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 21244). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p052 RIGHT — 41 lignes

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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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vol_I_p102 RIGHT — 49 lignes

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1 VIMARŚA annotation_inline
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2 187 page_number
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3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
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4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
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5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
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6 mātrās; there also each kalā of time will be related to each phrase. list_item
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7 76,77. Identical with note 52 above. list_item
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8 78. All the four sa belong to the tāra-sthāna. list_item
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9 79. See note 47 above. list_item
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10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
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11 probably it has been used because the units of phrases here are not equal, they list_item
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12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
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13 81. Here the traditional rule of having a shake only on svaras with three list_item
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14 <i>śrutis</i> seems to have been abandoned. list_item
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15 82. Kalā obviously means phrase-unit here. list_item
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16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
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17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
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18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
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20 perhaps, be taken as the first indication of the advent of desi talas. list_item
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21 84. It is notable that BrD has not classified alankāras into varņas. list_item
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22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
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23 but they have not been described. list_item
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24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
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25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
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29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
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30 outside the above seven, but are very important on account of special tala list_item
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31 patterns and association with dance. All these forms are prescribed in list_item
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32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
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33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
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34 hence the units of text of songs could be stretched by the melody through list_item
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35 alankāras, the comprehension of the meaning of the text of songs being not list_item
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36 important there. list_item
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37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
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38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
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39 listener is very important and hence stretching of the syllables of the text is not list_item
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40 desirable. list_item
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41 88. The implication of this statement is not clear, because alankaras of the list_item
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42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
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48 e le par Alle annotation_inline
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49 and the second annotation_inline
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vol_I_p019 LEFT — 32 lignes

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1 BRHADDESI page_header
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2 20 page_number
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3 नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता। main
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4 ₀गृहीत｡<sup>72</sup> annotation_inline
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5 आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥ main
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6 7 अकेन annotation_inline
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7 यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्। main
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8 श्रुतीना74 annotation_inline
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9 विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥ main
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10 ₀त्वात्<sup>75</sup> annotation_inline
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11 कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्। main
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12 श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।। main
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13 ₀व76 annotation_inline
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14 अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्। main
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15 77ग्रहपूर्वक annotation_inline
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16 सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥ editorial_bracket
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17 सत्यम् । main
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18 कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि। main
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19 तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥ main
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20 ਚ78 annotation_inline
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21 कार्येषु विद्यमानेषु कारणस्योपलम्भनात्। main
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22 घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥ main
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23 79fH annotation_inline
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24 805<del>4</del> main
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25 825<del>0</del>23° annotation_inline
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26 परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः। main
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27 <sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः annotation_inline
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28 <b>65,च्यः      ६६,न्य</b>ि main
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29 इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥ main
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30 [ अनु. १२ ] editorial_bracket
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31 ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां main
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32 चानु [प]लम्भात्। editorial_bracket
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vol_II_p104 RIGHT — 32 lignes

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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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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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220 lignes a valider — change uniquement les roles incorrects.