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 21033). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p025 RIGHT — 34 lignes

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1 33 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 18) annotation_inline
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4 But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22 main
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5 svaras? Truly has this been said. These have been accepted because of their main
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6 uncommonness. Their uncommonness is because of their movement in upward main
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7 sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of. main
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8 But .... this is said to be only a sign 24 (by convention), that is to say, (the names main
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9 of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas main
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10 (teachers). annotation_inline
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11 [The fourfold-ness of svaras according to kinds beginning with vadin ] editorial_bracket
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12 (Anu. 19) section_header
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13 Now I show the fourfold-ness of svaras, that befits the occasion or context. main
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14 That is thus - annotation_inline
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15 Vādin 26 is so because of vadana 27 (speaking), like the master. The main
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16 saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister. main
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17 The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking) main
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18 like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking), main
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19 like the enemy. annotation_inline
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20 (Anu. 20) section_header
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21 But vadana and the like are the nature (dharma) of living beings, how are they main
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22 possible in insentient svaras? Truly has this been said. Vadana is here intended to main
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23 mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana main
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24 and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras main
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25 are only seven. That vādin should be understood as tenfold like the amśa.57 The main
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26 vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni. main
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27 (Anu. 21) section_header
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28 The samvadins should again be understood according to the interval of main
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29 thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the main
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30 two svaras concerned, in terms of number of śrutis). What indeed is that main
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31 samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga main
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32 1 page_number
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33 produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The main
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34 samvādi-mandala is thus — main
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vol_II_p044 LEFT — 47 lignes

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1 BRHADDEŠĪ page_header
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2 70 page_number
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3 गां पा मां पा नी नी नी नी table
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4 (११) table
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5 (१२) table
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6 मापा मा परि गा गा गा गा table
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7 (१३) table
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8 नी नी पा धा नी गां गां गां table
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9 (१४) table
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10 नी नी नी नी नी नी नी table
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11 (१५) table
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12 मां मां धा नी सनि धा पा पा table
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13 (१६) table
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14 मां पां मां परिग गां गां गां गां table
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15 . ॥ [इति] गान्धारपञ्चमी ॥ editorial_bracket
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16 । म॥ annotation_inline
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17 [८, आन्ध्री] section_header
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18 १८३ आन्ध्र्यामंशा निरिगपा रिगयोर्निधयोस्तथा । main
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19 अन्ध्रया(मङ्गा ? मंशा) निरू main
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20 सङ्गतिन्यासपर्यन्तमंशानुक्रमतो व्रजेत् ॥२१॥ main
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21 षाडवं षड्जलोपेन मध्यमादिश्च मूर्छना । main
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22 १८४ दिस्तु annotation_inline
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23 पूर्वावत् तु कलातालविनियोगाः प्रकीर्तिताः ॥२२॥ main
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24 १८५ ॰काल॰ annotation_inline
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25 <sup>१८६</sup>अस्यामान्ध्र्यां गान्धारो न्यास: । अंशा एवापन्यासा: । <sup>१८७</sup>प्रस्तार: - main
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26 ॰ मन्ध्र्यां table
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27 (१) table
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28 गारी री री री री री री table
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29 री गारी गारी री री री table
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30 (२) table
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31 (३) table
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32 री री गा गा री री मा मा table
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33 (8) table
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34 री गा सा धनि नीं नीं नीं नीं table
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35 (4) table
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36 नीं रीं नीं रीं धनि धनि पा पा table
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37 (६) table
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38 मा पा मा रिग गा गा गा गा table
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39 (७) table
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40 री री गा सम मा मा पा पा table
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41 (८) table
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42 मा पा मा रिग गा गा गा गा table
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43 (9) table
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44 धा नी गा गा गा गा गा गा table
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45 (१०) table
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46 पा पा मा रिग गा गा गा गा table
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47 The same of the same of the same of the same of the same of the same of the same of the same of the same of the same of annotation_inline
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vol_II_p020 LEFT — 33 lignes

