Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 20860). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p022 RIGHT — 27 lignes

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1 27 page_number
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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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vol_II_p103 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 189 page_number
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3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p157 RIGHT — 40 lignes

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1 VIMARŚA annotation_inline
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2 297 page_number
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3 35. Lack of regulation i.e. scope for free will in rendering is a main
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4 characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, main
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5 stand for 'aural appearance'. main
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6 36. See citation in the name of Nărada under Anu. 28 in chapter one list_item
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7 of our text Vol. I. 'Svarāntara' literally means a different svara; its relation list_item
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8 with the number four of svaras could thus be explained. The first three svaras list_item
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9 are repeated as the last three of a heptad. The fourth known as madhyama list_item
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10 comes in-between these two triads. Hence the fourth adds a 'different or list_item
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11 new svara'. This could be the reason for giving the name svarantara to a list_item
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12 group of four svaras. This name is relevant only for the first triad + the list_item
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13 fourth, but its secondary application could be related to any group of four list_item
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14 svaras. list_item
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15 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, list_item
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16 158 of the supplement (variant reading) to the said chapter. The description list_item
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17 ' (in terms of upohana or introductory portion and metre) is given below - list_item
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18 "Five dhruvās should be performed in Pūrvaranga (preliminaries of main
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19 drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and main
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20 <i>vikşiptă”</i> (p. 251). annotation_inline
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21 "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- main
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22 units) with the syllabic units dingle dingle, two units of four short syllables main
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23 each and jhantum in the end. Each foot of the dhruva is composed of sixteen main
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24 syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru main
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25 (long) and the rest being laghu (short)." The illustration is as follows- main
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26 Varadam saganam tripurāntakam vṛṣabhaketum/ main
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27 Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ main
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28 Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ main
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29 Praṇato'smi bhavantamumāpatim tvasitakantham/ main
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30 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding main
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31 verse 74 and in verse 75). The context is the same as that in our text, viz. main
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32 alpatva-bahutva. The manipulation of sparseness and abundance of svaras main
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33 in jātis on account of which a non-amsa svara also becomes abundant in a main
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34 special context is antara-mārga. main
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35 The literal meaning of this word is 'search for the inner path'. The root main
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36 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search main
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37 of the inner is antara-marga. What is this inner? This has to be understood main
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38 in two ways. The first is in relation to the seven jātis named after svaras, which main
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39 assume a two-fold form viz. śuddha and vikṛta. The second is in the context main
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40 of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above main
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vol_II_p162 RIGHT — 41 lignes

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1 <b>VIMARŚA</b> annotation_inline
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2 307 page_number
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3 52. The word gamaka seems to stand for shake here. list_item
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4 53. Dānavīra is one of the four varieties of vīra, the other three being list_item
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5 dharmavīra, yuddhavīra and dayāvīra. list_item
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6 54. The import seems to be that śuddha-bhinna has an independent list_item
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7 form and that it is not the modified form of a suddharaga. list_item
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8 55. Here the distinction of a bhinna raga is established only on the list_item
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9 basis of giti or distinctive tonal rendering. list_item
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10 56. Syasthāna is a word used in SR III.140 and III.191-192 in the list_item
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11 context of sthāya and ālapti respectively; it stands for the sections of rāgālapti list_item
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12 formed on the basis of the units of tonal range within an octave, the first unit list_item
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13 being formed in the range from the tonic and from below it upto the svara list_item
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14 preceding the fourth, the second unit touching the fourth, the third list_item
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15 reaching below the octave and the fourth touching the octave. list_item
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16 57. 'Leaving the svasthana' seems to imply that the lower register will list_item
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17 be used in this rāga, as distinct from śuddhakaiśika which is performed with list_item
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18 tāra svaras. Here svasthāna does not seem to signify the units of tonal range list_item
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19 described in note 56 above, rather it appears to mean ' the own sthana or list_item
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20 register' of a raga. list_item
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21 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie list_item
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22 fallacious statement because pañcama is not adjacent to niṣāda. But there list_item
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23 could be a hidden meaning, taking the two grāmas together, as follows - list_item
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24 Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. main
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25 Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. main
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26 Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The main
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27 above statement could be valid in terms of the two grāmas taken together. main
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28 59. The 'omission' of pancama comprised of three śrutis in list_item
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29 ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. list_item
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30 60. 'Mature' karuṇa rasa is a notable expression. list_item
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31 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) list_item
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32 also mentions it while describing the gaudi gita and defines it as the list_item
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33 "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." list_item
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34 62. There is a striking contradiction between the viniyoga or list_item
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35 application in terms of śringāra and the rasas mentioned separately, viz. list_item
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36 bībhatsa and bhayānaka that are incompatible to śṛṅgāra. list_item
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37 63. Here again the viniyoga is given in terms of karuņa and the rasa list_item
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38 is mentioned as vīra in accordance with the amśa that is ṣaḍja. list_item
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39 64. 'Rāga' is another name for vesarā gīti; this alternative name is also list_item
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40 mentioned in later texts like SR II.1.6. The basis of this alternative name as list_item
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41 cited in the name of Kasyapa seems to be that the ragas that are not list_item
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vol_II_p028 RIGHT — 34 lignes

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1 (vide) annotation_inline
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2 39 page_number
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3 TRANSLATION page_header
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4 applied without any svara forming an exception. Out of sixty-three (anisas), main
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5 nine amsas that pertain to the four jātis which are always complete, should main
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6 be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are main
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7 subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of main
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8 six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī main
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9 (and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there main
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10 are forty-seven anisas. That is thus - main
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11 Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī main
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12 (and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki main
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13 (becomes so) with sa - ga - pa. annotation_inline
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14 (257) annotation_inline
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15 [ Anu. 140] editorial_bracket
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16 This means .....in the forty-seven anisas, the formation of ṣāḍava should main
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17 be carried out with the said svaras. annotation_inline
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18 Now he (the author) shows the svaras that are not exceptional <math>^{53}</math> in the main
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19 formation of auduvita - annotation_inline
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20 In the same way, those that are free from being exceptional are thirty main
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21 (amśa svaras that form) auduvita. main
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22 (258) annotation_inline
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23 [Anu. 141] editorial_bracket
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24 This means - in that way, those devoid of exception should be known to main
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25 be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to main
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26 the four jātis that are always complete (in which omission is not prescribed) main
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27 should be subtracted. After their subtraction, fifty-four amsas remain there. main
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28 There also out of fifty-four, twelve amsas of the four jātis that are always main
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29 complete and ṣāḍava, should be subtracted. After their subtraction, out of main
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30 forty-two (being the remainder), twelve anisas that do not form auduvita in main
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31 five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī, main
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32 should be subtracted. After their subtraction, the formation of auduvita main
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33 takes place with thirty amśa svaras that have been spoken of. Similarly has main
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34 said Bharata- annotation_inline
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174 lignes a valider — change uniquement les roles incorrects.