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 20871). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p061 LEFT — 41 lignes

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1 <b>BRHADDESI</b> page_header
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2 104 page_number
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3 [ अनु, १०२ ] editorial_bracket
parent ligne 8
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4 हुङ्कारवत् सम [ न ] न्तरं संयुक्तं त्रिस्वराक्षरमारोहेत् ततो द्वौ द्वौ स्व [रौ] editorial_bracket
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5 .क्त डि॰ annotation_inline
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6 .तः annotation_inline
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7 म्रो annotation_inline
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8 कम्पनयुक्तौ कलान्तरयोगादेव प्रसन्नौ मन्द्रौ कार्यौ। इत्येककलस्वरयोगाद् गात्रवर्णः। main
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9 [ यथा - ] ३३धनिस निनि धध, पधनि धध पप, मपध पप मम, गमप मम गग, editorial_bracket
parent ligne 8
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10 रिगम गग रिरि, सरिग रिरि सस इति गात्रवर्णः ३४। main
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11 [ 33 ] editorial_bracket
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12 भरतमतेनालङ्कारनिरूपणम् section_header
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13 यस्मिन् वर्णे स्थिता ये च अलङ्कारा मनोहराः। main
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14 तानिदानी प्रवक्ष्यामि भरतोक्तविधानतः ॥१२१॥ main
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15 प्रसन्नादिः प्रसन्नान्तः प्रसन्नाद्यन्त एव च। main
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16 तथा प्रसन्नमध्यस्तु समो रेचित एव च॥१२२॥ main
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17 पुस्तारम्च प्रसादश्च स्थायिवर्णसमाश्रयाः। main
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18 •र्णाः annotation_inline
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19 प्रसाद+ annotation_inline
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20 ज्ञेया ह्येते त्वलङ्कारा अध्यथालक्षणलक्षिताः ॥१२३॥ main
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21 ₀रादमी annotation_inline
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22 ∘धेतद₀ annotation_inline
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23 अथ सञ्चारिजान् भूयः कीर्त्यमानाव्निबोधत। main
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24 •णी annotation_inline
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25 मन्द्रतारप्रसन्नश्च बिन्दुः प्रेङ्खोलितस्तथा।।१२४।। main
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26 उ६ तारमन्द्रप्रसन्नश्च स्यान्निवृत्तप्रवृत्तकः । ] editorial_bracket
parent ligne 25
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27 .র্ব. annotation_inline
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28 कुहरश्चैव वेणुश्च रिक्षतश्चोपलोलकः ॥१२५॥ main
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29 ₀ला。 annotation_inline
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30 ₹₀ annotation_inline
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31 आवर्तकः परावर्त इति सञ्चारिसम्भवाः। main
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32 अलङ्कारास्तु विज्ञेया अएकादश मनोहराः ॥१२६॥ main
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33 निष्कूजितम्च कुहरो हसितो अबिन्दुरेव च। main
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34 कोरो annotation_inline
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35 प्रेह्मोलितस्तथाऽऽक्षिप्तो विधुतोद्वाहितौ तथा।।१२७।। main
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36 .योत्सि. annotation_inline
parent ligne 35
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37 ह्रादमानः सम्प्रदानः सन्धिप्रच्छादनस्तथा। main
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38 (ना ? मा) annotation_inline
parent ligne 37
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39 प्रा annotation_inline
parent ligne 37
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40 प्रसन्नादिः प्रसन्नान्त आरेहिणि त्रयोदश।।१२८।। main
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41 ०णी page_footer
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vol_I_p095 RIGHT — 48 lignes

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1 <b>VIMARSA</b> page_header
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2 173 page_number
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3 Madhyama table
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4 Pañcama table
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5 Niṣāda-gāndhāra table
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6 Dhaivata table
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7 Gändhära table
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8 Nişāda table
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9 Şadja-rşabha table
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10 Şadja table
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11 Gāndhāra table
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12 This list does not seem to follow the general statement that all those which main
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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21 respectively and are hence vivadins. main
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22 44. Here again, the application of the concept of vivada in melodic structuring main
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23 is being illustrated. ( see glossary ) main
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24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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36 reciting the pk. The practice of the recitation of gatha is not generally known main
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37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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1 203 page_number
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2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
parent ligne 14
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
parent ligne 18
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
parent ligne 28
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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vol_I_p094 RIGHT — 45 lignes

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1 VIMARŚA annotation_inline
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2 171 page_number
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3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
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4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
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7 does not carry further the argument that vowels and musical tones cannot be list_item
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8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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1 53 page_number
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2 TRANSLATION page_header
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3 rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa main
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4 does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state, main
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5 in the auduvita state there is the sparseness of none; there is abundance of main
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6 all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There main
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7 is mutual reaching out among the amsas. main
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8 [Anu. 157] section_header
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9 This is eleven-fold. There are eleven amsas, four in the complete state, main
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10 three in the sādava state, because of the exclusion of the form in which main
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11 dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa). main
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12 The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla. main
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13 With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla) main
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14 in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the main
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15 dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its main
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16 application (viniyoga) is prescribed in the singing of dhruvā (s) in the second main
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17 scene (or act). main
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18 [7.Şadjamadhyamā] section_header
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19 [Anu. 158] section_header
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20 All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra main
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21 extends upto five svaras. The mandra is upto the nyāsa or upto the svara next main
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22 to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid main
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23 of niṣāda-gāndhāra. There is free movement (sancāra) without violating the main
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24 grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra. main
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25 Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas. main
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26 [Anu. 159] section_header
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27 It is seventeen-fold. There are seventeen amsas – out of them seven obtain main
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28 in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There main
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29 is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains. main
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30 Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī main
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31 (gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti). main
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32 With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant main
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33 in all the rasas. Its application (viniyoga) is (prescribed) in the singing of main
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34 dhruvā (s) in the second scene (prekṣaṇaka).71 main
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35 Thus end these seven jātis pertaining to sadjagrāma. main
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36 [Anu. 160] section_header
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37 Now the jātis pertaining to madhyamagrāma are being said - main
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202 lignes a valider — change uniquement les roles incorrects.