Calibration 2g.6 — validation humaine du tagging

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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 21236). 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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1 277 page_number
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2 PĂTHAVIMARŚA page_header
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3 पांशग्रहान्ता सम्पूर्णा भाषा मालवपञ्चमे । main
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4 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै:॥ main
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5 विभावनीति तामेवाचष्ट याष्टिकसत्तमः॥ main
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6 122. The name of this bhāṣā is read as mālavā at the end of the main
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7 illustration and so it is in S Rāj II.2.1.905. main
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8 123,124. cf. सञ्चार: सधयोर्यस्यां रिधयोधैव दृश्यते । main
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9 Kalā (appendix) on SR II, p. 137. main
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10 125. In spite of this adjective indicating the completeness of this main
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11 bhāṣā, the illustration omits ṣaḍja. main
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12 126. SR II. 1. 30 cd reads this name as bhinnavalitā and so does S Rāj main
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13 II.2.1.131 c; ibid 88a reads bhinnalalitā and ibid 907c reads bhinnavallikā. main
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14 Our text seems to change bhinnavalikā to bhinnavālikā in verse 34 c in order main
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15 to meet the demand of metre, the sixth syllable being required to be long. main
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16 At this point of our text the change to bhinnalālikā or bhinnalālitā seems to main
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17 involve an error of deciphering or copying. main
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18 127. Kalā (appendix) on SR II, p.137 reads 'magrahāmśā' describing main
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19 madhyama as graha and aṁśa. main
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20 128. cf. पञ्चमांशग्रहा धान्ता पूर्णा मध्यमभूयसी । main
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21 मध्यमग्रामगा भाषा धनिसङ्गतिराजिता ॥ main
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22 द्राविडी देशनाम्रेयं विख्याता याष्ट्रिकोदिता ॥ main
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23 S Rāj II.2.1.912. annotation_inline
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24 The illustration in our text is not in accordance with any of the three main
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25 divergent descriptions viz. those in our text, Kalā and S Rāj. main
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26 129. The dual number of the instrumental case has been changed to main
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27 the same number of the genitive case, because the instrumental case would main
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28 require reference to some other svara with which the two svaras composed main
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29 of two śrutis each are supposed to have to and fro movement. Kalā (appen- main
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30 dix) on SRII, p. 141 reads 'nigayo rigayoryuktā'. main
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31 ्सम्पूर्णा, यं विना बाह्मपाडवा कैधिदिप्यते । main
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32 130. cf. annotation_inline
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33 S Rāj II.2.1.107 cf. main
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34 131. Corresponding to this, S Rāj II.2.1.1081 gives a bhāṣā named main
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35 națță, which is described as being complete. main
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36 पञ्चमांशान्तिमा ताना भिन्नताने रिवर्जिता । main
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37 132. cf. annotation_inline
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38 सकाकलिका शृङ्गारे विनियुक्ता पुरातनै: ॥ main
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39 ताना भाषैकिका भिन्नताने याष्ट्रिकसम्मता ॥ main
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40 S Rāj 11.2.1.1097,1099. main
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41 The illustration of this bhāṣā is not available in our text; the illustration main
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42 contained in p.t. at this point as follows seems to be out of place, since rşabha main
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43 -------------------------------------- annotation_inline
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1 San Carlotte Comment annotation_inline
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2 BRHADDEŚĨ page_header
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3 280 page_number
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4 13. P.t. reads - main
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5 गान्धारांशा तु षड्जान्ता पूर्णा द्राविडदेशजा । main
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6 गीयते नित्यमेवैषा विभाषा (विजरा ? पिञ्जरी) शुभा ॥ main
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7 Thus the second and third feet are repeated from the description of drāviḍī main
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8 from verse 11 and have hence been omitted by us. main
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9 14. The reading 'paurālī' is suggested by the ed. main
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10 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै: । main
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11 15. cf. annotation_inline
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12 S Rāj II.2.1.1084 cd. main
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13 Kalā (appendix) on SR II, p. 142 treats it as a <i>vibhāṣā</i>. main
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14 16. P.t. contains repeated portion here as follows - main
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15 उदाहरणम् -सासासासा धासासासा सारीमामा सानीधासा सानीधापा सामामापाधा । सासा । धागारिसारिसा निधानि । सासा । main
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16 धागारिसारिसा निधानि । सासा । अलघ्वी । टक्करागे शार्दूलमते भाषा: समाप्ता: । भित्रवलितिका रविचन्द्रा भित्रपौराली द्राविडी main
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17 पार्वती चैव हिन्दोलके ? main
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18 The ed. notes that the lakṣaṇa of paurālī and illustration of vibhāvinī is not main
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19 available in the MSS, because the illustration that follows the repeated main
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20 portion reproduced above bears the name paurālī. But we have taken it to main
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21 be the illustration of vibhāvinī as it matches the description of this bhāṣā. main
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22 Thus both the description and illustration of paurālī are taken to be lost. main
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23 S Rāj II.2.1.1086 describes paurālī as - main
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24 पञ्चमांशग्रहन्यासा गाल्पा मालवपञ्चमे । main
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25 सावरोहिप्रसन्त्रान्ता भाषा पौरालिका रसे ॥ main
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26 बीभत्से मुनिना प्रोक्ता मतङ्गेन भयाकुले ॥ main
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27 करुणे दैन्यभूयिष्ठे आहुर्वेदवर्ती बुधा: । main
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28 17. cf. annotation_inline
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29 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX, p. 76. main
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30 सग्रहान्ता वेगवती धांशा मालवपञ्चमे । main
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31 18. cf.(i) annotation_inline
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32 सप्तस्वरा विभाषेयमञ्जनासून्सम्मता ॥ main
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33 Kalā (appendix) on SR II. p. 142. main
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34 (ii) annotation_inline
parent ligne 33
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35 पूर्णा वेदवती भाषा सान्ता मालवपञ्चमे । main
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36 पञ्चमांशग्रहा योज्या रसे सा करुणे बुधै: ॥ main
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37 S Rāj II.2.1.1088. annotation_inline
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38 .....गर्वे त्वान्ध्रॉ प्रचक्षते । main
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39 19. cf.(i) annotation_inline
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40 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX.p.76. main
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41 (ii) annotation_inline
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42 .....सर्वभावनियोगभाक् । main
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43 S Rāj 11.2.1.1090 d. main
