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 21186). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p008 RIGHT — 63 lignes

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1 (vide) annotation_inline
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2 <b>ABBREVIATIONS</b> section_header
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3 Abhi main
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4 Abhinavagupta annotation_inline
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5 Abhinava Bhāratī, Abhinavagupta's commentary main
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6 Abhi Bhā annotation_inline
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7 on Nātya-Šāstra G.O.S., Baroda edition main
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8 Anuccheda, comparable to paragraph main
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9 Anu. annotation_inline
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10 Bha Bhā main
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11 Bharata Bhāṣya of Nānyadeva published upto a main
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12 portion of Chapter VII in two volumes by Indira main
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13 Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) main
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14 and photostat of manuscript in the Deptt. of main
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15 Musicology, B.H.U. annotation_inline
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16 Bha Ko main
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17 Bharata Kośa of M.R. Kavi main
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18 BrD annotation_inline
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19 Brhaddeśi of Matanga Muni main
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20 C.r. annotation_inline
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21 Cited reading main
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22 Dattilam of Dattila unknown
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23 Datti unknown
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24 Ed. main
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25 Pt. K. Sāmbaśiva Sāstrī, editor of Bṛhaddeśī, main
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26 published in Anantaśayana Sanskrit Granthāvalī main
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27 No. 94 (Trivandrum Sanskrit Series) in 1928 main
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28 <i>Kalānidhi</i> commentary of Kallinātha on main
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29 Kalā annotation_inline
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30 Sangita-Ratnākara main
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31 Kalli annotation_inline
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32 Kallinātha main
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33 Lit. annotation_inline
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34 Literally main
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35 Mānasollāsa of Someśvara, Vol. III main
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36 Mānaso annotation_inline
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37 NŠ main
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38 Nātya Šāstra, G.O.S., Baroda edition, unless main
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39 otherwise indicated annotation_inline
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40 NŠ Chau. main
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41 Nāṭya Śāstra, Chaukhambha, Varanasi edition main
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42 NŠ Kā Mā annotation_inline
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43 Nāţya Sāstra, Kāvya Mālā edition main
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44 P.t. annotation_inline
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45 Printed text of Bṛhaddeśi, Trivandrum edition main
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46 Ra Kau annotation_inline
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47 Rasakaumudi of Šrikantha main
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48 Rā Vi annotation_inline
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49 Rāga Vibodha of Somanātha main
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50 Sam Sa Sā annotation_inline
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51 Sangīta-Samaya-Sāra of Pārsvadeva main
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52 Sam Ši Bhā Ka annotation_inline
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53 Sangīta Siromaņi of Panditamandalī, main
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54 manuscript in Bharat Kala Bhavan, B.H.U., main
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55 transcript in the Deptt. of Musicology, B.H.U. main
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56 Sam Su P.L. annotation_inline
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57 Sangita Sudhākara, Palm Leaf manuscript, main
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58 Saraswati Mahal Library, Tanjore, transcript in main
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59 the Deptt. of Musicology, B.H.U. main
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60 Simha annotation_inline
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61 Simhabhūpāla main
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62 SR annotation_inline
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63 Sangita Ratnākara of Šārngadeva (Adyar edition) main
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1 PÄŢĦĄVIMARŚĄ page_header
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2 275 page_number
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3 as the graha, amśa and nyāsa. main
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4 101. Ibid.corroborates this as - 'ripavarjitā' (182 d). list_item
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5 102. P.t. adds (सैन्धवी ?) which is redundant. list_item
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6 103. Kalā (appendix) on SR II, p.140 treats it as a <i>bhāṣā</i> and also as list_item
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7 vibhāṣā on p. 141. S Rāj II.2.1.1076 gives an antarabhāṣā named kaliṅgajā list_item
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8 bearing almost the same description as Kālindī. list_item
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9 या भित्रपड्जे कालिङ्गी याष्ट्रिकेन पुरोदिता । main
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10 104. cf. annotation_inline
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11 सैव भाषाङ्गममला परिणाममुपेयुपी ॥ main
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12 S Rāj II.2.106. main
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13 105. Reconstruction based on Kalā (appendix) on SR II, p. 140, list_item
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14 reading 'sāntā dhāmśā'. list_item
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15 106. Reconstruction based on ibid-reading - ‘sadhyoḥ samayoryuktā’. list_item
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16 107. The prose sentence of p.t. has been reconstructed by us as two feet list_item
