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 21267). 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 <b>VIMARŚA</b> page_header
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2 309 page_number
via heuristic_pagenum
3 85. The gandhara and that too antara becomes the dhaivata of list_item
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4 madhyamagrāma. Perhaps this phenomenon is being indicated here. list_item
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5 86,87. Adbhuta and hasya on the one hand and karuna on the other list_item
via surya_layout
6 are incompatible. list_item
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7 88. The freedom of the performer is being indicated here. list_item
via surya_layout
8 89,90,91. The situations mentioned under viniyoga and the rasa vīra list_item
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9 are perfectly compatible. list_item
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10 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. list_item
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11 93. The indication of murchana finds place in the description of jatis list_item
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12 for the first time. No rule is prescribed for assigning a particular mūrchanā to list_item
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13 a given jāti. Here it is said that the mūrchanā of jāti is known from the list_item
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14 'statements of authorities', which implies that there is no prescribed rule. list_item
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15 94. The import seems to be that the amsa that is predominant among list_item
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16 amsas (in the case of jātis with more than one amsa) determines the mūrchanā list_item
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17 of a <i>jāti</i>. list_item
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18 95. The four components of gita have been enumerated as svara, pada, list_item
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19 tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). list_item
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20 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the list_item
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21 compositions in Sanskrit or in prescribed non-lexical syllables are used. The list_item
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22 dhruvā performed within the drama is invariably in Prākṛta and provides a list_item
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23 figurative and poetic commentary on the happenings in the drama. NS list_item
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24 XXXII gives numerous illustrations of <i>dhruvā</i> texts. list_item
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25 97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka, list_item
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26 prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga. list_item
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27 98. Prastāvanā(lit.introduction) is twofold, one occurring in the end list_item
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28 of the Pūrvaranga and the other in the beginning of the play immediately after list_item
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29 nāndī i.e. one is composed by the sūtradhāra known as director and the other list_item
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30 by the poet called playwright to-day. list_item
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31 99. Mukha and pratimukha are the first two among the five sandhis or list_item
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32 junctures of drama. list_item
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33 100,101. Garbha is the third sandhi and avamarsa (another name for list_item
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34 vimarsa) is the fourth one. list_item
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35 Chapter IV section_header
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36 (The description of bhāṣās) section_header
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37 [ A. Bhāṣās according to Yāṣṭika ] section_header
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38 1. This whole portion on bhāṣās according to Yāṣṭika seems to form main
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39 part of an independent text. We have retained it in our reconstructed text main
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40 as it embodies very valuable material, but we have numbered its verses main
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1 83 page_number
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2 <b>TRANSLATION</b> page_header
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3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
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42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
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43 Matsarikṛtā (5) annotation_inline
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44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
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1 37 page_number
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2 <b>TRANSLATION</b> page_header
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3 [ Anu. 136] editorial_bracket
parent ligne 4
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4 This means that kaiśikī, raktagāndhārī and gāndhārī, these three jātis do main
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5 not become ṣāḍava on account of (the omission of) ṛṣabha, on pañcama main
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6 being the amśa, because of the negation of the omission of the samvādī of main
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7 the amśa. Similarly, ṣāḍjī does not become ṣāḍava through (the omission main
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8 of) niṣāda, on gāndhāra being the aniśa (and) ṣadjodīcyavā should be known main
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9 as not being ṣāḍava through (the omission of) ṛṣabha, on dhaivata being the main
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10 ainsa. Now the giving up of the formation of auduvita that is obtained (due main
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11 to presription) is being prohibited (lit. its giving up is being prescribed). main
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12 In gāndhārī and raktagāndhārī, ṣaḍja, madhyama (and) pañcama alongwith main
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13 niṣāda are known as the amśas in which the formation of auduvita does not main
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14 operate. annotation_inline
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15 (254) annotation_inline
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16 [ Anu. 137 ] editorial_bracket
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17 (Contention) annotation_inline
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18 And this is incongruous because the formation of auduvita is not main
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19 obtained (through prescription). Truly has this been said. By the main
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20 statement negating the formation of auduvita, the auduvita obtained on main
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21 account of precription alone is prohibited. main
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22 In ṣadjamadhyamā jāti, gāndhāra and then niṣāda and then in kaiśikī and main
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23 dhaivatī, dhaivata and ṛṣabha respectively (are the svaras that are not main
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24 omitted for making auduva forms of the respective jātis when the above are main
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25 aniśas). annotation_inline
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26 (255) annotation_inline
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27 [ Anu. 138 ] editorial_bracket
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28 This means that in ṣadjamadhyamā, gāndhāra and then niṣāda are not main
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29 entitled to form auduvita. Dhaivatain kaiśikī and ṛṣabhain pañcamī are not main
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30 entitled to form auduvita. The prohibition applies only to the auduvita that main
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31 is obtained through prescription. And the state of being anisa is being main
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32 hypothetically considered without its being obtained (?) main
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33 Now, he (the author) draws out the svaras that do not become exceptions main
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34 in the formation of ṣāḍava and auḍuvita. main
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35 Forty-seven (svaras) are to be applied in the formation of ṣāḍava. main
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36 (256) annotation_inline
