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 20899). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p042 LEFT — 48 lignes

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1 BRHADDEŚĪ page_header
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2 66 page_number
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3 (৬) table
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4 सा पा नी मा पा पा गां गां table
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5 मां पां मां निधं नी नी सा सा table
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6 (८) table
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7 पां पां मां धंनिं पां पां पां पां table
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8 (९) table
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9 (१०) table
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10 मां पां मां रिग गा गा गा गा table
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11 (११) table
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12 गा पा मा पा नी नी नी नी table
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13 (१२) table
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14 मा पा मा परि गा गा गा गा table
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15 (१३) table
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16 गा गा गा मा मा निध नी नी table
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17 (१४) table
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18 नी नी धप मा निध निध पा पा table
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19 (१५) table
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20 रीं गां सां सां मा नी नी नी table
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21 (१६) table
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22 नी नी धा पा धा पा मा मा table
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23 ॥ [इति] मध्यमोदीच्यवा ॥ table
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24 141 page_number
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25 [६. कामारवी] section_header
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26 कार्मारव्यां भवन्त्यंशा निषादरिपधैवता: ॥ १६॥ main
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27 बहवोऽन्तरमार्गत्वादनंशा: परिकीर्तिता: । main
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28 गान्धारोऽत्यन्तबहुल: सर्वाशस्वरसंगति: ॥ १७॥ main
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29 सर्वाशत्वं(?)स्वसंगतैः main
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30 चच्चत्पृट: षोडशात्र कला: षड्जादिमूर्छना । main
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31 (জা) annotation_inline
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32 पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥ १८॥ main
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33 <sup>१७८</sup>अस्यां पञ्चमो न्यास:, अंशा एवापन्यासा: । <sup>१७९</sup>प्रस्तार: - main
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34 ए(व?वा) main
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35 री री री री री री री री table
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36 (१) table
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37 मां गां सां गां सा नी नी नी table
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38 (२) table
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39 (3) table
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40 नी मा नी मा पा पा गा गा table
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41 (8) table
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42 गा पा मा पा नी नी नी नी table
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43 (4) table
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44 री गासानी री गारी गा table
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45 री गारी सानिध नी पापा table
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46 <b>(</b>\(\xi\) table
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47 (৩) table
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48 मा पा मा परि गा गा गा गा table
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1 1.50 4 1 annotation_inline
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2 TRANSLATION page_header
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3 115 page_number
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4 [Anu. 198] editorial_bracket
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5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
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6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
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7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
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8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [7. Ţakkakaiśika] section_header
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13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
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14 and concluding note and is weak in the svaras comprised of two śrutis each main
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15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
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17 [Anu. 199] editorial_bracket
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
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22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
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24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
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25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
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26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
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27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
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28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
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29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
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30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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32 obtains in songs comprised of svara and pada. main
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33 [8. Mālavakaisika] section_header
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34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
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35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
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37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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1 San Carlotte Comment annotation_inline
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2 BRHADDEŚĨ page_header
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3 280 page_number
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4 13. P.t. reads - main
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5 गान्धारांशा तु षड्जान्ता पूर्णा द्राविडदेशजा । main
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6 गीयते नित्यमेवैषा विभाषा (विजरा ? पिञ्जरी) शुभा ॥ main
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7 Thus the second and third feet are repeated from the description of drāviḍī main
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8 from verse 11 and have hence been omitted by us. main
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9 14. The reading 'paurālī' is suggested by the ed. main
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10 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै: । main
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11 15. cf. annotation_inline
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12 S Rāj II.2.1.1084 cd. main
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13 Kalā (appendix) on SR II, p. 142 treats it as a <i>vibhāṣā</i>. main
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14 16. P.t. contains repeated portion here as follows - main
