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 21105). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p073 RIGHT — 19 lignes

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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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vol_II_p022 RIGHT — 26 lignes

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1 E. annotation_inline
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2 27 page_number
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3 TRANSLATION page_header
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4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
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5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
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6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
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7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
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8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
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9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
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10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
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11 <math>(222-224)</math> annotation_inline
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12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
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13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
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14 (225) annotation_inline
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15 In madhyamā there are five amśas, excepting the two svaras composed of main
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16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
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17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
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18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
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19 madhyama are abundant. main
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20 (226) annotation_inline
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21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
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22 pañcama is amsa in it. main
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23 (227) annotation_inline
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24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
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25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
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26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
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vol_II_p053 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 89 page_number
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3 The first alternative does not hold good. Why? Because of this rāga being main
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4 complete (with seven svaras). Hence the second alternative alone is main
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5 stronger. Why is it said to be prominent among the six rāgas? Because of main
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6 the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On main
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7 account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been main
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8 indicated in the beginning. main
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9 Suddhaṣāḍava is born of the modified madhyamā jāti. main
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10 Its <i>nyāsa</i> is annotation_inline
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11 madhyama, which is also the amśa and gāndhāra is weak in it. main
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12 (300) annotation_inline
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13 [ Anu. 165 ] section_header
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14 This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) main
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15 madhyama is its graha. Madhyama is the amśa and nyāsa and there is the main
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16 sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 main
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17 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is main
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18 the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. main
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19 There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā main
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20 beginning with madhyama obtains here. The avarohin (descending) varņa,34 main
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21 prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla main
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22 The kalā<sup>37</sup> (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains main
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23 in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 main
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24 obtains in the svaras and padas (units of text). main
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25 Ākṣiptikā..... table
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26 [2. Suddhapañcama] table
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27 ********* table
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28 [ Anu. 166 ] table
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29 Šuddhapancama is known to be born of şadjodicyavatī jāti. table
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30 --------------------------------------- table
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31 [3. Šuddhasādhārita] section_header
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32 It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis main
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33 (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti main
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34 is the śuddhasādhārita. annotation_inline
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35 (301) annotation_inline
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36 A Section of the second section of the section of the section of the section of the section of the section of the sectio annotation_inline
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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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vol_II_p132 RIGHT — 39 lignes

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1 PĀŢHAVIMARŚA page_header
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2 247 page_number
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3 24. Reconstruction based on Datti. 56. list_item
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4 25. Reconstruction based on c.r. in Kalā on SR I.7. 29-34, p. 182. list_item
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5 cf. स त्रिपष्टिभेदभित्रोऽष्टादशजातिषु । list_item
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6 BhaKo p. 3. main
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7 26. Reading in BhaKo p. 3. list_item
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8 27. cf. कासु च जातिषु नन्दयन्त्यादिषु ग्रहांशयोर्विवादित्वेन ग्रहस्याप्रधानत्वं सम्भवति । list_item
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9 BhaKo p. 188. main
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10 28. P.t. adds here the following confused portion list_item
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11 तथापि प्रथमचतुर्थपष्टगीतेषु मन्द्रप्रकृतो (मन्द्रकृतो)विशेषः नियमः प्रथमे संवादित्वात् कथं भेदप्रयोगः । षङ्जोदीच्यवा- list_item
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12 मध्यमोदीच्यवा-रक्तगान्धारी-गान्धारी-पञ्चमीनां तु ग्रहाविवादि द्वेन ( ग्रहाविवादित्वेन) ग्रहस्तु आर्षभी धैवती निपादवत्यन् list_item
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13 पड्जकैशिकी पड्जमध्यमा चेति । एवं नन्दयन्त्यामिति ग्रहविधि:। list_item
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14 29. NŠ reads this verse as - list_item
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15 ग्रहस्तु सर्वजातीनामंशवत् परिकीर्तित:। main
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16 यत्प्रवृत्तं भवेदु गेयमंशो ग्रहविकल्पित:॥ main
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17 NŠ XXVIII. 67. annotation_inline
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18 ग्रहस्तु सर्वजातीनामंश एव हि कीर्तित: । main
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19 यत्प्रवृत्तं भवेद् गानं सोंऽशो ग्रहविकल्पित:॥ main
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20 NŠ Chau. XXVIII. 71. main
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21 The reading of our text is better than the G.O.S. ed. specially in the fourth main
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22 foot. main
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23 30. 'Amśa' here has been replaced with 'anga' because it does not fit list_item
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24 into the context. list_item
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25 31. Reconstruction based on BhaKo p. 3; p.t. reading 'yasminnamśe' list_item
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26 involves a repetition of 'amśa' in the sentence, which is redundant. list_item
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27 32. 'Yasrā' is the reading of MS B recorded by the ed. list_item
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28 33. Reading of MS B as recorded by the ed. list_item
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29 34. 'Mandrāinsa' does not seem to fit into the context. list_item
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30 'Pañcamāmśā' has been conjectured here, because accordingly the last main
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31 svara dha will be the seventh below the amśa. main
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32 35. MSB. reading is recorded by ed. as 'sasthāne'. Neither 'sainsthāne' nor list_item
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33 'sasthāne' appear to fit into the context. We have, therefore, reconstructed as list_item
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34 <i>'svasthāne'. 'Svasthāna'</i> is a word occurring in later texts (cf. SR III.191, 192) list_item
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35 for sections of 'alapa' or melodic elaboration. It could not be said definitely list_item
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36 whether or not this word was current in the times of our text; all the same, this list_item
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37 seems to be the only plausible alternative in view of the available readings. list_item
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38 36. This portion has been added on the basis of the following list_item
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39 verse of NS - list_item
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156 lignes a valider — change uniquement les roles incorrects.