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 21218). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 PÄŢHAVIMARŚA page_header
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2 271 page_number
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3 (ii) main
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4 पञ्चमांशग्रहा धान्ता निगयोर्गपयोर्गप । main
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5 धैवतर्पभयोधैव सङ्गत्या सङ्गधा(ता)मिथ:॥ main
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6 मधुरी ककुभे भाषा षड्जग्रामसमाश्रिता । main
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7 S Rāj II. 2.1.695. annotation_inline
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8 (iii) Madhukarī is treated as a vibhāṣā of kakubha ircS Rāj II.2. 1. main
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9 704, 705. annotation_inline
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10 निपयो रिधयोर्यस्यां संवादो निग्रहांशता । main
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11 63.cf. (i) annotation_inline
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12 रिन्यासा ककुभे भाषा शकमिश्रा तु सा मता ॥ main
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13 Kalā (appendix) on SR II,p.133. main
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14 (ii) annotation_inline
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15 निपादांशग्रहा भाषा शकमिश्रा रिविश्रमा । main
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16 निधयो: सधयोर्युक्ता सङ्गत्या ककुभाश्रिता ॥ main
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17 पङ्जग्रामेण सम्बद्धा मधुरैर्गमकैर्युता । main
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18 S Raj II.2.1, 698. annotation_inline
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19 64. 'Chāyā 'does not fit the context; our reconstruction as prāyā would main
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20 mean 'where kākalī is frequent'. Other texts, however, do not mention main
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21 kākalī in this bhāṣā. Our reconstruction is in close proximity with p.t. main
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22 65. cf. annotation_inline
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23 पङ्जग्रामसमुद्भतककुभे जनिता यथा। main
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24 धैवतांशग्रहन्यासा धापन्यासा धमन्द्रगा ॥ main
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25 माध्यमैरार्पभैस्तानै: पाञ्चमैधैवतैर्पि । main
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26 संयुक्तोन्झितगान्धारा भाषेयं भित्रपञ्चमी ॥ main
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27 विप्रलम्भे नियोक्तव्या ..... main
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28 S Rāj II.2.1.671,672 c. main
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29 Our reconstruction of the first foot of verse 80 is based on the above and main
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30 on the illustration which begins and ends with dhaivata. main
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31 66. (i) P.t. puts this line after the illustrative notation. main
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32 (ii) cf. हिन्दोलभाषा सान्तांशा वेसरी रिधदुर्बला । main
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33 सङ्गता समयो रिन्यो: प्रेक्षणे विनियुज्यते ॥ main
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34 Kalā (appendix) on SR II, p. 137. main
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35 67. SRāj II. 2.1.947 creads 'madhyamāmśagrahā', describing 'madhyama' as list_item
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36 the aniśa and graha. list_item
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37 68. Other texts read the name as cūtamañjarī; e.g. SR II.1.31 cd, Kalā list_item
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38 (appendix) on SR II, p. 137and S Rāj II.2.1.947b. 'Prathamamañjarī 'is read list_item
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39 as a 'bhāṣāṅga 'derived of kakubha, in SR II.2.115d. list_item
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40 69. SR II.2.146 a describes it as being devoid of 'rṣabha'as 'rihīnā'. list_item
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41 70. cf. list_item
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42 बहु (मन्द्र) पङ्जग्रहांशान्ता ऋपभेण विवर्जिता । list_item
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43 धैवतस्वरभृयिष्ठा[ऽ]पन्यासान्यितगस्यरा ॥ list_item
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1 118 page_number
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2 BRHADDESÎ page_header
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3 [अनु॰ २०२] editorial_bracket
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4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
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5 न(क?) र्क annotation_inline
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6 न्दौ annotation_inline
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7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
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8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
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9 [१.नर्तरागः] section_header
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10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
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11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
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14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
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15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
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17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
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22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
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23 [२. शक:] section_header
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24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
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25 (जि? ह्जी) annotation_inline
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26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
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27 काकल्य:(?) annotation_inline
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28 [अनुष् २०५] section_header
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29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
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30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
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31 (पश्चमस्याल्पत्वम्) annotation_inline
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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
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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 VIMARŚA main
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2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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1 44 page_number
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2 <b>BRHADDESI</b> page_header
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3 प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः। main
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4 स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।। main
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5 स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥ main
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6 वाचं गानात्मिकां धत्त इति गान्धारसंज्ञकः। main
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7 स्वराणां मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥ main
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8 स्वरान्तराणां विस्तारं यो मिमीते स पञ्चमः। main
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9 पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।। main
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10 धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः । main
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11 यद्वा annotation_inline
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12 २१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥ main
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13 पञ्चमेन annotation_inline
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14 <sup>30</sup>•त्ततोऽसी annotation_inline
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15 ललाटे धैवत इत्यर्थः। main
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16 निषीदन्ति स्वराः सर्वे निषादस्तेन कथ्यते।।६०॥ main
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17 [ स्वराणां सप्तसंख्यानियमः ] section_header
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18 [ अनु. २९ ] editorial_bracket
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19 31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते— main
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20 यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो main
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21 रसादयो जेयाः । तथा चाह सुश्रुतः — main
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22 'त्वगसृङ्मांसमेदोऽस्थिमज्जाशुक्राणि धातवः' । main
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23 इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति। main
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24 स्वरजातयः ] section_header
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25 चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ। main
via surya_layout
26 वैश्यौ द्विश्वतिकौ ज्ञेयौ शूद्रौ चान्तरकौ स्वरौ ३२।।६१।। main
via surya_layout
27 [ आगमस्थः स्वरोद्धारः ] editorial_bracket
parent ligne 26
via heuristic_brackets
28 वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्। main
via surya_layout
29 वर्णमात्राः अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥ main
via surya_layout
30 স page_footer
via surya_layout
189 lignes a valider — change uniquement les roles incorrects.