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 21076). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p066 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 114 page_number
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3 [अनु॰ १९८] section_header
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4 षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । main
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5 धैवत ऋषभहीन( ध ?)मौडवितम् annotation_inline
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6 <sup>८२</sup>सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना षड्जादि:। वर्ण आरोही। main
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7 ॰ना(दि) annotation_inline
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8 प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । main
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9 [७. टक्ककेशिक:] section_header
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10 धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: । main
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11 धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक: ॥३२६॥ main
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12 ॰एक annotation_inline
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13 [अनु॰ १९९] section_header
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14 धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:। <sup>८३</sup>ननु उभयग्रामसम्बन्धिन्यो- main
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15 (यस्याज? ठमय) annotation_inline
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16 र्जात्योः समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः main
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17 र्जा(न्यो?त्यो) annotation_inline
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18 (कथं) annotation_inline
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19 पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध main
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20 (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) annotation_inline
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21 एवायं राग:। ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। main
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22 <sup>८४</sup>कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य main
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23 विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छना। आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे main
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24 मध्यमादिधैवता(?) annotation_inline
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25 कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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26 [८. मालवकैशिक:] section_header
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27 ८५कैशिकीजातिसम्भूतः षड्जांशन्याससंयुतः । main
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28 दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥ ३२७॥ main
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29 <sup>८६</sup>पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । main
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30 हात्याद्याः + कर्मणि annotation_inline
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31 गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥ main
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1 TRANSLATION page_header
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2 45 page_number
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3 the samvādī of the amsa. It becomes ṣāḍavā with niṣāda when (any one of) main
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4 madhyama, pañcama and dhaivata is the amsa. main
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5 [ Anu. 145] section_header
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6 When sadji is sung as suddha then upon sadja being the amsa, there is main
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7 abundance of the remaining svaras. Upon<sup>57</sup> the profusion of sadja and main
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8 pañcama, there are thirty amsas (?). With six, it (?) becomes fourteen-fold. main
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9 Gāndhāra is nineteen-fold (?) and madhyama is fourteen-fold (?) - main
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10 Taken together seven svaras become hundred and twenty-eight (?), main
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11 suffice to say that. main
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12 [11. The particular characteristics of jātis] section_header
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13 [ Anu. 146] section_header
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14 Now out of the ten characteristics he (the author) shows the respective main
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15 ones of each jāti.- main
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16 [1. Şādjī] section_header
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17 Ṣādjī that pertains to ṣadja-grāma has five anisas and grahas. That is thus- main
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18 ṣadja, gāndhāra, madhyama, pañcama, dhaivata are grahas and amsas. Gāndhāra main
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19 and pañcama are the two apanyāsas. It is ṣāḍavā by being devoid of niṣāda. main
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20 Ṣadja is the nyāsa. There is sangati (concert) between ṣadja and gāndhāra as main
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21 well as ṣadja and dhaivata. Gāndhāra is very profuse, in spite of its being main
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22 vivādī. Sangatī<sup>58</sup> means 'reaching out to each other', i.e. to and fro movement main
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23 between the two svaras concerned. main
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24 The movement in tāra (high register) extends up to five svaras. The main
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25 movement in mandra (lower register) extends upto şadja (the lower octave main
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26 of the amsa). The state of auduvita does not obtain at all. It is complete and main
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27 hexatonic. When it is sung in its complete form, then the sparseness of main
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28 ṛṣabha-pañcama and niṣāda-pañcama should be brought about. Why? - main
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29 "( The svara) without which the incomplete state (of a given jāti) comes main
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30 about, that (svara) is sparse in that (jāti, in its complete state)." main
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31 [Datti 61 ab] editorial_bracket
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32 - Because of the above statement. main
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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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1 107 page_number
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2 TRANSLATION page_header
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3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
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4 (129) annotation_inline
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5 should be known in the avarohin (varna). main
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6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
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7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
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8 (130, 131) annotation_inline
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9 alankāras are said to be based on all the varnas. main
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10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
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11 (132) annotation_inline
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12 are said to belong to all the varnas. main
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13 These alankaras should be known by the wise to be subsistent in the seven main
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14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
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16 excessive 'stretching' of syllables (of the text). main
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17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
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18 whichever others are (involved with stretching and) counter-stretching, they main
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19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
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21 their own measure (of extension). main
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22 135ab) annotation_inline
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23 In the performance of dhruvās, ascending svaras should be used. main
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24 (135cd) main
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25 t annotation_inline
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26 Because dhruvā that is formed in accordance with the (desired) meaning, main
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27 has to be made the communicator of meaning, in dhruvās the adequate main
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28 sparseness or thinness of varnas (patterns of melodic movement) should again main
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29 be brought about (lit. made). main
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30 (136) annotation_inline
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
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32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
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34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
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1 39 page_number
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2 TRANSLATION page_header
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3 (Anu.25) annotation_inline
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4 Now, upon anuvāditva being applicable to gāndhāra and niṣāda on account main
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5 of their being less45 by one śruti, vivāditva has been spoken of on account of the main
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6 interval of two (srutis) (pertaining to them). What is that vivāditva indeed? main
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7 Vivaditva is indeed the state of being the destroyer of the state of vadin, main
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8 samvādin and anuvādin of the rāga (concerned) attained by the svaras main
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9 (qualified as) vādin and the like. The vivādi-maņļala is thus - main
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10 şa annotation_inline
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11 ni annotation_inline
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12 ga annotation_inline
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13 dha annotation_inline
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14 ma annotation_inline
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15 pa annotation_inline
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16 Thus ends the vivādi-maṇḍala [ in ṣadjagrāma ]. editorial_bracket
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17 (Anu. 26) annotation_inline
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18 The use of the vivadins 44 is thus - gandhara being used in the place of main
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19 ṛṣabha and ṛṣabha being used in the place of gāndhāra brings about the loss of main
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20 jāti and rāga. Niṣāda being used in the place of dhaivata and dhaivata being main
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21 used in the place of niṣāda brings about the loss of jāti and rāga. main
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22 Thus it is for şadjagrāma. annotation_inline
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23 (Anu. 27) annotation_inline
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24 Now the state of being vādin, samvādin, anuvādin and vivādin is being shown main
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25 in madhyamagrāma. Out of them, vādins are the seven svaras beginning with main
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26 madhyama. Those ending at ninth and thirteenth (śrutis) are samvādins. main
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27 Anuvadins are so on account of being less by one sruti. The svaras having an main
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28 interval of two (śrutis) are vivādins. main
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164 lignes a valider — change uniquement les roles incorrects.