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THE RAGA-RASA RELATION IN INDIAN MUSIC 243

Lct us consider the case of instrumental musie which is without words. The pattern of rSga dcvelopmcnt would be similar to that of the khySla, and it is seen that the emotional effect is experienced by the listener. This may be ascribed to his association with the wording of the khySla which he idcntifies in his mind.

The last point to be understood is that the effect of RSga musie would be either of bright and forceful naturę (DTpta) or calm and delicate (Mpdu) due to the employment of suitable 5Vara-pattems and tempo. Some musicians are of the view that words are not necessary to develop the efTective manifestation of the rSga. The charm created by the wording of the khySla employed in slow tempo would not be there in the fast tempo. In the fast tempo, in the TSna palterns, the specific naturę of svara does not remain exact as it appears in slow tempo. That means the effect of rSga musie is of a diflcrent type. It is boih, emotional and intellectual and henee some seholars cali this effect as GSna-rasa (the supreme joy of musie). In literaturę also the ullimate effect is stated to be the supreme happiness afler expcriencing the various emolions delineated in poetry or drama, etc. But in musie, the notes employed directly evoke the instantaneous delight even in the absence of words. In literaturę, the proeess of understanding the meaning becomes intermediary. In musie, the employment of note-pattems helps the emotive contcnt, while the complicated rhythmie-pattems when used skilfully by the artist produee intellectual involvement in the mind of the expert music-lover. The great musicians develop the rSga in sueh a masterly skill that the emotion expressed in the eomposition of it, is effectively experienced by the appreeiative listener.

Notes and References

t. ^ WT:    (NifyaśSstra • 6.16).

2.    1    I (Ibid. : prose portion in Chapter 6).

3.    Wt ^ ft: I W    | (Taittirfya Upanhad - 2.7).

4.    : I (Ibid.).

5.    ^JfKWmwl Www : I

WI: ^?TT: II

(NSfyaśistra - 6.16).

/

Abhinavagupta who accepts Sźnta rasa reads the 2nd linę as -^ÓRięT5TT=rTTV TO WJ: ?*pTT: II

6.    TOT:    - (Kśvyaprakźśa of Mamma|a - 1.2).

7.    ^    i

WWPtiflW    II