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in v墨ra, raudra and adbhuta rasas, ud膩tta and kampita; in bibhatsa and bhay膩naka rasas, anudatta, and kampita modes of intonation predominate in rendering the text. 4. K膩kus (The variations in inflexion):- K膩ku is of two kinds - Nir膩k膩峁卥峁�a and S膩k膩峁卥峁�a. A sentence or a word has an obvious meaning. But, this may be rendered by inflex- ions in voice to give a completely different or implied meaning. The former, i.e. obvious meaning is called nir膩k膩峁卥峁�akaku (the plain inflex- ion) and the latter is called s膩k膩峁僰峁�ak膩ku (the implied inflexion). In the s膩k膩峁僰峁�ak膩ku, 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 nir膩k膩峁卥峁�ak膩ku 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