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 21099). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p043 RIGHT — 51 lignes

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1 TRANSLATION page_header
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2 69 page_number
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3 rī rī gā sama mā mā pā pā table
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4 (8) table
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5 mā pā mā pariga gā gā gā gā table
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6 (9) table
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7 dhā nī pā mā dhā nī sā sā table
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8 (10) table
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9 nī nī nī nī ņī nī nī nī table
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10 (11) table
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11 mā mā dhā nī nī dhā pā pā table
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12 (12) table
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13 mā pā mā pariga gā gā gā gā table
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14 (13) table
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15 nī nī pā dhani gā gā gā gā table
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16 (14) table
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17 sā rī gā sā nī nī nī nī table
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18 (15) table
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19 nī nī dhā dhā pā pā pā pā table
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20 (16) table
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21 Thus ends Kārmāravī. section_header
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22 [7.Gāndhārapañcami] section_header
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23 Pañcama is the amsa in gandharapañcami. The wise should produce main
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24 concert (among svaras) here also as in gāndhārī and pancamī. main
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25 (19) annotation_inline
parent ligne 24
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26 Caccatpuța ( is the tāla), there are sixteen kalās here. The mūrchanā main
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27 beginning with gandhara obtains. Application is (prescribed) in the singing main
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28 of dhruvās pertaining to the fourth act. main
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29 (20) annotation_inline
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30 Gāndhārais the nyāsain this (jāti). Ŗṣabhaand pañcamaare apanyāsas. The main
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31 prastāra is thus - main
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32 mā mā pama dhanī dhapa mā dhā nī table
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33 (1) table
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34 sani dhā pā pā pā pā pā table
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35 (2) table
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36 dhā nī sā sā mā mā pā pā table
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37 (3) table
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38 ការី ការី ការី ការី ការី ការី ការី ការី table
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39 (4) table
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40 nī nī dhapa mā nidha nidha pā pā table
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41 (5) table
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42 pā pā rī rī rī rī pā pā table
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43 (6) table
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44 mā riga sā sadha nī nī nī nī table
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45 (7) table
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46 nī rī sā risa rī rī rī rī table
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47 (8) table
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48 ni gā sā niga sā nī nī nī table
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49 (9) table
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50 nī mā nī mā pā pā gā gā table
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51 (10) table
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vol_I_p052 RIGHT — 41 lignes

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1 87 page_number
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2 <b>TRANSLATION</b> page_header
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3 When in the gita (melodic rendering) the svaras move (to and fro) in main
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4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
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5 the beginning of the succeeding phrase), or two by two, that is known as the main
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6 (119) annotation_inline
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7 sañcārin9 (circulatory) varņa. annotation_inline
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8 (Anu. 65) section_header
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9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
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10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
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11 is formed). annotation_inline
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12 (Anu. 66) section_header
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13 Where the svaras of the gita ascend one by one or with intervening gaps, main
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14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
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15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
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16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
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17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
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18 (ascending) varņa (comes into being). main
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19 Where the svaras descend in one order alone, that is called avarohin with main
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20 (120) annotation_inline
parent ligne 19
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21 'equal' (gapless) svaras (or) with gaps. annotation_inline
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22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
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23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
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24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
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25 Hence it has been said - annotation_inline
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26 "These varnas ought to be known for the sake of the structuring" of main
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27 alankāras and the like, as being born of svaras produced by the human body 12 main
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28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
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29 (Anu. 67) section_header
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30 How is varna brought about? It is being answered. When the svaras stretch main
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31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
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32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
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33 melodic movement) is effected. annotation_inline
parent ligne 32
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34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
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35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
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36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
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37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
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38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
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39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
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40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
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41 These varņas obtain also in the wooden20 (viņā), just as they are main
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vol_I_p023 LEFT — 31 lignes

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1 28 page_number
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2 BRHADDESI page_header
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3 किमत्र कारणम् ? उच्यते - ग्रामद्वयेऽप्यन्तरमूर्छना-प्रतिपादनार्थम्, यद्वा main
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4 ग्रामद्वयेऽपि षड्जमध्यमस्वरौ ग्रामण्यौ भवतः। अन्यस्वरास्तदग्रेसरा main
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5 ₀मध्यपरौ annotation_inline
parent ligne 4
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6 इति॥ main
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7 इति तावन्भया प्रोक्ताः श्रुतयो ग्रामसंश्रिताः ॥५२॥ main
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8 ॥ इति श्रुतिप्रकरणम् ॥ editorial_bracket
parent ligne 7
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9 IV [स्वर-प्रकरणम् ] section_header
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10 [ तत्र स्वरलक्षणम् ] section_header
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11 इदानी सम्प्रवक्ष्यामि स्वराणां च विनिश्चयम्। main
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12 तत्रादौ स्वरशब्दस्य व्युत्पत्तिरिह कथ्यते।।५३॥ main
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13 राजृ दीप्ताविति धातोः स्वशब्दपूर्वकस्य च। main
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14 •वस्प<sup>1</sup> annotation_inline
parent ligne 13
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15 स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः॥५४॥ main
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16 <del>2हि</del> annotation_inline
parent ligne 15
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17 ेतस्मात् स्वर इति main
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18 । अनु. १५ । section_header
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19 ननु स्वर इति किम् ? उच्यते - रागजनको ध्वनिः स्वर इति। main
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20 तथा चाह कोहलः - annotation_inline
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21 "आत्मेच्छया महीतलाद् वायुरुद्यविधार्यते। main
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22 ∘च्या₊⁴ annotation_inline
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23 हि unknown
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24 ⁵नाभि₃ annotation_inline
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25 नाडीभित्तौ तथाऽऽकाशे ध्वनी॰ रक्तः स्वरः स्मृतः॥" annotation_inline
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26 नि annotation_inline
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27 [ अनु. १६ ] section_header
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28 ननु स्वर एवं स्यादेकोऽनेको वा, व्यापकोऽव्यापको main
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29 वा, नित्योऽनित्यो वा स्यात् । अत्रोच्यते - एकोऽनेको main
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30 व्यापको नित्यश्चेति। तत्र निष्कलरूपेणैकः स्वरः main
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31 षइजादिरूपेणानेकः स्वरः। main
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vol_I_p098 RIGHT — 43 lignes