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15 उदाहरणम् -सासासासा धासासासा सारीमामा सानीधासा सानीधापा सामामापाधा । सासा । धागारिसारिसा निधानि । सासा । main
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16 धागारिसारिसा निधानि । सासा । अलघ्वी । टक्करागे शार्दूलमते भाषा: समाप्ता: । भित्रवलितिका रविचन्द्रा भित्रपौराली द्राविडी main
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17 पार्वती चैव हिन्दोलके ? main
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18 The ed. notes that the lakṣaṇa of paurālī and illustration of vibhāvinī is not main
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19 available in the MSS, because the illustration that follows the repeated main
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20 portion reproduced above bears the name paurālī. But we have taken it to main
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21 be the illustration of vibhāvinī as it matches the description of this bhāṣā. main
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22 Thus both the description and illustration of paurālī are taken to be lost. main
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23 S Rāj II.2.1.1086 describes paurālī as - main
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24 पञ्चमांशग्रहन्यासा गाल्पा मालवपञ्चमे । main
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25 सावरोहिप्रसन्त्रान्ता भाषा पौरालिका रसे ॥ main
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26 बीभत्से मुनिना प्रोक्ता मतङ्गेन भयाकुले ॥ main
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27 करुणे दैन्यभूयिष्ठे आहुर्वेदवर्ती बुधा: । main
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28 17. cf. annotation_inline
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29 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX, p. 76. main
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30 सग्रहान्ता वेगवती धांशा मालवपञ्चमे । main
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31 18. cf.(i) annotation_inline
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32 सप्तस्वरा विभाषेयमञ्जनासून्सम्मता ॥ main
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33 Kalā (appendix) on SR II. p. 142. main
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34 (ii) annotation_inline
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35 पूर्णा वेदवती भाषा सान्ता मालवपञ्चमे । main
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36 पञ्चमांशग्रहा योज्या रसे सा करुणे बुधै: ॥ main
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37 S Rāj II.2.1.1088. annotation_inline
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38 .....गर्वे त्वान्ध्रॉ प्रचक्षते । main
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39 19. cf.(i) annotation_inline
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40 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX.p.76. main
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41 (ii) annotation_inline
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42 .....सर्वभावनियोगभाक् । main
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43 S Rāj 11.2.1.1090 d. main
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44 Our reconstruction is in close proximity of p.t. 'Vyādhau daṣṭeṣu' could be main
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45 another possibility; the meaning would be - 'in the context of disease and of main
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46 those bitten (by poisonous creatures)* main
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47 20. cf. annotation_inline
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48 औप्र्वे क्रोधे च गान्धारी .....ा main
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49 Citation from Kasyapa in Abhi Bhā on NŚ XXIX., p. 76. main
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1 VIMARŚA annotation_inline
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2 167 page_number
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3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
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4 The word antara in the compound 'antara-mūrchanā' covers both antara main
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5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
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6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
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7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
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8 not be directly covered. The mandala (cycle) beginning with reabha in main
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9 sadjagrāma will cover both the grāmas in the following manner- main
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10 Madhyama-grama annotation_inline
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11 pa annotation_inline
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12 ma annotation_inline
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13 Sadja-grama annotation_inline
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14 ga annotation_inline
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15 п annotation_inline
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16 sa annotation_inline
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17 an ga dha unknown
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18 an ga kā ni unknown
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19 ma ni annotation_inline
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20 ga ni unknown
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21 kā ni unknown
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22 dha annotation_inline
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23 pa annotation_inline
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24 пі annotation_inline
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25 sa annotation_inline
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26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
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27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
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28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
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29 şadja and madhyama) agre-sara; this term could be explained in two ways main
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30 according to the association of agre with time and space. In the context of time main
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31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
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32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
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33 than şadja and madhyama, because primarily şadja and madhyama have to be main
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34 established or accepted on an arbitrary sound and then the interval of rsabha- main
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35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
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36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
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37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
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38 in front or preceding; here preceding will have to be construed in terms of main
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39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
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40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
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41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
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42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
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220 lignes a valider — change uniquement les roles incorrects.