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 20897). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p047 RIGHT — 37 lignes

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1 1 page_number
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2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
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1 BRHADDEŚI page_header
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2 140 page_number
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3 72,73 C.r. in S R I Kalā, p. 104. main
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4 74. P.t; our reconstruction is nearer P.t. main
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5 75. cf. (i) मध्यमस्वरेण तु वैणेन मूर्छनानिर्देशो भवत्यनाशित्वात् मध्यमस्वरस्य निग्रहः प्रवेशो वा। main
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6 ( NS Chau, p. 321 ) annotation_inline
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7 (ii) मध्यमस्वरेणेव तु मूर्छनानिर्देशः कार्यो भवति अनाशित्वान्मध्यमस्य निग्रहे पर्यग्रहे वा। main
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8 ( NŚ XXVIII, p. 27) annotation_inline
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9 76. Reconstruction based on Abhi Bhā on NS XXVIII, p. 28, reading as - main
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10 चतुर्थस्वर एव कण्ठ्यो मध्यमा ( मोऽ ) त्रेत्यपरे। main
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11 Brahaspati has interpreted 'karnye' as the 'fundamental note' that is main
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12 constantly heard in the drone. But 'kanthya' seems to be more appropriate, main
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13 because kantha (lit. throat) is the location of the middle register in the human main
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14 body. annotation_inline
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15 77. Reconstruction based on the reading of Dattilam 37. main
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16 78. cf. (i) नन् प्रथमाया सप्तम्या च मूर्छनाया षड्जलुप्ते रिगमपधनिरूप भवतीति तत्र को विशेषः। सत्यं main
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17 भेदो नास्ति, परन्तु मन्द्रतारकृतो भेदो विद्यत एव। main
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18 (C.r. in S R I Sudhā, p. 117) main
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19 (ii) ननु प्रथमाया सप्तम्या च मूर्छनाया पहजे न्तुप्ते रिगमपधनिरूप भवतीति दुर्जातो विशेषः। सत्य main
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20 लेख्यभेदो नास्ति। annotation_inline
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21 ( Abhi Bhā on XXVIII, p. 28 ) main
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22 79. cf. (i) इद च प्रयोक्त्श्रोतृसुसार्य च मूर्धनानानात्वम्। मूर्धनातानप्रयोजनमपि स्थानप्राप्त्यर्थम्। main
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23 ( NŠ XXVIII, p. 27 ) main
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24 (ii) प्रयोक्तुश्रोतृसुक्षार्थं तानमूर्छनातत्त्वम् । प्रयोजनमपि स्थानप्राप्तः । main
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25 ( NŠ Chau, p. 321 ) annotation_inline
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26 'Nānātvam' (variety) is associated with mūrchanā in NS, but in BrD the main
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27 reading mūrchanā-tānānyatvam suggests a distinction between mūrchanā and main
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28 tāna and it is in consonance with the preceding discussion in Anu. 45. main
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29 80. C.r. in S R I Sudhā, p. 117. main
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30 81. cf. ननु च मूर्धनास्तावत् जाञ्जति ( 0 ज्जाति ) ग्रह ( राग ) भाषावत्र प्रयोगोपयोगिन्यः, तानाश्च main
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31 कुतप ( कुत्र ) उपयुज्यन्ते, तानोक्तस्वरातिरिक्तानामपि जातिषु लोपा ( प्य ) भावाद् दृष्टत्वात्। main
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32 (Abhi Bhā XXVIII, p. 29) main
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33 ( Readings suggested in paranthesis ours ). main
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34 82. cf. ग्रामद्वयेऽपि तानाना पाडवीडवसजिनाम् । main
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35 नष्टोदिष्टविधानाय तत्सस्यामभिदध्यहे ॥ main
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36 (S. Rāj II, 1.1.424) main
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37 83. Reconstruction in the whole verse based on the reading in <i>Dattilam</i> 39. list_item
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38 84. ibid., <i>Dattilam</i> 40. list_item
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39 85. Reading suggested by the ed. list_item
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40 86. P.t. is utterly confused here. list_item
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41 87. cf. प्रयोजनमपि स्थानप्राप्तिः। स्थान तु त्रिविध पूर्वोक्तलक्षण काकुविधाने। list_item
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42 ( NŠ Chau, p. 321 ) main
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43 88. 'Sthāna' added on the basis of NS XXVIII, p. 27. main
