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the rasika. The first two of these are concerned with both the singer and 217 啶膏�嵿さ啶�啷囙さ 啶班ぞ啶溹い啷�
[svameva r膩jate
] Now the definition of svara may be revised that
which reigns (or satisfies or looks beautiful) by itself. The name that we
give to a svara, or its grammatical identity is based on a relation. A svara
is madhyama, if it is at the right interval from ga and pa; it is k艒ma岣穉 as
against suddha; and vice-versa. So in all such talk we do not really speak
of the svara by itself or alone. And yet where a svara is well sung it
alone may seem to sway the listener's attention. In other words, our ac-
knowledged definition of svara relates to the note's own (aesthetic) look,
not to the way we identify it for the sake of understanding. It is not its
being a 峁涐梗abha or g膩ndh膩ra but its appearing or as an accent of intrin-
sic beauty that our definition is about .The aesthetic and the merely gram-
matical approaches to svara are truly indifferent.
of
Many are the factors on which the 'look' of a single svara
depends. A svara's relation to its setting is however not merely a source
of charm. If we reflect to it, it can also be made to heighten two ways
looking at a svara, from the viewpoint of grammar and from that of
aesthetic experience. Take the case of a viv膩disvara, grammatically its
relation to other notes in a raga is more or less negative. It is a svara,
which is not ordinarily taken in a particular r膩ga, though its use here is
not expressly forbidden either. In the singing of maestro, on the other