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 20947). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p084 RIGHT — 51 lignes

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1 1 page_number
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2 Ė annotation_inline
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3 151 page_number
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4 VIMARŚA page_header
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5 ì annotation_inline
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6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
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7 music which is rendered through the voice or stringed and wind instruments. main
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8 BṛD does not mention vādya along with gīta here, nor in verse 14 where desī main
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9 music is defined as 'that which is sung.' Since voice sets the model followed by main
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10 stringed and wind instruments, gita is the word for the melodic aspect of music main
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11 and the content of the above instruments is included in it. This extension of the main
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12 meaning of gita gets established when the word vādya is juxtaposed with it, main
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13 because in that case vādya gets restricted to drums. But here, in absence of that main
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14 juxtaposition, gita would acquire a further extension by way of also including main
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15 vādya in its orbit. Hence gīta stands here for the totality of music. It is notable main
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16 that gita is followed by svara in this verse. This looks like a repetition because main
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17 svara is the main constituent of gita. This could be construed as an emphasis on main
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18 'svara' through an independent reference to it. main
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19 3. Nrtta generally stands for pure dance where the delineation of artha main
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20 (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). main
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21 Nṛtta is dependent on nāda, because it has to be accompanied on instruments, main
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22 specially drums. annotation_inline
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23 4. The statement that the world is made up of nāda seems to be somewhat main
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24 out of place here, because the context is that of nada being the essence of main
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25 music and dance. But if one recalls the exposition of the order of manifestation main
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26 or formation of gandharva beginning from bindu and moving forward through main
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27 nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its main
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28 auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) main
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29 incorporates all the stages upto gandharva and hence the fundamental nature main
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30 of nāda as established in gīta could be logically extended to the 'world' because main
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31 the world or phenomenon itself is a manifestation of nāda through the above main
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32 stages. SR expresses the same idea in the following manner - main
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33 "Nāda manifests the letters ( of alphabet ), letters constitute the word and main
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34 words make a sentence; so, the entire business of life is carried on through main
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35 language and therefore, the whole phenomenon (i.e. the world) is based on main
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36 nāda". (SR1, 2.2) annotation_inline
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37 Just as SR has related the business of life with nāda through verbal main
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38 communication that is based on the same, BrD has used gita in an extended main
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39 meaning, including in it all the manifestations of nada and has expounded nada main
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40 to be the essence of the whole world. annotation_inline
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41 It would be interesting to note here that S R also speaks of nāda being the main
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42 essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in main
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43 that context. annotation_inline
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44 "Nāda is the very essence of vocal music, instrumental music is enjoyable as main
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45 it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental main
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46 music); therefore, all the three together depend on nāda". (SRI, 2.1) main
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47 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva main
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48 (three gods), representing three aspects of the manifestation of the Ultimate main
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49 Reality into the phenomenon of the universe, viz. creation, preservation and main
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50 destruction. Although the three of them occur in Vedic literature, yet the idea main
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51 (vide) annotation_inline
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1 TRANSLATION page_header
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2 129 page_number
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3 "Sometimes the aniśa, sometimes the nyāsa, sometimes ṣāḍava and auḍuvita main
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4 (becomes obvious). The wise should arrange (the melody) after knowing main
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5 the sparseness and abundance combined with graha and apanyasa and main
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6 similarly low and high (mandra-tāra). The grāma-rāgas should be used in main
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7 daśarūpaka 97 according to the prescribed rules. The gāna that is five-fold as main
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8 praveśa (entry), ākṣepa (sudden change in emotive state), niṣkrāma (exit), main
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9 prāsādika (pacifying) and āntara (filler of gaps) should be performed in main
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10 these rāgas." annotation_inline
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11 [The application of gītis] section_header
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12 In pūrvaraiga, the śuddhā should be there, the bhinnā is based on main
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13 prastāvanā, 98 the vesarā should be 'done ' in the two mukhas (mukha and main
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14 pratimukha sandhi),99 gauḍi is prescribed in the garbha (sandhi) and main
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15 similarly sādhārita should be there in avamarsa sandhi<sup>101</sup> and nirvahana main
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16 (sandhi). annotation_inline
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17 (344) annotation_inline
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18 Thus ends the third chapter entitled "Raga-laksana" in annotation_inline
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19 Bṛhaddeśi composed by Matanga Muni. main
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1 PĀŢHAVIMARŚA page_header
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2 273 page_number
