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 21156). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p054 RIGHT — 34 lignes

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1 91 page_number
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2 TRANSLATION page_header
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3 [Anu. 167] section_header
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4 This means – śuddhasādhārita rāga is related to ṣaḍjagrāma on account of main
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5 being born of şadjamadhyamā jāti. Tāra (high) şadja is the graha and amśa main
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6 and madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. main
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7 It is complete (with all the svaras). Its application is prescribed in the garbha- main
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8 sandhi. 39 Vīra, raudra and the like (perhaps adbhuta also) are the rasas. The main
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9 mūrchanā beginning with ṣaḍja obtains. Avarohin (descending) is the varṇa main
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10 and prasannānta the alarikāra. The kalā is formed in the dakṣiṇa (mārga), the main
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11 kalā obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). In the main
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12 song comprised of svaras and padas a tāla like caccatpuṭa obtains. main
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13 [4. Śuddhakaiśikamadhyama] section_header
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14 Suddhakaisikamadhyama is born of kaisikī and şadjamadhyamā. Şadja is its main
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15 amśa, madhyama the nyāsa and ṛṣabha – pañcama are omitted. main
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16 (302) annotation_inline
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17 [Anu. 168] section_header
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18 This means—the <i>rāga śuddhakaiśikamadhyama</i> is related to <i>ṣaḍjagrāma</i> on main
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19 account of being born of kaiśikī and şadjamadhyamā jātis. (Contention) Kaiśikī main
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20 ŧ annotation_inline
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21 is related to madhyamagrāma and ṣadjamadhyamā to ṣadjagrāma, hence this main
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22 (<math>r\bar{a}ga</math>) is related to both the <math>gr\bar{a}mas^{40}</math>. This is the implication. On account main
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23 of being devoid of ṛṣabha-pañcama, this is related only to ṣaḍjagrāma. In main
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24 madhyamagrāma, the omission of ṛṣabha-pañcama does not take place; this is main
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25 the implication. Tāra (high) ṣaḍja is its graha and aniśa. Madhyama is the main
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26 nyāsa. There is the weakness of niṣāda and gāndhāra. The omission of main
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27 pañcama and ṛṣabha obtains. Niṣāda is kākalī here. It is pentatonic. It is used main
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28 in the <i>nirvahaṇa (sandhi</i>).<sup>41</sup> The <i>mūrchanā</i> beginning with <i>ṣaḍja</i> obtains. main
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29 Raudra, vīra and the like is the rasa. Prasannānta is the alankāra. main
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30 .................. annotation_inline
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31 [5. Šuddhakaisika] section_header
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32 Kaišika has ṣaḍja as its amśa and pañcama as its nyāsa, is born of kaišikī jāti main
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33 and kārmāravī jāti and is with complete svaras. main
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34 (303) annotation_inline
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1 <b>F</b> unknown
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2 age grant in the annotation_inline
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3 248 page_number
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4 BRHADDEŚĪ page_header
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5 ग्रहापन्यासविन्याससंन्याससन्यासगोचर:। main
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6 अनुवृत्तश्च यस्येह सोंऽशः स्याद्दशलक्षणः ॥ main
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7 XXVIII. 69. annotation_inline
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8 37. P.t. adds here - 'syādityādi', which is out of context. main
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9 38. Reconstruction based on Datti . 142. main
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10 39,40. Reconstruction based on c.r. in Sudhā on SR I.7.47cd,p.190. main
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11 41-44. C.r. in Sudhā on SRI.7.47cd, p.190. main
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12 45. Reconstruction based on c.r. in Kalā on SR I.7.29-34, p.180,181. main
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13 46. cf.(i) annotation_inline
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14 यस्मिन् भवति रागश्च यस्माच्चैव प्रवर्तते । main
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15 मन्द्रश्च तारमन्द्रश्च योऽत्यर्थं चोपलभ्यते ॥ main
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16 [अनेकस्वरसंयोगो योऽत्यर्थमुपलभ्यते । editorial_bracket
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17 अन्यश्च बलिनो यस्य संवादी चानुवाद्यपि ॥] editorial_bracket
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18 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
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19 अनुवृत्तश्च यस्येह सोंऽशः स्याद्दशलक्षणः॥ main
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20 NŚ XXVIII. 68,69. annotation_inline
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21 (ii) main
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22 यस्मिन् वसति रागस्तु यस्माच्चैव प्रवर्तते । main
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23 तेन वै तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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24 मन्द्रश्च तारविषया पञ्चस्वरपरा गति: ॥ main
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25 अनेकस्वरसंयोगो योऽत्यर्धमुपलभ्यते । main
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26 अन्यच्च बलिनो यस्य संवादी चानुवाद्यपि । main
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27 ग्रहोपन्यासविन्यासविन्यासाभ्यासगोचर: । main
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28 परिवार्य स्थितो यस्तु सोंऽश: स्याद् दशलक्षण:॥ main
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29 NŚ Chau. XXVIII.72 -74. main
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30 (iii) annotation_inline
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31 यद्यपि भरतमतङ्गादिभिः संन्यासविन्यासयोर्विदार्याश्रयत्वादपन्यासेऽन्तर्भावेणान्तर- main
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32 मार्गस्याप्यंशकाद्यवयवानामन्योन्यसंघटनात्मकस्यांशादिसम्बन्धाधीनसिद्धेः पृथगुद्देशो नापेक्षित इति दशकं जातिलक्षणमित्युक्त main
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33 तथापि संन्यासिवन्यासयो: पृथगवयवत्वेनान्तरमार्गस्य तु सत्स्वंशादिष्ववयवेषु तेन विना प्रयोगासिद्धेस्तस्यावश्यिकत्वाक्षक्षण main
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34 पृथगुद्दिश्य त्रयोदशेत्युक्तं ग्रन्थकारेण । main
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35 Kalā on SR I. 7.3.29-34 p.180,181. main
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36 In the last passage above the inclusion of samnyāsa-vinyāsa and antaramārga in main
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37 jāti-lakṣaṇas by Śārṅgadeva in addition to the ten lakṣaṇas accepted by main
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38 Bharata and Matanga is noticed and justified. main
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39 47. P.t. begins - balavati ca śrutike 'mśe durbalem' śāmśe, which is redun- main
