सङ्गीतदर्पण (दामोदर पण्डित - तंजौर सरस्वती महल संस्करण, सङ्गीत एवं नाट्य लक्षण)

3
from Jaatis or Parent Ragas is not dealt with for the reason
that it has ceased to be intelligible.
According to Sangita Ratnakara, ragas are formed from
parent ragas called 'Jaatis' which again are formed from
moorchhanas in obedience to the rules of melody enunciated
in the texts. The Ragas are classified into 'Marga' or those
which are true to the rules of science and 'Desi' or provincial
variations of the Margaragas. The Marga ragas are again
classified into 'Grama ragas', 'Ragas' and 'Uparagas'. Des
ragas are derived from these Marga ragas and are called
Raganga' and 'Upanga' ragas. Mid-way between the Marga
and Desi ragas there are certain modifications of the Grama-
ragas which obey most if not all the rules of melody. These
are called 'Bhasha' ragas They are again subdivided into
three groups called respectively Bhasha, Vibhasha and
Antarabhasha. From these Bhasha ragas also some Desi
ragas take their origin and they are called 'Bhashanga' ragas.
This is the classification as found in Sangita Ratnakara,
In Sangita Darpana, the origin of ragas and their classi-
cation as found in Sangita Ratnakara are completely ignored,
and the account that is found in Tantra works and followed in
'Ragarnava', 'Someswara' and 'Hanumat Bharata', is
followed. According to this system, six male ragas were first
born and from them their derivaties called poetically 'Raginise
(their better-halves). There are slight differences in th'
choice of the Ragas and Raginis according to these three
authorities. But the general plan is the same. Having given
this classification, the author of Sangita Darpana then deals
with the chief characteristics of the ragas then in vogue either
in practice or in well-understood texts.
In dealing with the characteristics of particular ragas,
however, some of the features that determine the emotion and
chhaya of the raga as found in Sangita Ratnakara are men-
tioned by our author. Those features are (1) the Moorchhana
from which the raga is formed (2) its Vadi and Samvadi, its