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37 [ Anu. 139] editorial_bracket
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38 This means that in the formation of ṣāḍava, forty-seven ainśas are to be main
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vol_II_p029 RIGHT — 18 lignes

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1 ş annotation_inline
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2 41 page_number
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3 TRANSLATION page_header
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4 "Şadjamadhyamā is not desired to be with six svaras when the seventh main
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5 (niṣāda) is the amśa, because of the non-omission of the samvādī (of the main
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6 amsa); similarly it is not desired to be so when gandhara (is the amsa). main
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7 In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava main
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8 (non-ṣāḍava) and in ṣaḍjā (jātī) the amśa gāndhāra should be known as such. main
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9 O twice-born ones! when dhaivata is the amśa in ṣadjodīcyā there is no ṣāḍava main
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10 (form) because of the non-omission of the samvādī. These seven (amśas) are main
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11 devoid of the state of making six svara forms. main
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12 In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh main
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13 (niṣāda) should be known to be such as disallowing the formation of main
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14 auduvita. annotation_inline
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15 In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, main
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16 similarly dhaivata in kaiśiki - these twelve should be avoided in making main
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17 pentatonic (forms). These jātis should always be treated as anauduvita (non- main
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18 pentatonic), when based on the above svaras. main
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1 VIMARŚA annotation_inline
parent ligne 3
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2 159 page_number
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3 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. main
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4 They are used singly and also in a pair in NS. Our text uses them in a pair in the main
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5 present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 main
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6 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective main
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7 for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present main
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8 passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 main
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9 ( while annotation_inline
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10 explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the main
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11 string). main
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12 Word table
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13 Reference table
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14 Context table
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15 Apakṛṣṭa (Pañcama) table
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16 NS XXVIII table
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17 Madhyamagrāma table
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18 p. 20 table
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19 Utkarşa-apakarşa table
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20 Measure of śruti table
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21 p. 20 table
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22 . table
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23 Apakṛṣṭa (Vīṇā) table
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24 p. 20 table
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25 Sāraņā table
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26 M table
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27 Utkarşa ( of gandhara ) table
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28 Mūrchanā-grāma table
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29 p. 26 table
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30 Mărdava (of dhaivata) table
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31 p. 26 table
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32 Utkṛṣṭa ( niṣāda ) table
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33 p. 32 table
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34 Svara-sādhāraņa table
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35 (gāndhāra) table
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36 p. 32 table
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37 99 page_number
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38 Mārdava-āyatatva table
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39 p. 20 table
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40 Measure of sruti table
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41 × table
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42 Ayatatva table
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43 XXVIX table
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44 p. 37 table
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45 Sruti-jāti table
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46 Mṛdutva table
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47 p. 37 table
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48 p. 27 table
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49 Viprakarşa-mārdava table
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50 XXVIII table
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51 Tāna-kriyā table
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52 Viprakarşa-pidana table
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53 Abhi. Bhā. table
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54 ( stretching of the table
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55 on above table
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56 string) table
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57 Mārdava = table
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58 śithilikarana table
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59 (loosening of the string). table
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60 It is an acoustic fact that stretching or tightening of the string results in main
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61 higher pitch and loosening of the string results in the reverse viz. lower pitch. main
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62 The words utkarşa and apakarşa stand for these two resultant changes in pitch main
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63 respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of main
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64 tightening and loosening of the string respectively. Both these pairs are closely main
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65 related since they represent the effect and cause. Both the pairs are mentioned main
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66 together in BrD and NS in the context of sāraņā (the process of verification of main
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67 śruti). It is notable that although utkarşa and āyatatva and apakarşa and main
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68 mārdava are pairs of mutually related terms, their order is reversed both in NŠ main
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69 and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; main
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70 the proper order would have been apakarşa-utkarşa. Abhinavagupta main
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71 commenting on this passage of NS explains the mutual relativity of the main
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72 constituents of both the pairs. When there are two viņās, if one string on one main
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73 viņā is tightened, this action has two effects viz. higher pitch on that viņā and main
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74 relatively lower pitch on the corresponding string of the other viņā without any main
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75 change of tension in that string. Hence ayatatva produces both utkarşa and main
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76 apakarşa. Similarly, if one string is loosened on one viņā, this action has two main
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216 lignes a valider — change uniquement les roles incorrects.