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 21269). 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 TRANSLATION page_header
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2 209 page_number
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3 prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with main
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4 five (forty-five). annotation_inline
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5 <math>(377-378)</math> main
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6 This varņasvara is known to be (numbered) forty combined with six main
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7 (forty-sixth); that which is muktāvalī should be known to be (numbered) main
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8 forty, combined with seven (forty-seven). main
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9 (379) annotation_inline
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10 Pratāpavardhana is said to be the forty-eighth. Eight combined with main
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11 forty(forty-eight) are (the prabandhas) spoken of by the muni. main
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12 (380) annotation_inline
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13 I shall speak of their characteristics in brief for the sake of scholars. They main
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14 should be sung by those adept in music in accordance with the rules related main
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15 to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>. main
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16 (381) main
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17 [The description of Prabandhas] section_header
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18 [1. <i>Kanda</i>] section_header
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19 That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that main
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20 is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like. main
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21 (382) annotation_inline
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22 Prabandhas like kanda are verily well-known in practice. main
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23 [2. <i>Vṛtta</i>] section_header
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24 There is never a regulation (or specification of tāla in) vṛtta (composed main
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25 in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence main
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26 of metre has been clearly specified in them, by the munis. In the end the main
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27 placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others main
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28 say that it is (formed) in the vitta metre; that is also acceptable. main
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29 (383-384) main
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30 - --- annotation_inline
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1 BRHADDESI page_header
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2 106 page_number
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3 विधुतो ३१ गात्रवर्णश्च उद्गीतोद्वाहितौ वेणुः। main
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4 ₄ता annotation_inline
parent ligne 3
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5 ०धृ० main
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6 पञ्चैते चाप्यलङ्कारा विज्ञेयाश्चावरोहिणि॥१२९॥ main
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7 ₀णी annotation_inline
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8 प्रसन्नादिः प्रसन्नान्तो बिन्दुः कम्पितरेचितौ। main
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9 प्रेङ्कोलितस्तारमन्द्रो मन्द्रतारः समस्तथा।।१३०।। main
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10 सि्रवृत्तप्रवृत्तश्च उपलोलकवेणुकौ। main
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11 ₀त्तः annotation_inline
parent ligne 10
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12 द्वादशैतेऽप्यलङ्काराः सर्ववर्णाश्रयाः स्मृताः ॥१३१॥ main
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13 मन्द्रो मध्यश्च तारश्च अवलोकित एव च। main
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14 ०मे० annotation_inline
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15 (त?) main
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16 अपाङ्गाख्यस्तथोर्मिश्च सर्ववर्णगताः स्मृताः ॥१३२॥ main
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17 •योभि• annotation_inline
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18 ৹ল৹ main
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19 ०मा० annotation_inline
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20 सप्तरूपगता ज्ञेया अलङ्कारा बुधैरिमे। main
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21 ৹ব৹ annotation_inline
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22 नैते सर्वे4० ध्रुवास्विष्टा 41अतिवर्णप्रकर्षणात्।।१३३।। main
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23 42列。 annotation_inline
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24 ₀षा तु annotation_inline
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25 . <sup>43</sup>नेष्यन्ते हि           <sup>43</sup>,स्वेते       <sup>43</sup>जा。 main
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26 44न हि वर्णप्रकर्षस्तु ध्रुवाणां सम्प्रशस्यते। main
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27 णा (?) annotation_inline
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28 श्येनो वाऽप्यथवा बिन्दुर्ये चान्ये प्रतिकर्षणाः ॥१३४॥ main
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29 सतेमा annotation_inline
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30 ₀न्दुःरे (?) annotation_inline
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31 45[ ते ध्रुवाणां प्रयोगेषु न कार्याः स्वप्रमाणतः।] editorial_bracket
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32 ध्वाणां च प्रयोगे46ं तु कार्याश्चारोहिणः स्वराः ॥ १३५॥ main
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33 स्ण₃ unknown
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34 यस्मादर्थानुरूपा हि ध्रुवा कार्यार्थदर्शिका। main
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35 ०भिः annotation_inline
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36 गुरुः सा++++ भिर्पुवा main
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37 वर्णानां तु पुनः कार्यं कृशत्वं च ध्रुवास्वलम्।।१३६॥ main
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38 (यः ? यं ) annotation_inline
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39 येऽत्र प्रयोगं47 गच्छन्ति तांश्च वर्णान् निबोधत। main
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40 ०गे annotation_inline
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41 यः annotation_inline
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42 स्थायिवर्णादृते चैषां सम्प्रवक्ष्यामि लक्षणम्।।१३७।। main
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1 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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1 BRHADDESI page_header
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2 92 page_number
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3 [अनुः १६९] editorial_bracket
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4 अस्यार्थ: - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीजातिभ्यां editorial_bracket
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5 समुत्पन्नत्वात्। तारषड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , main
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6 ग्रह: अंश(स्व?ध) annotation_inline
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7 चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्जादिमूर्छना। आरोही वर्णः। editorial_bracket
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8 <sup>४६</sup>प्रसन्नादिरलङ्कार:। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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9 [शुद्धरागाणां ग्रामविभागः] section_header
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10 [अनु॰ १७०] editorial_bracket
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11 ननु एते ग्रामविशेषसम्बन्धाः, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो main
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12 कु(तो ऽ)यं annotation_inline
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13 लभ्यते । तथा चाह भरतमुनि: - ''जातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् main
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14 गीयते लोके तत्सर्वं जातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - main
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15 तत्सर्व annotation_inline
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16 ''षाडवो मध्यमग्रामे पञ्चम: कैशिकस्तथा । main
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17 पाडवे ककुभ् annotation_inline
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18 षड्जे साधारितश्चैव तथा कैशिकमध्यम:॥'' main
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19 [शुद्धरागाणां विनियोगः] section_header
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20 [अनु॰ १७१] editorial_bracket
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21 ननु अमी विनियोग-विशेषा: कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा editorial_bracket
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22 अ(यं ?मी) annotation_inline
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23 चाह भरत:- annotation_inline
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24 ‘‘मुखे तु मध्यमग्राम: षड्ज: प्रतिमुखे भवेत् । main
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25 गर्भे साधारितश्चैव <sup>४९</sup>ह्मवमर्शे तु पञ्चम: ॥ main
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26 ...वावमर्शे • तु annotation_inline
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169 lignes a valider — change uniquement les roles incorrects.