सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

pathos²⁹, and madhyama and pañcama for mirth³⁰ and con-
jugal love.³¹ (59c-60b)
Similarly, the particular metres that have been associated with the
notes are also vedic with the exception of anuṣṭup which was introduced
into the classical Sanskrit as well. This confirms the view that this
characterisation of the tones is a form of the extension of vedic symbo-
lism in the field of musical arts. In this context the value of its appli-
cation to music needs to be assessed for proper appreciation and under-
standing.
In this respect ‘S’ informs that these particulars are used in the
worship of the tones when ṣaḍja etc., are invoked by the seed-syllables
spoken of by Mataṅga. In this invocation specially the seer (ṛṣi),
the presiding deity (i. e. devatā) and the metre are utilised. ‘S’ gives a
long quotation from Mataṅga, referring to the seed syllables of notes,
which need not be reproduced here. This reflects the influence of Tantra
on the already existing tradition of vedic origin. (57c-59b)
It is said that music is a universal language : perhaps it is so
because it gives expression to the content of the heart without inter-
ference of thought, and therefore, appeals directly to the heart. Music,
as understood in the context of saṅgīta was primarily considered to be
an accessory art to dramatics and therefore, specific compositions such
as particular grāma-rāga-s etc., were employed in the depiction of parti-
cular sentiments, such as heroism, conjugal love, pathos and so on.
Thus the theory of rasa or aesthetic delight propounded for explaining
the phenomenon of literary and dramatical enjoyment was later applied
to music, even while it was taken to be an art by itself. That is how
various rāga-s are associated with various states of mind leading to the
enjoyment of various emotions. In this background the capacity of
different tones for producing or arousing particular mental states is
further analysed here.
This analysis of the character of tones with reference to their
capacity to express more effectively particular sentiments seems not
only to be historical and traditional, but also objective and scientific in
29. Karuṇa is sad, pathetic, tragic and expresses loneliness, longing
and yearning for the absent lover or God.
30. Hāsya is humorous and comic, happy and joyful and produ-
cing laughter.
31. Śṛṅgāra represents the universal creative force and embodies
romantic and erotic feelings, of love between man and woman,
the longing for the absent lover, and sensitivity to the beauty
of nature.
principle. Cf. Bharata XIX. 38, 39 (K. ed.) as the basis for Śārṅgadeva
to associate particular notes with particular rasa-s. However, svara in
this context refers to the tonic i. e., the first tone of the mūrcchanā and
implies the mūrcchanā based on it. So in fact the rasa or the aesthetic
delight associated with a particular tone is capable of being produced
not by an isolated tone but by the mūrcchanā commenced by that tone.
This view is supported by the implication of Bharata in the context of
rasa as associated with jātis (N. S. XXIX. 12 K. ed.)
Rasa is generally rendered as aesthetic delight, but that does not
elucidate the concept adequately. Rasa is that delight which is distin-
guished from pleasure, from sensation and sensual enjoyment in so far
as it is to be derived from a state of mind free from the limitations of
personal likes and dislikes. Rasa is the delight of a consciousness in
which emotion is experienced as a universal affection. Rasa is not only
contemplation but also a direct experience of beauty and love. The
concept of rasa is well elucidated as ‘brahmānanda-sahodara’, that is,
‘delight approximating to universal love’.
The association of rasa or an aesthetic mode with the individual
notes may not be directly an extension of the vedic tradition, but
certainly the concept is derived from mārga-saṅgīta i. e., ancient music,
and is therefore, an indirect extension of the vedic tradition. It is
worthwhile to remember that the Sāma veda is, according to some, the
source of musical arts.
Another point worthy of notice is that, quite in keeping with the
tradition of dramaturgy, only eight of the nine rasa-s of the literary
theory have been admitted as the basic aesthetic moods in music.
Śānta i e., ‘serenity’ is excluded as being impracticable for the purposes
of demonstration. (59c-60b)