms like Prabandha, Dhrupada, or KhySla are composcd of words whieh exprcss some theme. Is it not possible to crcate the emotional effeet through raga singing? Are only the svaras eapablc of produeing the various emotional effeets by thcmselves? When some musicologists say that the various emotions can be produeed by the Svara and TSla arrangement of the rSgas, where is the nccessily of words? Hcre the eonsideration of the rSga-rasa relation comes in. Bharala's theory of Rasa is based on the foundation of particular situation. The situations in whieh the emotions like love, anger, ete. are involvcd, beeome possible only when words employed in the song indieate them. Sueh situations eannot be eonveycd only by the employment of svara, tSla-laya . Hcnee, the theory of Rasa as expoundcd in literaturę would not be applicablc to the art of musie in toto. The notes used in the Indian musie are lwelve, out of whieh two, namely, sadja and pańcama are of fixed typc and the remaining five namely Re, Ga, Ma, Dha and Ni, havc two varietics eaeh - sharp and fiat. The fiat notes would

crcate the effeet whieh is soft and delieate, while the sharp ones would

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crcale dccp and forccful effect. Naturally, the employment of the sharp and fiat notes in various pattcms would be helpful in produeing dilTerent emotional effeets. But those emotions ought to be exprcssed through the words of the song (the bandish.) Theorelically, the seholars of Indian musie understand that all the nine sentiments are effected by the rSgas. This view eannot be aeeepted as the rasa i.e._f the delight produeed by riga has a dilTerent basis e. g., the rSga like Darbari whieh is meant to produee dccp and grave effeet when employed in slow or medium tempo. But we find a composition in this raga sung in the fast tempo. The Tina pattens would not suit the development of this riga. Thcn how ean we say that this riga produees the particular rasa as stated by the musicologists? Thus, while understanding this riga-rasa relation, we have to take into eonsideration the employment of the tempo also.