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3 याष्ट्रिकेन मुनिनात्र पञ्चमे, भाषितेति कथितात्र सैन्धवी । main
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4 81. cf. annotation_inline
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5 सैव गीतपरमार्थवेदिना सैन्धवी निगदिताङ्गसंज्ञया ॥ main
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6 S Rāj II.2.3.21, annotation_inline
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7 Saindhavī is mentioned here as a bhāṣāṅga rāga. main
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8 82. Kalā (appendix) on SR II, p. 135 reads pagrahāmšikā. describing main
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9 'pa' as the graha and amśa. S. Rāj. 11.2.1.868 cd reads - main
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10 .....मधनोस्वरभूयसी । main
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11 83. Kalā (appendix) on SR II, p. 135 and S Rāj II.2.1.868, 869 b treat main
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12 it as a bhāṣā. S. Rāj. 869 cd says - main
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13 इमामेव विभाषेति मुनिराचष्ट याष्टिक:। main
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14 84. SR II.2.151b reads - 'grahāniśa- nyāsa- dhaivatā ', describing list_item
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15 dhaivata as the graha, amsa and nyāsa. list_item
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16 85. This line seems to be misplaced here. list_item
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17 86. SR II.2.150 c, 15I c and S Rāj II.2.1, 849, 850 treat is as a bhāṣā. list_item
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18 87. Verse 27 d of our text reads 'āndhrī' in the enumeration (uddeśa). list_item
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19 Kalā (appendix) on SR II, p. 116 and S. Rāj II.2.1. 872 read it as āndhrī, list_item
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20 treating it as a bhāṣā with a description bearing similarity to that in our text list_item
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21 here. Andhālī, treated as a vibhāṣā in SR II.2.151d-153b and S Rāj II.2.1.890, list_item
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22 891 bears a different description. In S Rāj (ibid) Yāṣṭika is cited as the list_item
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23 authority, while giving the viniyoga (application). list_item
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24 मांशाल्पपञ्चमा पान्ता सङ्कीर्णा धमसङ्गता । main
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25 88. cf. annotation_inline
parent ligne 24
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26 तानोद्भवा पञ्चमस्य भाषा प्रवलपञ्चमा ॥ main
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27 Kalā (Appendix) on SR II, p.136. main
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28 याष्ट्रिके त्रावणी भाषा पञ्चमस्य ग्रहांशता । main
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29 89. cf. (i) annotation_inline
parent ligne 28
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30 पान्ता सरिपमैर्भूरिसङ्गतद्विश्रुतिर्मता ॥ main
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31 एषा भाषाङ्गमन्येषां भ्रग्रहांशा निपोन्झिता । main
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32 अतारा प्रार्थने मन्द्रधगन्यातोरुमध्यमा ॥ main
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33 SR II.2.186,187. annotation_inline
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34 निषादांशग्रहा न्यासपञ्चमा गनिसंयुता । main
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35 (ii) annotation_inline
parent ligne 34
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36 याष्टिकस्य मते चेयं पड्जांशा पञ्चमान्तिका ॥ main
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37 केपाञ्चिदेषा भाषाङ्गं धग्रहांशा रिपोन्झिता । main
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38 आतारमन्द्रधा गाल्पा प्रार्थने चोरुमध्यमा ॥ main
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39 S Rāj II.2.1.881 ab,884, 886. main
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40 90. SR 11.2.170 c reads 'panyāsāmśagrahā' describing 'pa' as the amśa, main
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41 graha and nyāsa and S Rāj. H.2.1.861 has a similar reading. In our text the main
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vol_II_p026 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 35 page_number
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3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
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4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
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6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
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7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
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8 be done in the text of vardhamāna<sup>51</sup> main
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9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
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11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
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19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
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21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
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25 (252) main
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26 [ Anu. 135 ] section_header
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27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
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36 amśa and şadjodicyavā should be known not to be şādava (through the main
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37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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1 71 page_number
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2 TRANSLATION page_header
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3 Thus end names of the tanas devoid of şadja in madhyamagrama. main
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4 Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also main
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5 (109) annotation_inline
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6 abhyudaya. annotation_inline
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7 Thus end the names of tanas devoid of rşabha. main
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8 Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt main
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9 (110) annotation_inline
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10 and then godohana. main
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11 Thus end the names of tanas devoid of gandhara. main
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12 Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. main
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13 Thus end the names of forty-nine (sadava) tanas seated in the two gramas. main
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14 Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka main
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15 (111) annotation_inline
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16 are the audava (tānas) in şadjagrāma. main
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17 Thus end the names of tanas devoid of şadja and pancama. main
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18 J annotation_inline
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19 Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and main
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20 (112) annotation_inline
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21 saubharaka is known. main
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22 Thus end the names of tanas devoid of gandhara and nisada. main
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23 Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and main
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24 (113) annotation_inline
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25 then), uccățana and vasikțt. main
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26 Thus end the name of tanas that are devoid of pancama and mabha. main
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27 Thus end the twenty-one names of audavita tānas in sadjagrāma. main
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176 lignes a valider — change uniquement les roles incorrects.