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1 別は必要であった。 annotation_inline
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2 BRHADDEŚĪ page_header
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3 · 22 page_header
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4 एकविंशतिसंख्य इति । तद्यथा - षड्जाया एक[:] षड्जो नाम न्यास: । एवमादि बोद्धव्या editorial_bracket
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5 बोद्धव्यम् annotation_inline
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6 अष्टादशजातिषु च न्यासा:। ५८अङ्गसमाप्तौ कार्य इत्यर्थ:। main
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7 अंश: annotation_inline
parent ligne 6
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8 ५९[१०. अपन्यासलक्षणम्] section_header
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9 [अनु॰ १३१] editorial_bracket
parent ligne 8
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10 इदानीमपन्यासमाह - ६०अपन्यासोऽन्ते [न] । प्रयोग[ा]समाप्तौ अपन्यास: । स च editorial_bracket
parent ligne 8
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11 षट्पञ्चाशद्भेदभिन्नो भवति, गीतानां मध्ये बोद्धव्यः । यथा यत्र समाप्तमिव गीतं प्रतिभासते main
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12 सोऽपन्यासः । स च विदारीमध्ये भवति । गीतशरीरमध्य<sup>६१</sup> इत्यर्थः । यथा – main
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13 ॰ मध्यम annotation_inline
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14 षड्जग्रामे षड्जमध्याया: सप्तापन्यासा भवन्ति । षड्जोदीच्यवायाश्च द्वौ , पञ्चानां प्रत्येकं main
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15 (ति ? नित) annotation_inline
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16 त्रयं त्रयमिति चतुर्विंशति:।शेषास्तु मध्यमग्रामे।तथा चाह भरत: - main
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17 ‘‘न्यासो ह्यङ्गसमाप्तौ स चैकविंशतिविधो विधातव्य:। main
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18 ह्यंश annotation_inline
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19 षट्पञ्चाशत्संख्यो भवेदपन्याससंज्ञोऽसौ ॥'' main
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20 [तुल॰ ना॰ शा॰ २८.७२] editorial_bracket
parent ligne 19
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21 ॥ दशविधजातिलक्षणमिति ॥ main
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22 [५. जातीनामंशादिविकल्पनम्] section_header
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23 ६२ अंशा: स्यु: पञ्च षड्जायां निषादर्षभवर्जिता: । main
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24 •या<sup>६</sup>३ annotation_inline
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25 अपन्यासस्तु गान्धार: पञ्चमश्चाथ सङ्गति: ॥२११॥ main
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26 स(ङ्गी?ङ्ग) annotation_inline
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27 (रा?रः) annotation_inline
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28 षड्जगान्धारयोस्तु स्यात् षड्जधैवतयोस्तथा । main
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29 स्याद् annotation_inline
parent ligne 28
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30 षाडवं च निषादे स्यात्रास्यामौडुवितं भवेत् ॥२१२॥ main
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31 •क्स्वं<sup>६४</sup> main
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32 °दौ• annotation_inline
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33 প্ৰ annotation_inline
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vol_I_p104 RIGHT — 66 lignes

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1 VIMARSA page_header
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2 191 page_number
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3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
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4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
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5 predominance of gita and vādya has been viewed here alongwith temporal main
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6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
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7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
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8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
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9 following correspondences have been indicated in the above passages in NS and main
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10 S R; BrD is in agreement with them here. main
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11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
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16 Mārga table
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17 Yati table
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18 Pāņi or table
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19 Avayava table
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20 Laya table
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21 Graha table
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22 Citrā table
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23 Māgadhi table
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24 Citrā table
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25 Druta table
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26 Samā table
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27 Uparipāņi table
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28 Ogha table
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29 Sambhāvitā Vārtika table
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30 Vytti table
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31 Madhya table
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32 Srotogatā Sama table
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33 Anugata table
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34 Daksiņā Pythulā table
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35 Vilambita table
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36 Daksina table
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37 Gopucchā Avapāņi table
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38 Tattva table
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39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
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40 this word seems to have been used in the general sense of the variable factors list_item
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41 that operate tāla, like mārga, yati, laya etc. list_item
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42 33. Laya lit. means merging; the rest or pause immediately following an list_item
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43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
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44 intervening time between one kriyā (action) and another. Druta (fast), list_item
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45 madhya (medium) and vilambita (slow) are the three layas that are list_item
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46 progressively double, each succeeding laya being double of the preceding one list_item
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47 i.e. the rest or pause is double and hence the tempo is slower. list_item
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48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
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49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
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50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
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51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
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52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
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55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
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56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
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57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
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58 each unit of 'song' or melody that is ogha. list_item
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59 40. See note 34 above. list_item
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60 41. See note 33 above. list_item
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61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
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62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
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63 follows the song or melody, which means that it is not perfectly identical with list_item
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64 the latter. list_item
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65 44. See note 34 above. list_item
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66 45. See note 33 above. list_item
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vol_II_p155 RIGHT — 36 lignes

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1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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216 lignes a valider — change uniquement les roles incorrects.