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

4
Graha, Nyasa and Apanyasa (3) the 'Varna' in which the
raga- form presents itself, whether it is in 'Arohi' (ascent),
Avarohi (descent) or 'Sanchari' (mixed ascent and descent) and
(4) that particular variety of static melody or Sthayi Varna
among its seven varieties in which the raga form is presented.
In the Sangita Darpana, an indication of the principal
sanchara is given as also the Moorchhana, Graha, Amsa, and
Nyasa of each Raga. But the particular variety of Vikrita
swaras which figure in particular ragas is not mentioned.
This latter analysis which as a last resort the writers of the
renaissance developed into the 'Mela' system of the South had
not evidently been fully formulated in the time and locality
of our author. In addition to the principal sanchara, we find
a poetic personification of Ragas and Raginis embodied in
graphic descriptions. These poetic descriptions are found in
many other works which are now extant in Northern India.
Pictures of Raga and Ragini are favourite items in the
picture galleries of North Indian Princes and nobles. It is this
feature of Sangita Darpana which has made it a favourite
text-book in Northern India.
The third or miscellaneous chapter deals with the merits
and defects of music and musicians, their voice and
mannerisms.
The fourth chapter deals with musical instruments.
A judicious selection is made from the copious details found in
Sangita Ratnakara and legitimate space is given to the more
important instrument then in use, namely, Veena and
Mrdanga.
The fifth is the chapter dealing with varieties of musical
composition o 'Prabandhas' as they are called. Here also a
selection is made of some of the less obsolate forms which in
the opinion of the author were likely to survive out of the 200
and odd forms of composition and their numerous subdivisions
that are fully described in Sangita Ratnakara. But even the
limited hopes of the author of Sangita Darpana have been