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1 179 page_number
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2 VIMARŚA page_header
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3 20. Rāga, in general, as colour or delightfulness could increase due to list_item
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4 mūrchanā because the latter gives rise to variety of scalar forms that would in list_item
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5 turn, bring into existence variety in melodic structures. list_item
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6 21, 22. Both ascent and descent and unimpaired original order of svaras as list_item
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7 well as use of seven svaras without any omission are the three conditions for list_item
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8 mūrchanā. The omission of svaras gives rise to tāna. list_item
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9 23. BṛD is the first known text to speak of 12-svara-mūrchanā. Kumbhā has list_item
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10 vehemently criticised this type of mūrchanā (vide S Raj II, 1.1.352-364). list_item
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11 24. When hexatonic and pentatonic scales are accepted as murchana, the list_item
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12 condition of using all the seven svaras is violated. ( see glossary ) list_item
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13 25. Svarasamyutāh of the text has been translated as 'filled' with svaras. list_item
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14 26. It is notable that the starting points of murchanas follow the descending list_item
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15 order i.e. after the murchana beginning with sadja comes the one beginning list_item
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16 with niṣāda, and not ṛṣabha. list_item
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17 27. The beginning svara of each mūrchanā has been put in the locative case, list_item
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18 implying, perhaps that a mūrchanā subsists there. list_item
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19 28. Here the instrumental case has been used in order to meet the requirement of list_item
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20 metre. list_item
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21 29. Tārakādi is a gaņa of Pāņini (V.2.36, Gaņaratnamahodadhi, 388-391, vide list_item
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22 Monier Williams). list_item
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23 30. Itac is a suffix. list_item
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24 31. This derivation occurs for the first time in BrD. list_item
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25 32. This is the total number of hexatonic tanas in both the gramas. list_item
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26 33. This is the total number of pentatonic tānas in both the grāmas. list_item
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27 34,35. All the omitted pairs are samvādins except ri-dha in madhyamagrāma list_item
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28 which is anuvādin. list_item
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29 36. Prastāra literally means elaboration; here it means notational presentation. list_item
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30 37. If the author is referring to a recapitulatory verse in Viśākhila's work we list_item
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31 have no way of verification because that work is lost. It is not improbable that he list_item
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32 is referring to NS XXVIII, 32 where mūrchanās have been said to be made of all list_item
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33 the seven svaras and tanas have been said to be hexatonic and pentatonic. list_item
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34 38. This distinction between murchana and tana as the former being with list_item
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35 ascent and descent and the latter being only with ascent is a new point made in list_item
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36 BrD which does not seem to be valid. ( see glossary ) list_item
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37 39. BrD is the first text to assign yajña names to tānas. Some later texts have list_item
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38 reproduced these names (cf. SR I,4.72 cd 90 ab and SRāj II,1.1.453-474). list_item
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39 S Rāj also attempts to justify this assignment of Yajña-names (vide ibid. 476-493. list_item
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40 ab). ( see glossary ) list_item
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41 40. This statement of BrD to the effect that sādhāraņa mūrchanās begin with antara list_item
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42 and kākalī is in contradiction of the postulation of NS XXVIII, p. 82 that kākalī (and list_item
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43 by implication antara also ) is anamsa ( non-amsa i.e. is not the progenitor of a list_item
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vol_II_p062 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 107 page_number
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3 [Anu. 188] editorial_bracket
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4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
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5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
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6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
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7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
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8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
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9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
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10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
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11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
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12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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14 like caccatputa obtains in the songs comprised of svara and pada. main
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15 [3. Gaudakaisikamadhyama] section_header
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16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
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17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
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18 (318) annotation_inline
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19 [Anu. 189] editorial_bracket
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20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
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21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
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22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
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23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
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24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
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25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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27 obtains in the songs comprised of svara and pada. main
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28 [The assignment of gaudaragas to gramas] section_header
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29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
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30 grāmas- annotation_inline
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31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
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32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
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33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
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34 to vesarā gīti). annotation_inline
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35 (319) main
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36 (vide) annotation_inline
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202 lignes a valider — change uniquement les roles incorrects.