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40 dant and has been dropped. main
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41 cf.तत्पूर्वावधित्वे त्वातारषड्जं तारषड्जमारभ्यारोहः सामान्यतः प्राप्तचतुर्थस्वरारोहः। सामान्यतः प्रकीर्तितो  स्द्रटादिभि main
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42 यावत्पड्जमेव तारगतिर्मध्यमस्याप्यत्र संवादित्वादनाशित्वाच्च तारगती रुद्रटेन कृता मध्यमस्येति न दोष इति मतङ्गोक्तम् । main
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43 C.r.in Kalā on SR I. 7.35,36, p.185. main
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44 48. MS B reading as recorded by the ed. is - 'evamatra vinyāsau'. main
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45 والمعالم والمعالي والمعالي والمعالي والمعالي والمعالي والمعالي والمعالية والمعالية والمعالية والمعالية والمعالية والمعال annotation_inline
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46 and the second second second annotation_inline
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vol_II_p024 LEFT — 33 lignes

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1 BRHADDEŚĪ page_header
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2 30 page_number
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3 [अनु॰ १३२] editorial_bracket
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4 ८१ अस्मद्गुरुमते ऋषभस्तावदपन्यासो भवति । अनंशत्वात् कैश्चित् पुनः अंशवद् main
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5 ऋषभोऽप्यपन्यासः स्वीकृतः। main
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6 (वृ?म्र) annotation_inline
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7 पञ्चमो बलवानस्यां स्यात्रिषादस्तथैव च ४२ main
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8 न स्यात् annotation_inline
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9 अंशवच्च ग्रहा ज्ञेया[:] सर्वासामेव नित्यश: ॥२३८॥ editorial_bracket
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10 ८३∞स्तासां main
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11 [६. जातीनां गणनिर्देश:] section_header
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12 सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः । main
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13 (षष्टि? जाति) annotation_inline
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14 लक्षणात् स च विज्ञेयो वर्धमानस्वरो बुधै: ॥२३९॥ main
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15 <sup>८४</sup>ते च सप्त गणा ज्ञेया annotation_inline
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16 नः गा annotation_inline
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17 एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः। main
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18 पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥ main
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19 स्यादेकधा<sup>८५</sup> · main
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20 न्सः annotation_inline
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21 [अनु॰ १३३] editorial_bracket
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22 अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: - main
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23 (गु?ग) annotation_inline
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24 ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प । main
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25 द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि । main
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26 त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप । main
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27 (प:?पा:) annotation_inline
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28 सास annotation_inline
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29 चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि main
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30 (त्य?त्या) annotation_inline
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31 पञ्चस्वरांशाश्चतस्तः - षाड्जी, गान्धारी, रक्तगान्धारी, मध्यमा चेति । सगमपंध, सगमपनि, main
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32 पड् (ज? जा) main
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33 Sec. 15. unknown
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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
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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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1 103 page_number
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2 TRANSLATION page_header
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3 [Anu. 183] editorial_bracket
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4 [This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is editorial_bracket
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5 comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because main
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6 pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take main
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7 up two śrutis? It is being answered. It is said to be comprised of four śrutis main
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8 on the analogy of its former position. Just as in bhinnakaiśika rāga, the main
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9 pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking main
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10 recourse to its form comprised of four śrutis, similarly it will happen here also main
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11 and hence there is no fault. And its description is thus - main
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12 . . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 11
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13 [5. Bhinnatāna] section_header
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14 Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh main
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15 (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of main
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16 rsabha. annotation_inline
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17 (313) annotation_inline
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18 [Anu. 184] editorial_bracket
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19 This means-bhinnatāna is related to madhyamagrāma on account of being main
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20 born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa, main
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21 madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. main
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22 Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa main
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23 (rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the main
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24 varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga), main
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25 the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math main
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26 A tāla like caccatpuţa obtains in the songs comprised of svara and pada. main
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27 [The assignment of bhinna-rāgas to grāmas] section_header
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28 [Anu. 185] editorial_bracket
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29 The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That main
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30 is thus - annotation_inline
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31 ٠ page_number
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32 "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. main
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33 (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma." main
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34 Thus bhinnas have been explained, now listen to the gaudas. main
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35 (314) annotation_inline
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189 lignes a valider — change uniquement les roles incorrects.