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 20891). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p059 RIGHT — 37 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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1 TRANSLATION page_header
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2 15 page_number
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3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
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4 becomes samnyāsa if it is used in the end of the first vidārī. main
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5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
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8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
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1 TRANSLATION page_header
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2 165 page_number
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3 Having ṛṣabha as amśa, pancama as the concluding note, it should be main
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4 known to be weak in sadja. It should always be performed with the kākalī main
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5 form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the main
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6 knowledgeable ones in music. Āndhālī is well-known among the main
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7 people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup> main
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8 <math>(97-98)</math> main
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9 Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā main
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10 päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä main
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11 pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama- main
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12 ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii] editorial_bracket
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13 Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as main
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14 nyāsa, there being concert between madhyama-dhaivata, abundance of main
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15 pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga. main
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16 (99) annotation_inline
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17 Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni main
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18 saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā main
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19 sānīdhāmāpā pā. Tānodbhavā [viii] editorial_bracket
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20 Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is main
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21 (mutual) movement between the svaras comprised of two śrutis each in their main
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22 original form. There is the abundance of şadja-madhyama and pañcama- main
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23 rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44 main
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24 (region) and is sādhāraņakṛtā. main
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25 <math>(100-101)</math> main
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26 Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā main
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27 nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha main
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28 dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā- main
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29 sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix] editorial_bracket
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1 276 page_number
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2 BRHADDEŚĪ page_header
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3 appears to be incomplete. main
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4 115. In spite of the description of this bhāṣā as its being complete, the main
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5 illustration omits <i>ṛṣabha</i>. main
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6 ì annotation_inline
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7 116. cf. (i) main
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8 ्विभाषा रागराजस्य पञ्चमस्य वराटिका । main
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9 अंश: षड्जग्रहन्यास: नितारा मन्द्रमध्यमा ॥ main
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10 समशेषस्वरा पूर्णा शृङ्गारे याष्टिकोदिता ॥ main
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11 Jagadekamalla cited in BhaKo p. 584. main
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12 विभाषा रागराजस्य पञ्चमस्य वराटिका । list_item
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13 (ii) list_item
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14 समशेषस्वरा पूर्णा शृङ्गारे याष्ट्रिकोदिता ॥ list_item
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15 117. cf. (i) तथैव पञ्चमे भिन्ने मध्यमग्रामगानयुक्। list_item
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16 मध्यमांशग्रहा धान्ता मन्द्रर्षभविभूषिता ॥ list_item
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17 मध्यमर्पभसंवादा ऋषभस्वरदुर्बला । list_item
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18 द्रुतमध्यलया तारपङ्जा स्फुरितधैवता ॥ list_item
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19 पूर्णारोह्मवरोहिभ्यां वर्णाभ्यामुपशोभिता । list_item
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20 लिलतेर्गमकैर्युक्ता भाषा धैवतभूषिता ॥ list_item
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21 S Rāj II.2.I.898-900 main
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22 (ii) पूर्णा धांशग्रहन्यासा सधयो रिधयोर्युता । main
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23 भित्रपञ्चमसंभूता भाषा धैवतभूषिता ॥ main
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24 Kalā (appendix) on SR II, p.136. main
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25 118. Reconstruction based on Kalā (appendix) on SR II, p. 137 list_item
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26 ŀ annotation_inline
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27 reading 'sadhasañcārini' and 'dhabhūṣitā' and S Rāj II.2.I.902 reading 'ṣadja- list_item
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28 dhaivatasangatā'. list_item
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29 119. S Rāj II.2.1.956 ab describes a samvāda (to and fro movement) list_item
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30 between niṣada-dhaivata, but Kalā (appendix) on SR II, p. 138 reads 'ridha- list_item
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31 sañcārā'; it appears that 'ni' has been replaced here with 'ri' on account of list_item
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32 error in deciphering or copying at some stage. list_item
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33 वाहुल्यं दृश्यते त्वस्या: सर्वस्वरगतं वृधै: । main
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34 120. cf. annotation_inline
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35 S Rāj II.2.1.956 cd. main
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36 121. P. t. does not contain the description of bhāvinī, the bhāṣā of main
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37 mālavapanīcama, although it is included in the initial enumeration (uddeša) main
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38 in verse 33 cd of this chapter. Kalā (appendix) on SR II, p. 142 describes two main
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39 vibhāṣās named bhāvanī and vibhāvanī under mālavapañcama as- main
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40 भावनी पञ्चमांशान्तग्रहा मालवपञ्चमात् । main
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41 जाता विभाषा षड्जापन्यासा ऋषभवर्जिता ॥ main
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42 विभावनी विभाषा स्यात् पूर्णा मालवपञ्चमे । main
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43 पञ्चमांशग्रहन्यासा मगधाल्पा पमन्द्रभाक् ॥ main
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44 S Rāj II.2.1.1084 describes vibhāvanī according to Yāṣṭika, but bhāvanī is not main
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45 ł annotation_inline
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46 mentioned there. main
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47 Districted the fire annotation_inline
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1 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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174 lignes a valider — change uniquement les roles incorrects.