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E.g. (i) for the end of an act: Ascaryac奴d膩ma峁噄 Act VI '啶班�曕�嵿し啷嬥さ啶оぞ啶む�� 啶掂た啶班い啶曕ぐ啷嵿ぎ 啶掂た啶膏�冟�溹�嵿�� 啶氞ぞ啶�啶� ... ( [rak峁�ovadh膩t viratakarma vis峁沯ya c膩pa峁� ... (] ii) For description of dusk time: Dhananjaya Act II '啶呧お啶班�椸た啶班�� 啶ㄠた啶粪ぃ啷嵿ぃ啶� 啶掂ぞ啶膏ぐ啶� 啶掂ぞ啶膏ぐ啶多�嵿ぐ啷� ... ( [aparagiri ni峁�a峁囜箛a峁� v膩sara峁� v膩sara艣r墨 ... (] iii) description of noon: Ascaryac奴岣嵞乵a峁噄, Act I 鈥�啶むぞ啶�啶距い啷� 啶むげ啷嵿�曕�嵿し啶｀�樴�冟し啷嵿�熰�氞え啷嵿う啶�.... [t膩p膩t talk峁�a峁嘺gh峁涐梗峁璦candana....] ' (iv) for killing an evil person: B膩lacarita: '啶膏え啷嵿ぇ啷嵿く啶距�曕ぞ啶侧�� 啶膏き啶距う啷嵿さ啶距ぐ啷�.... [sandhy膩k膩le sabh膩dv膩re.... ] ' (v) for bhakti the invocation beginning with 鈥榗lafarg鈥�...'in R膩m膩ya峁嘺m Prabandha THE ROLE OF RAGAS IN THE EXPOSITION OF SENTIMENTS It is very difficult to identify the r膩gas (svaras) in K眉tiy膩峁�峁璷m. The training is not given by teaching the names of the svaras or their applications. The practice is that each 艣l艒ka is recited in a particular manner. When it is tallied with the prescriptive rule of the svara it is usually found to be correct. 46 While describing about the svaras in Kutiyattom the NKD says:
Svaran膩manna岣穒va峁囜箛am pattum pattumatayi峁璾m". But it has already
been found that there are twenty-four ragas in K奴峁璱y膩峁�峁璷m with defini-
tion of twenty-one of them.
In Pa帽camatraya, M膩峁噄 M膩dhava C盲ky盲r mentions only two:
Cetipa帽cama and Bhinnapa帽cama. In kramad墨pik膩 of 膧艣caryac奴岣嵞乵a峁噄,
K.P. N膩r膩ya峁嘺 Pi峁Ｄ乺oty even raises the question whether there are more
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