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1 BRHADDEŚĪ page_header
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2 198 page_number
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3 उदाहरणम् - .....शुद्धा । [१४] page_header
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4 [.....]<sub>&o</sub> page_header
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5 उदाहरणम् – धापा निनिसा निधानिगामा पापारिपापा धानिनि । धानीगारी गासागासा सा - page_header
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6 सासापा पामापापा । गमसानिगागमसा गासाधामागामामा । मध्यमा [१५] page_header
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7 पञ्चमांशा पार्वती[स्याद्]धैवतान्ता च देशजा । editorial_bracket
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8 तु पार्धत्या annotation_inline
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9 ४१क्षत्रपरिषदि गीता पूर्णा षड्जसमुद्भवा ॥३३॥ main
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10 हृष्टा क्षत्रपरिषदि गीयते पूर्ण क्सु (?) main
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11 उदाहरणम् - पापापागा मारिरिनिरिमधा पापापा सारिमा । पागारिरिसनि धापापाधा । पार्वती । [१६] editorial_bracket
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12 ॥ इति शार्दूलमते [भित्रषड्जस्य] भाषा: षोडश समाप्ता: ॥ editorial_bracket
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13 लक्ष्यलक्षणसंयुक्ताः प्रस्तारेण समन्विताः । main
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14 उक्ता भाषा: समीचीना विभाषाभिर्विभूषिता: ॥३४॥ main
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15 •(पि? भि)॰ annotation_inline
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16 ॥ इति भाषालक्षणं समाप्तम् ॥ editorial_bracket
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17 [॥ इति चतुर्थोऽध्याय:॥] editorial_bracket
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1 BRHADDESI page_header
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2 60 page_number
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3 पञ्चस्वरमौडुवितं पञ्चधा लक्षणं स्मृतम्। main
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4 पञ्चित्रशच्च संख्यं हि आचार्यैर्यदुदाहृतम्।।१०१।। main
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5 [ अनु. ४२ ] editorial_bracket
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6 षड्जर्षभपञ्चमनिषादैः षड्जग्रामिकाः षाडवाः। षड्जर्षभगान्धारैर्हीना मध्यमग्रामे main
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7 षाडवाः। main
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8 [ अनु. ४३ ] section_header
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9 संवादिलोपादौडुवितत्विमिति वचनात् संवादिस्वराभ्यामौडुवितत्वं main
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10 प्राप्तमिति प्रायिकम्। कदाचिदनुवादिस्वराभ्यामौडुवितत्वं प्राप्तमिति प्रायिकम्। १९ main
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11 कदाचिदनुवादिस्वराभ्यामौड्वितं भवत्येव। यथा पञ्चमर्षभयोः षड्जग्रामे, main
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12 मध्यमग्रामे धैवतर्षभयोरिति। main
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13 पञ्चमषड्जविहीना द्विश्रुतिकाभ्यां तथा विहीनाम्च। main
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14 <del>्षि</del> 20 annotation_inline
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15 ुनो annotation_inline
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16 पञ्चमर्षभविहीनाश्चौडुविता भवन्ति षड्जग्रामे21।।१०२।। main
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17 तो annotation_inline
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18 ुन annotation_inline
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19 धैवतर्षभविहीना द्विश्रुतिकाभ्यां विहीना [ स् ] ता ज्ञेयाः। editorial_bracket
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20 ्ने annotation_inline
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21 ₀नो annotation_inline
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22 पञ्चस्वरकास्ताना भवन्ति खलु मध्यमग्रामे ॥१०३॥ main
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23 <b>, मस्वरकर्ता स्थाना ( ? )</b> main
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24 [अनु. ४४] section_header
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25 इदानीमेतदेव प्रस्तारेण दर्शयति। तद् यथा- main
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26 [षड्जग्रामे] section_header
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27 X रिगमपध नि<sup>22</sup> main
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28 नि x रिगमपध annotation_inline
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29 धनि x रिगमप main
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30 पधनि X रिगम annotation_inline
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31 म प ध नि 🗶 रि ग main
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32 गमपधनि 🗙 रि annotation_inline
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33 ्रिगमपधनि 🗴 main
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34 षड्जहानाः। main
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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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168 lignes a valider — change uniquement les roles incorrects.