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17 of the metre anustup in view of similar concluding statements in this chapter list_item
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18 of our text. list_item
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19 108. Reconstruction based on S Raj II.2.11.662f reading list_item
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20 'ṣadjapañcamabhūyasī'. SR II.2.122 d reads 'bahulamadhyamā'. BhaKo p. 743 list_item
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21 cites Bhattamādhava, reading 'alpamadhyamā'. list_item
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22 सौवीरे याष्ट्रिकेनोक्ता सौवीरी यात्र भाषिका । main
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23 109. cf. annotation_inline
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24 सैव भाषाङ्गमित्युक्ता भाषामर्मविदां वरै: ॥ main
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25 S Rāj II.2.3.121. main
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26 110. Kalā (appendix ) on SR II, p. 132 reads-‘sagrahāntā, madhyamāinsā,’ list_item
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27 describing şadjaas the graha and concluding note (nyāsa) and madhyama as the list_item
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28 amśa, thus corroborating our text. list_item
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29 111. cf. ibid which reads 'sa-pa-sangatā' describing a 'sangati' (concert) list_item
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30 between 'sa-pa'. S Rāj. II.2.1.661 c reads-'sangatyāmapayoryuktā', describing list_item
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31 a 'sangati' (concert) between ma-pa. list_item
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32 112. The text seems to break here. The lost portion could thus be seen list_item
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33 in other texts so far as the description (lakṣaṇa) is concerned; the illustrative list_item
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34 notation is not found in them. list_item
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35 रिमयो: समयोर्युक्तगमका सकलस्वरा । list_item
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36 (i) list_item
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37 Kalā (appendix) on SR II, p. 132. main
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38 पड्जधैवतसंवादा गान्धारपंभसङ्गता । main
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39 (ii) annotation_inline
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40 S. Rāj II. 2.1.657 cf. main
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41 निषादांशग्रहा पद्जन्यासाल्पर्पभनिस्वना । main
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42 113. cf. annotation_inline
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43 बहमध्यमगान्यारा सौवीरकसमुद्भवा ॥ main
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44 भाषा गान्धारिका नाम पूर्णा स्यात् करुणे रसे ॥ main
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45 Ibid. 659. annotation_inline
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46 114. Rṣabha is totally absent in this illustration and hence the same main
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1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 [Anu. 202] editorial_bracket
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4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
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5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
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6 is due to its application in passionate performance of caris, mandalas and main
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7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
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8 sadjakaisika alone is prominent. Why? On account of its falling under the main
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9 order of the state of sādava (rāga).76 That is thus - main
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10 [1. Narta-rāga] section_header
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11 Having pañcama as its amśa and madhyama as its concluding note, being main
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12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
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13 as sparse the svaras comprised of two śrutis each. main
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14 (333) annotation_inline
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15 [Anu. 203] editorial_bracket
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16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
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17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
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18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
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19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
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20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
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21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
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22 [Anu. 204] editorial_bracket
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23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
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24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
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25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
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26 related to şadjagrāma. annotation_inline
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27 [2. Saka] section_header
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28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
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29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
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30 (334) annotation_inline
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31 [Anu. 205] editorial_bracket
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32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
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33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
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34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
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35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
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1 ŀ annotation_inline
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2 TRANSLATION page_header
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3 191 page_number
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4 [3. Now in mālavapancama] section_header
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5 Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the main
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6 six (bhāṣās) in mālavapañcama. main
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7 (14) annotation_inline
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8 Having pañcama as the initial and concluding note vibhāvinī is born of a main
