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 21214). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p071 LEFT — 45 lignes

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1 124 page_number
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2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
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4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
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6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
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7 अभिप्रवीं (?) ,प्रयोगः main
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8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
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9 सोऽधःपाणिरुच्यते । main
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10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
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17 मागधी सम्भाविताः annotation_inline
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18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
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22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
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30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
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35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
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40 •वयेन (?) unknown
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41 ,प्प, main
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42 .ला unknown
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43 या annotation_inline
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44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
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45 <b>यरदेन</b> unknown
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vol_I_p016 RIGHT — 33 lignes

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1 15 page_number
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2 TRANSLATION page_header
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3 "Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis; main
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4 some (speak of them) as being differentiated into sixty-six. Others propound main
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5 their infinity itself." annotation_inline
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6 (Anu. 7) annotation_inline
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7 But then, what is the measure of śruti? It is being explained. Pañcama is main
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8 known as being seated in the two grāmas.19 The difference of that (pañcama) main
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9 through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through main
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10 mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or main
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11 extended) is the measure of śruti (lit. śruti is of that measure). main
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12 (Anu. 8) annotation_inline
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13 Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis main
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14 is thus (being given). Having made two viņās equal in measure,25 string,26 main
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15 upavādana 27 (the place where the strings are tied up at the lower end of the main
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16 viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should main
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17 be established in şadjagrāma.50 On one of these, having made the śruti main
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18 madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa main
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19 (lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32 main
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20 (belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes main
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21 lowered by (one) śruti, but there is no special gain,34 because of there being main
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22 only the perception of high and low. Again one should lower in the same main
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23 manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.) main
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24 on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification main
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25 (karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra- main
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26 niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha- main
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27 dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is main
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28 lowered in the same manner, will enter the pañcama-şadja on the other (viņā), main
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29 on account of their being 'more's8 (higher) (than the latter) by three śrutis main
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30 (each). Again also, on the (cala) viņā that is lowered in the same way, pañcama, main
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31 madhyama and şadja enter madhyama, gandhara and nişada respectively on the main
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32 other on account of their being 'more'39 (higher) (than the latter) by four main
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33 śrulis. annotation_inline
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vol_II_p063 RIGHT — 35 lignes

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1 . ..... ... ... ....................... annotation_inline
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2 r . annotation_inline
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3 TRANSLATION page_header
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4 109 page_number
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5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
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6 [Anu. 190] editorial_bracket
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7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
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8 account of the statement by the authorities. Similarly has said Kaśyapa - main
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9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
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13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
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15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
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17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
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18 being gratifying to Laksmi.65 That is thus - main
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19 [1. Takkarāga] section_header
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20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
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21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
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22 (320) main
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23 [Anu. 192] section_header
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24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
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25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
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26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
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27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
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28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
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29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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31 caccatputa obtains in the songs comprised of svara and pada. main
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32 [2. Sauvīra] section_header
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33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
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34 and niṣāda also is weak. main
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35 (321) main
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vol_I_p104 RIGHT — 66 lignes

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1 VIMARSA page_header
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2 191 page_number
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3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
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4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
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5 predominance of gita and vādya has been viewed here alongwith temporal main
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6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
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7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
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8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
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9 following correspondences have been indicated in the above passages in NS and main
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10 S R; BrD is in agreement with them here. main
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11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
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16 Mārga table
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17 Yati table
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18 Pāņi or table
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19 Avayava table
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20 Laya table
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21 Graha table
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22 Citrā table
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23 Māgadhi table
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24 Citrā table
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25 Druta table
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26 Samā table
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27 Uparipāņi table
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28 Ogha table
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29 Sambhāvitā Vārtika table
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30 Vytti table
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31 Madhya table
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32 Srotogatā Sama table
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33 Anugata table
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34 Daksiņā Pythulā table
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35 Vilambita table
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36 Daksina table
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37 Gopucchā Avapāņi table
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38 Tattva table
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39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
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40 this word seems to have been used in the general sense of the variable factors list_item
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41 that operate tāla, like mārga, yati, laya etc. list_item
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42 33. Laya lit. means merging; the rest or pause immediately following an list_item
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43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
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44 intervening time between one kriyā (action) and another. Druta (fast), list_item
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45 madhya (medium) and vilambita (slow) are the three layas that are list_item
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46 progressively double, each succeeding laya being double of the preceding one list_item
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47 i.e. the rest or pause is double and hence the tempo is slower. list_item
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48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
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49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
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50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
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51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
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52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
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55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
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56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
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57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
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58 each unit of 'song' or melody that is ogha. list_item
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59 40. See note 34 above. list_item
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60 41. See note 33 above. list_item
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61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
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62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
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63 follows the song or melody, which means that it is not perfectly identical with list_item
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64 the latter. list_item
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65 44. See note 34 above. list_item
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66 45. See note 33 above. list_item
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vol_I_p096 RIGHT — 61 lignes

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1 VIMARŚA main
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2 175 page_number
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3 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, main
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4 instead of rasa (chyle) of our text. Monier Williams also enumerates seven main
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5 dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak main
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6 with rasa. main
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7 62. The seven minerals are not clear. list_item
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8 63. The number of cakras (psychophysical centres in the human body list_item
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9 visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight list_item
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10 or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere list_item
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11 ( in the confused reading in the section on Varṇālankāra towards the end of list_item
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12 Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, list_item
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13 anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last list_item
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14 one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it list_item
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15 is the location of the sahasrāra cakra. These seven names do form part of the list_item
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16 ten cakras spoken of in SR in the following locations - list_item
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17 Name of Cakra table
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18 Location table
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19 1. Ādhāra table
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20 In-between the anus and the genitals table
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21 2. Svādhişthāna table
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22 Root of the genitals table
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23 Around the navel table
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24 3. Manipūra table
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25 4. Anāhata table
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26 Heart table
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27 5. Visuddhi table
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28 Throat table
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29 6. Ājāā table
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30 In-between the two eye-brows table
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31 7. Sahasrāra table
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32 Cerebral aperture table
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33 It is notable that SR associates the production of musical notes with the main
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34 anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone main
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35 and not with all the seven listed above. The treatment of cakras in BrD could main
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36 not be assessed from this stray reference. It is only the number seven that main
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37 corresponds with the connection of seven cakras with the svaras that the author main
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38 is trying to establish here. In note 59 above, we have said that the connection of main
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39 dhaivata with the forehead is not clear. If the seven svaras are connected with main
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40 the seven sthanas listed above, one by one, then dhaivata being the sixth one main
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41 could be connected with the viśuddhi cakra located in-between the eye brows. main
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42 But the location of seven svaras in the seven cakras is not corroborated by any main
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43 other known text. annotation_inline
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44 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as main
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45 follows- main
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46 Name of Svara table
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47 Name of Duipa table
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48 Sadja table
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49 Jambū table
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50 Rsabha table
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51 Šāka table
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52 Gändhära table
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53 Kuśa table
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54 Madhyama table
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55 Krauñca table
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56 Sālmalī table
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57 Pañcama table
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58 Dhaivata table
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59 Sveta table
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60 Nisāda table
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61 Puşkara table
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240 lignes a valider — change uniquement les roles incorrects.