Conclusion
It is hard to classify the emotional character of this raga as it varies from the transition of one note to another. The sobriety of its scale makes it very emotional in character. It is embellished with the raudra and bhayanaka or the wrathful and the fearsome while using the dhaivat, madhyam and the rishabh but it also contains the karunakara or compassionate characteristic while using the nishadh. Every transition in this raga captures a different rasa or emotion and it stands as an example of how classical Indian music is highly dependent upon emotions and that shruthi-bhava-rasa can never work separately in any form of art.
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