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44 Our reconstruction is in close proximity of p.t. 'Vyādhau daṣṭeṣu' could be main
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45 another possibility; the meaning would be - 'in the context of disease and of main
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46 those bitten (by poisonous creatures)* main
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47 20. cf. annotation_inline
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48 औप्र्वे क्रोधे च गान्धारी .....ा main
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49 Citation from Kasyapa in Abhi Bhā on NŚ XXIX., p. 76. main
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1 286 page_number
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2 BRHADDEŚĪ page_header
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3 2. Gāthā main
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4 आर्यालक्षणसंयुक्ता गाथा प्राकृतभाषया । main
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5 गीयते पूर्ववद् रम्या छन्दोलक्षणवेदिभि:॥ main
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6 Mānaso IV.16.256. annotation_inline
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7 आर्येव प्राकृते गेया स्यात् पञ्चचरणाश्रया । main
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8 त्रिपदी षट्पदी गाथेत्यपरे सूरयो जगुः॥ main
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9 SR IV.232. annotation_inline
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10 3. Dvipathaka main
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11 गातव्या (व्य:) स्वरसंयुक्तस्तालेन परिवर्जिता: (त:) । main
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12 प्रबन्धो द्विपथाभिज्ञो गीतविद्याविशारदै: ॥ main
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13 Mānaso IV.16.261. annotation_inline
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14 छन्दसा द्विपथेन स्याद् द्विपथ: स्वरमुक्तिक: । main
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15 तालहीन: सतालो वा स च ज्ञेयश्रतुर्विध:॥ main
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16 स्वरैरेकोऽन्य: प्रयोगै: सोभयानुभयौ परौ । main
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17 प्राकृते दोहसंज्ञोऽसौ तस्य भेदा नव त्विमे ॥ main
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18 SR IV.232-34. annotation_inline
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19 8. Reconstruction based on - main
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20 कयापि भाषया क्लृप्ता ...... main
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21 भाषया तु यया कया..... main
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22 Mānaso IV.16.316, 318. main
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23 9. Reconstruction based on S Rāj I.3.3.32 b. list_item
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24 येन केनापि तालेन रागेणाभिमतेन च। list_item
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25 10. cf. (i) list_item
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26 गीयते स्वरसंयुक्ता गीतज्ञैध चतुष्पदी ॥ list_item
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27 Mānaso IV.16.285. main
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28 समे पोडश मात्रा: स्यु: पादे पञ्चदशायुजि । main
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29 (ii) annotation_inline
parent ligne 28
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30 यस्यां भित्रार्थयमकावधौ सा तु चतुष्पदी ॥ main
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31 स्वरतेनकसंयुक्ता तेनकन्याससंयुता ॥ main
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32 SR IV.271,272. main
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33 11. This line seems to pertain to the description of <i>dodhaka</i>, which is list_item
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34 incomplete due to a break in the text. list_item
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35 12. The description of totaka is missing due to a break in the text. The list_item
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36 following extracts from other texts are relevant for filling the gap- list_item
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37 येन केनापि तालेन रागेणाभीप्सितेन च। list_item
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38 (i) list_item
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39 गातव्यस्ता (स्तो)टको नाम प्रबन्धो गीतवेदिभि:॥ list_item
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40 Mānaso IV.16.267, main
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41 तोटकच्छन्दसा न्यस्तस्वरोऽङ्ग्रयन्ते तु तोटक:। main
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42 (ii) annotation_inline
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43 SR IV. 244. main
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1 TRANSLATION page_header
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2 35 page_number
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3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
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4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
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6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
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7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
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8 be done in the text of vardhamāna<sup>51</sup> main
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9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
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11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
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19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
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21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
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25 (252) main
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26 [ Anu. 135 ] section_header
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27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
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36 amśa and şadjodicyavā should be known not to be şādava (through the main
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37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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1 143 page_number
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2 TRANSLATION page_header
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3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
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4 Gamāgāmāsādhāsārīmāmāmāsā main
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5 Gārimāmāmā. annotation_inline
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6 Dhānisā. annotation_inline
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7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
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8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
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9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
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10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
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11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
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12 <math>(47-48)</math> annotation_inline
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13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
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14 Combined with sadja as the initial and concluding note, being devoid of main
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15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
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16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
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17 seen from moment to moment. annotation_inline
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18 <math>(49-50)</math> annotation_inline
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
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21 Having pañcama as amsa and şadja as the concluding note, being main
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22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
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23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
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24 madhyama annotation_inline
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25 (51) annotation_inline
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26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
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27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
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28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
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29 Having middle and lower registers (as its range), şadja as its concluding main
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30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
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31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
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204 lignes a valider — change uniquement les roles incorrects.