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 21166). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p016 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 15 page_number
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3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
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4 becomes samnyāsa if it is used in the end of the first vidārī. main
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5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
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8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
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vol_II_p035 RIGHT — 37 lignes

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1 53 page_number
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2 TRANSLATION page_header
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3 rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa main
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4 does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state, main
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5 in the auduvita state there is the sparseness of none; there is abundance of main
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6 all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There main
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7 is mutual reaching out among the amsas. main
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8 [Anu. 157] section_header
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9 This is eleven-fold. There are eleven amsas, four in the complete state, main
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10 three in the sādava state, because of the exclusion of the form in which main
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11 dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa). main
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12 The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla. main
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13 With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla) main
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14 in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the main
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15 dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its main
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16 application (viniyoga) is prescribed in the singing of dhruvā (s) in the second main
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17 scene (or act). main
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18 [7.Şadjamadhyamā] section_header
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19 [Anu. 158] section_header
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20 All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra main
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21 extends upto five svaras. The mandra is upto the nyāsa or upto the svara next main
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22 to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid main
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23 of niṣāda-gāndhāra. There is free movement (sancāra) without violating the main
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24 grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra. main
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25 Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas. main
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26 [Anu. 159] section_header
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27 It is seventeen-fold. There are seventeen amsas – out of them seven obtain main
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28 in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There main
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29 is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains. main
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30 Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī main
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31 (gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti). main
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32 With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant main
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33 in all the rasas. Its application (viniyoga) is (prescribed) in the singing of main
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34 dhruvā (s) in the second scene (prekṣaṇaka).71 main
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35 Thus end these seven jātis pertaining to sadjagrāma. main
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36 [Anu. 160] section_header
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37 Now the jātis pertaining to madhyamagrāma are being said - main
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vol_I_p011 RIGHT — 32 lignes

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1 5 page_number
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2 <b>TRANSLATION</b> page_header
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3 The state of being consonant (vyanjanatva) is common to all the (seven) main
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4 groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the main
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5 state of Siva simply on account of (its) manifestation through Sakti (svara). (8) main
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6 Varņas (letters and syllables) are known as such because they delineate the main
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7 whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18 main
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8 (sentence) and through the conveying of the meaning of sentence. (9) main
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9 This pada 19 is always known by the wise to be preceded by syllable (varna) main
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10 i.e. the former presupposes the latter. The sentence, on the other hand, is a main
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11 combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing main
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12 about the action denoted by a verb) (and) is made up of words. (10) main
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13 From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great main
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14 sentence) and in succession (arise) the Vedas with their angas 23 (anciliary main
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15 disciplines); all those are manifested from dhvani. From there (Vedas) is the main
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16 origin of Gandharva<sup>24</sup> (music). (11) main
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17 Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of main
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18 everything. The whole world of immobile and mobile (beings) is encompassed main
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19 by dhvani. (12) annotation_inline
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20 Dhvani is said to be twofold according to (its) division into manifest and main
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21 unmanifest (states). Being manifest on account of the obtaining of varnas 26 it main
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22 (dhvani) has reached the countenance (beginning) of desi. (13) main
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23 Thus ends the origin of desi. main
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24 [The definition of dest and marga ] section_header
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25 That which is sung by women, children, cowherds and kings<sup>27</sup> out of their main
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26 own will with love (and pleasure) in their own (respective) regions is called desi main
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27 (music). (14) annotation_inline
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28 This mārga 28 (course) (of deśi) is known to be twofold viz. that which is main
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29 nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound, main
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30 relatively less structured). That which is structured through ālāpa (melodic main
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31 elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is main
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32 called desi. (15, 16ab). annotation_inline
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vol_II_p087 LEFT — 32 lignes