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9 region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained main
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10 union with an amorous woman.<sup>12</sup> main
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11 (15) annotation_inline
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12 Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini main
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13 dhānīnīdhāmāpāpā. Vibhāvinī [i] editorial_bracket
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14 .....Paurālī [ii] editorial_bracket
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15 The auspicious vegavatī should be known to have pañcama as amsa, being main
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16 complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression main
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17 or affliction) is profuse. main
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18 (16) annotation_inline
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19 Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā main
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20 dhāmā. annotation_inline
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21 Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] editorial_bracket
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22 Having pañcama as amsa and concluding note (and) being complete, main
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23 pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context main
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24 of) the song of (one with) a mature mind. 14 main
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25 (17) annotation_inline
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26 Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā main
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27 pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī main
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28 [iv] editorial_bracket
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29 Having madhyama as amśa (and) pañcama as the concluding note, andhri main
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30 is a bhāṣā born in the Āndhra region, well-known among the people (and) main
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31 is sung in (the context of) those who are corrupted by disease. 15 main
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32 (18) main
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1 95 page_number
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2 TRANSLATION page_header
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3 prescribed; ṣāḍava is in pūrvaranga, but in the citra (pūrvaranga?)comprised of main
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4 eighteen aigas (components), kaišikamadhyama (is performed) in the end. main
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5 This is the application of śuddha rāgas prescribed by Brahmā." main
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6 [NS as quoted in Kalā on SR II.2.30-32] editorial_bracket
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7 [B. Bhinna rāgas] section_header
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8 Now he (the author) has spoken of the description of bhinna rāgas. main
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9 Bhinna (modified) 45 on account of śruti, bhinna on account of jāti, bhinna main
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10 on account of śuddha (rāga) similarly having (bhinna) svara, it (this category main
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11 of rāgas) is called bhinnaka because it is modified in respect of (the above) main
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12 four. annotation_inline
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13 (304) annotation_inline
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14 [Anu. 172] editorial_bracket
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15 (Contention) Whatisstated by the word 'bhinna?' Does the word bhinnamean main
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16 that which is split or does it mean 'this is distinct from that'? This should not be main
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17 said. 'Bhinna' here is said to be vikṛta (modified). The state of being vikṛta is main
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18 according to the prescription given before in terms of śruti-bhinna and the like. main
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19 [Svarabhinna] section_header
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20 [Anu. 173] editorial_bracket
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21 Now for the sake of elucidating the aforesaid description of bhinna (rāgas), main
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22 the definition of svarabhinna (out of the four) is being spoken of in the main
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23 beginning - annotation_inline
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24 When the <math>v\bar{a}din^{46}</math> is upheld (as the initial note) and the <math>sainv\bar{a}din</math> or <math>anu main
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25 or vivādin is released (as the finale), that is called svara-bhinna. main
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26 (305) annotation_inline
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27 [Anu. 174] editorial_bracket
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28 This means – the madhyama that is the graha and amsa of suddha-sādava main
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29 (rāga) that belongs to madhyamagrāma, is replaced with dhaivata that is taken main
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30 up as being vivādin or anuvādin. When the samvādin of the svara madhyama main
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31 is treated as a point of release (tyāga) or placement (nyāsa), then it is called main
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32 svara-bhinna. In bhinna-ṣaḍja, dhaivata is vādin on account of 'speaking out' main
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33 (vadana) and it is again of abundant usage. main
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34 (Contention) Out of the five (bhinna) rāgas, why is bhinna -ṣaḍja being main
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35 described in the beginning itself? Truly has it been said, on account of its main
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36 prominence. Its prominence is thus-just as in the (rāgas of) śuddhagīti, there is main
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37 the prominence of śuddha ṣāḍava, similar is the case of bhinna ṣaḍjain the (rāgas main
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38 of) bhinna gīti, on account of this (bhinna-ṣadja) being a variety of that (śuddha main
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39 sādava).<sup>47</sup> main
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215 lignes a valider — change uniquement les roles incorrects.