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When the text has been fully learnt, it is absolutely necessary to render it on the stage with proper kakusvara (modulation in voice). Modulation is qualified by six characteristics - 1. Svaras (musical notes), 2. Sthanas (anatomical parts of the origin of sounds) 3. Varnas (modes of intonation) 4. Kakus (variations in inflexion) 5. Alankaras (modes of enunciation) and 6. Angas (modes of rendering). 1.Svaras (Musical notes) There are seven fundamental musical notes that correspond to the diatonic scale as follows: - 213 Sa ri ga C D E (I) ma ra da ni sa F G A B C

The seven notes, along with the upper c, corresponding to higher 'sa', form the fundamental octave. In speech, these notes have to be used in consonance with the rasa that has to be created. In creating srngara and hasya rasas, ma and pa predominate; in creating vira, raudra and adbhuta rasas sa and ri predominate and in creating karuna rasa ga and ni and in creating bibhatsa and bhayanaka rasas, da predominate. 2. Sthanas (The anatomical parts of the origin of sounds): There are three main anatomical parts of origin from where the impulse starts to create a particular sound - the chest, the throat and the head. These three parts are common to both human voice as well as the classical Indian instrument; the vina and the inflexions of voice and speech originate from these three parts. There are three pitches in which sounds are produced - Mandra (the low), Madhya (the medium) and Tara (the high), which may be defined as the lower C, G and upper c respectively. In the delivery of speech, it is good to start with mandrasvara generating from the chest, brighten it with tarasvara generating from the throat. This ensures an accurate rendering of the text. 3. Varnas (The modes of intonation): There are four fundamental variations in intonating speech Udatta (the bold), Anudatta (the normal), Svarita (the circumflex) and Kampita (the vibrating). In hasya and srngara rasas, svarita and udatta; 214

in vira, raudra and adbhuta rasas, udatta and kampita; in bibhatsa and bhayanaka rasas, anudatta, and kampita modes of intonation predominate in rendering the text. 4. Kakus (The variations in inflexion):Kaku is of two kinds - Nirakanksa and Sakanksa. A sentence or a word has an obvious meaning. But, this may be rendered by inflexions in voice to give a completely different or implied meaning. The former, i.e. obvious meaning is called nirakanksakaku (the plain inflexion) and the latter is called sakamksakaku (the implied inflexion). In the sakamksakaku, the modes of intonation and enunciation are incomplete. It starts with a high pitch and ends in low pitch. The motivating impulses start in the throat and the chest. The process does not confine itself to the obvious meaning but gives a completely different or implied meaning. In nirakanksakaku intonation and enunciation are complete starting in the lower pitch and ending in the higher pitch, the impulses originating from the head. It renders the fully intended meaning of the text. 5. Alankaras (The modes of enunciation): The modes of enunciation are of six kinds - Ucca (the high), Dipta (the bright), Mandra (the base), Nica (the low), and Druta (the fast) and Vilambita (the dilated). Bharata has described in great detail the uses of these six kinds of enunciation. 215

216 6. Angas (The modes of rendering): There are six processes in which speech is rendered - Viccheda (the punctuated) Arpana (the pleasant), Visraga (the disinterested), Anubandha (the continuous), Dipana (the brilliant) and Prasamana (flowing). 7. Virama (Pause): Pauses are very significant accessories in the proper rendering of speech. Pause, when properly used, conveys the full import of a word or a group of words in a sentence. In addition, when poetical passages are being rendered pause occupies a very high place. For, a wrong pause may completely distort the import. Further, a pause must be very judiciously used in rendering a textual content.