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 21060). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p107 RIGHT — 29 lignes

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1 197 page_number
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2 TRANSLATION page_header
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3 Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā. main
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4 Ninidhādhā. Lalitā [ix] editorial_bracket
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5 Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and main
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6 concluding note, is a complete antara-bhāṣā and by others it is sung as being main
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7 devoid of ri (ṛṣabha). main
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8 (29) annotation_inline
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9 Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā. main
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10 Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari main
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11 sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x] editorial_bracket
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12 Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note, main
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13 is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders main
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14 of Veda<sup>27</sup> main
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15 (30) annotation_inline
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16 Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi] editorial_bracket
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17 Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the main
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18 concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has main
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19 concert between şadja-dhaivata. main
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20 (31) annotation_inline
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21 Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā main
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22 gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii] editorial_bracket
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23 ..................... annotation_inline
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24 Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā main
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25 rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii] editorial_bracket
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26 The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math> main
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27 dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3 main
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28 others in bhinnaṣadja (rāga). main
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29 (32) annotation_inline
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1 TRANSLATION page_header
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2 155 page_number
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3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
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4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
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6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
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7 complete in svaras, (and) there is the concert of sadja-dhaivata and similarly main
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8 pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first main
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9 one born of kakubha. annotation_inline
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10 (72) main
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11 Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā. main
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12 Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i] editorial_bracket
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13 Having madhyama as amśa and dhaivata as the concluding note, main
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14 madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful main
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15 one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual main
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16 concert. annotation_inline
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17 (73) annotation_inline
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18 ٨. annotation_inline
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19 Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā. main
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20 Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā main
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21 dhadhadha. Madhyamagrāmikā [ii] editorial_bracket
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22 <math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma main
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23 concluding note. Madhyama and ṛṣabha are seen to be in mutual concert. main
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24 Some people desire the seventh (niṣāda) to be profuse and others (desire) main
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25 the same to be weak. annotation_inline
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
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28 marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni. main
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29 Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri main
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30 māpāpāmāsānidhādhā. Sātavāhinī [iii] editorial_bracket
parent ligne 29
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31 Having madhyama as amśa, niṣāda as the concluding note, being weak in main
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32 ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in main
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33 kakubha, where there is concert between the two svaras comprised of two main
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34 śrutis<sup>30</sup> each and pañcama. main
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35 <b>(75)</b> annotation_inline
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36 Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani. editorial_bracket
parent ligne 34
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
parent ligne 37
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vol_I_p077 LEFT — 45 lignes

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1 BRHADDESI page_header
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2 136 page_number
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3 22. C.r. in S R I Sudhā, p. 94. list_item
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4 23. Added according to C.r. in S R I Sudhā, p. 94. list_item
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5 24. Portion added according to C.r. in S R I Sudhā, p. 95. list_item
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6 25. P.t. adds 'pañcama' before 'ṛṣabhaḥ' which is unwarranted. list_item
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7 26. P.t. combines sapta-svarāķ etc. and that has led to a misunderstanding list_item
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8 among scholars to the effect that Matanga has accepted the 'samvāda' of seven- list_item
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9 sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ, list_item
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10 No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is list_item
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11 related to 'svarāḥ'; hence a full-stop has been added after sapta and that clears list_item
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12 the whole confusion. list_item
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13 27. The ed. states that the text is broken here; the missing portion has been list_item
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14 taken by us from S R I Sudhā, p. 121. list_item
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15 28. Missing portion (verse 55-60) taken from C.r. in S R I Kalā, p. 79-81. list_item
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16 The cited verses are interspersed by Kallinatha with prose sentences of his own, list_item
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17 but they have been omitted by us. list_item
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18 29. C.r. in S R I Kalā, p. 81. list_item
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19 30. Sam S Sā, p. 14 and C.r. in S R I Kalā, p. 81. list_item
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20 31. This portion is missing in the MSS, it has been paraphrased in S R I Kalā, list_item
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21 p. 81 and cited in ibid. Sudhā, p. 97. list_item
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22 32. cf. व्हाजाती समी जेयी रिधी क्षत्रियजातिको । list_item
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23 निर्गा वैश्याविति प्रौक्तौ पञ्चमः शूद्रजातिकः ॥ list_item
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24 ( Sam Mak I. 29 ) main
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25 33. C.r. in S R I Sudhā, p. 97 and Sam Cû, p. 71. list_item
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26 34. C.r. in S R I Sudhā, p. 98. list_item
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27 35. Reading suggested by the ed. list_item