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1 BRHADDESĨ page_header
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2 156 page_number
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3 पञ्चमांशा तेन बहुला धान्ता मधुकरी शुभा। main
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4 परस्परं तु संवादो गान्धारपञ्चमस्य हि ॥ ७६॥ main
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5 धैवतस्य निषादस्य संयोगो दृश्यते यत:। main
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6 एषा पूर्णा च सङ्कीर्णा भाषा ककुभसम्भवा<sup>६२</sup> ॥ ७७॥ main
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7 उदाहरणम् -[पापा] निनिनिनिपधपा धनिसासनिसनि सपधानिधाधपा धरिसासागरिमगरिस- editorial_bracket
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8 सम । गरिसानिनिधपापासागा । पापामाधा । माधाधामा । नीसासाधाधा । मधुकरी ।[५] editorial_bracket
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9 निषादांशा तु षड्जान्ता[निषादग्रहसंयुता] । editorial_bracket
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10 +++++++ annotation_inline
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11 [भाषा] ऋषभहीना तु विज्ञेया शकमिश्रिता ॥ ७८॥ editorial_bracket
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12 निषादपञ्चमानां तु संवाद: स्यातु धैवते । main
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13 मजुवत्यंशजा[?]छाया छाया शकविमिश्रिता ॥ ७९॥ editorial_bracket
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14 उदाहरणम् - नीसानिगधमागारिरिनि निनिसाधाधानिधागमामामपासा सनिसासाधाधामनी main
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15 धाधामानीधापामाधानीसासासा नीसासासारिगारिसा नीसानीसानिधाधामासानीमागारीरि । main
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16 शकमिश्रिता। ६३ [६] editorial_bracket
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17 धैवतांशा धैवतान्ता विज्ञेया भिन्नपञ्चमी। main
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18 मध्यमांशा annotation_inline
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19 निषाद: काकली भूयो धैवतेन विमिश्रित: ॥ ८०॥ main
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20 संयोगो दृश्यते यत्र काकल्या धैवतस्य च। main
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21 काक(ल्योद्यै?ल्या धै) वतस्य च annotation_inline
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22 पञ्चमर्षभसंवादो यत्रैव सम्प्रयोजयेत्॥ main
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23 साधारणकृता ह्येषा पूर्णा ६४ प्राया च काकली ६५ ॥ ८१॥ main
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24 उदाहरणम् - धनिधाधा निधापापामरिपापापपमाधाधा पासामनिसासनिरिरिसारी । धाधा । main
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25 परिमापापा । पमधाधामानीधापापापरीधा पापापाधाधासनिधा । भित्रपञ्चमी । [७] editorial_bracket
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26 एता भाषा: समुद्दिष्टा: [सप्त वै ककुभस्य च ]॥ ८२॥ editorial_bracket
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27 भा(पा) annotation_inline
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28 the state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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29 . . . annotation_inline
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30 7.4 annotation_inline
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31 From the substitute of the con- annotation_inline
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32 ____ annotation_inline
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vol_II_p157 RIGHT — 40 lignes

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1 VIMARŚA annotation_inline
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2 297 page_number
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3 35. Lack of regulation i.e. scope for free will in rendering is a main
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4 characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, main
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5 stand for 'aural appearance'. main
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6 36. See citation in the name of Nărada under Anu. 28 in chapter one list_item
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7 of our text Vol. I. 'Svarāntara' literally means a different svara; its relation list_item
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8 with the number four of svaras could thus be explained. The first three svaras list_item
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9 are repeated as the last three of a heptad. The fourth known as madhyama list_item
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10 comes in-between these two triads. Hence the fourth adds a 'different or list_item
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11 new svara'. This could be the reason for giving the name svarantara to a list_item
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12 group of four svaras. This name is relevant only for the first triad + the list_item
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13 fourth, but its secondary application could be related to any group of four list_item
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14 svaras. list_item
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15 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, list_item
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16 158 of the supplement (variant reading) to the said chapter. The description list_item
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17 ' (in terms of upohana or introductory portion and metre) is given below - list_item
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18 "Five dhruvās should be performed in Pūrvaranga (preliminaries of main
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19 drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and main
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20 <i>vikşiptă”</i> (p. 251). annotation_inline
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21 "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- main
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22 units) with the syllabic units dingle dingle, two units of four short syllables main
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23 each and jhantum in the end. Each foot of the dhruva is composed of sixteen main
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24 syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru main
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25 (long) and the rest being laghu (short)." The illustration is as follows- main
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26 Varadam saganam tripurāntakam vṛṣabhaketum/ main
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27 Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ main
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28 Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ main
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29 Praṇato'smi bhavantamumāpatim tvasitakantham/ main
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30 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding main
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31 verse 74 and in verse 75). The context is the same as that in our text, viz. main
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32 alpatva-bahutva. The manipulation of sparseness and abundance of svaras main
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33 in jātis on account of which a non-amsa svara also becomes abundant in a main
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34 special context is antara-mārga. main
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35 The literal meaning of this word is 'search for the inner path'. The root main
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36 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search main
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37 of the inner is antara-marga. What is this inner? This has to be understood main
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38 in two ways. The first is in relation to the seven jātis named after svaras, which main
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39 assume a two-fold form viz. śuddha and vikṛta. The second is in the context main
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40 of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above main
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170 lignes a valider — change uniquement les roles incorrects.