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28 36. C.r. in S R I Sudhā, p. 98. list_item
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29 37. C.r. in Sam Cu, p. 72. list_item
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30 38. C.r. in S R I Sudhā, p. 98. list_item
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31 39. cf. स्वराः सरिगमाश्चैव चत्वारो राक्षसाः स्मृताः । list_item
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32 पधौ मानुषसज्ञौ च निपाद दैवत विदुः ॥ list_item
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33 (Sam Mak I. 1.46) main
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34 40. After this P.t. has the following half-verse – main
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35 शृद्धजातिसमृत्पन्नी तौ काकल्यन्तरी स्वरी । main
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36 This is redundant and misplaced because verse 61 d has already spoken of main
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37 kākali and antara svaras being śūdra and this line does not fit into the context main
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38 after verse 72; hence it has been omitted by us. main
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39 41. cf. Nā Ši I.4.1,2 and Gītālankāra, p. 50. list_item
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40 42. cf. Nā Ši I.5.14-18. list_item
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41 43. The reading 'hara' suggested by the ed. in the place of 'bhi' of MSS. list_item
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42 44. cf. Nā Ši 1.5.12-14. list_item
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43 पर्जाञ्चतर्वारी च ऋषभस्य च गंद्रकः । list_item
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44 45. cf. list_item
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45 गान्धारस्य च शान्त च हास्यास्य मध्यमस्य च ॥ list_item
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1 TRANSLATION page_header
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2 13 page_number
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3 [2. The definition of amsa] section_header
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4 [Anu. 120] editorial_bracket
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5 After this amsa is being spoken of; that is known as tenfold according to main
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6 the division of its angas (lit. limbs, here functions). Anisa is that which leads main
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7 to the manifestation of raga (delight) in the course of its operation; this is its main
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8 first (function). And the second anisa (in its functioning) is that with which main
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9 gīta (melodic organisation and performance) begins and proceeds, which is main
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10 vikalpita (alternatively arranged) as graha, this is its second (function). That main
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11 amsa is third (in its functioning) which is the cause of the manifestation of main
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12 tāra (high) and mandra (low). The ascent up to the fifth svara is (the range main
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13 of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just main
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14 as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). main
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15 Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator main
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16 . annotation_inline
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17 ofmandra is also amsa on account of descent in seven svaras. Just as in the main
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18 ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā main
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19 <math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela main
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20 amśa which is used profusely; this is the fourth (function). That svara is also main
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21 amsa which stands as the object (here content) of raga; this is the fifth main
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22 (function). That is also amsa which is perceptible in (the operation of) main
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23 graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, main
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24 eighth, ninth and tenth (function).<sup>16</sup> main
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25 [The definition of apanyasa forming part of that of amsa section_header
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26 [Anu. 121] section_header
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27 • annotation_inline
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28 That is apanyāsa, where gīta (melodic rendering) is supposed or appears main
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29 to be ending; this occurs in the middle of all vidārīs (sub-sections). That main
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30 vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and main
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31 pada-vidārī 18 (splitting of the melodic- cum-textual units). main
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32 (Contention) What is signified by the word vidārī (?) It is the splitting or main
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33 separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma main
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34 (melodic structure) could be (understood) as such. main
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35 [The definition of samnyāsa forming part of that of amśa] section_header
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36 [Anu. 122] section_header
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37 Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when main
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1 TRANSLATION page_header
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2 31 page_number
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3 [Anu. 132] editorial_bracket
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4 In the opinion of our guru, ṛṣabha becomes the apanyāsa, on account of its main
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5 being non-amśa. Some others have accepted rṣabha as apanyāsa, just like main
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6 amsa. annotation_inline
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7 · Pañcama is strong in it and so is niṣāda. The graha in all (the jātis) should main
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8 always be known like the amśa. main
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9 (238) main
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10 [6. Indication of the gaņas or groups of the jātis] section_header
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11 The gaṇa (group) of all the jātis is formed with three jātis 42 in each case. main
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12 This group should be known by the wise by its definition to be with main
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13 increasing (number of) svaras. main
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14 (239) annotation_inline
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15 (This group is) with one svara, two svaras, three svaras, four svaras (all the main
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16 four are comprised of three jātis each), the one with five svaras is fourfold main
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17 (comprised of four jātis) and the two with six and seven svaras have one main
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18 variety each. annotation_inline
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19 (240) annotation_inline
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20 [Anu. 133] section_header
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21 This means that the statement that a gana (group) is formed with three main
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22 jātis is the indication of the number (which is applicable in maximum cases). main
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23 Out of these groups there is one that is formed with three (jātis) having one main
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24 amśa svara each viz. madhyamodicyavā, gāndhārapancamī and nandayantī-pa, main
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25 pa, pa. annotation_inline
parent ligne 24
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26 There are three (jātis) having two amśa svaras each viz. dhaivatī, main
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27 gāndhārodīcyavā and pancamī-dhari, sama, pari. main
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28 There are three jātis having three amśa svaras each viz. ārṣabhī, naiṣādī and main
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29 şadjakaiśikī-dhaniri, garini, sagapa. main
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30 There are three (jātis) with four amśa svaras each viz. şadjodīcyavatī, āndhrī main
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31 and kārmāravī – samadhani, rigapani, paridhani. main
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32 There are four (jātis) with five amśa svaras each, viz. ṣāḍjī, gāndhārī, main
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33 raktagāndhārī and madhyamā - sagamapadha, sagamapani, sagamapani, main
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34 sarimapadha. main
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183 lignes a valider — change uniquement les roles incorrects.