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 21286). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p043 RIGHT — 51 lignes

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1 TRANSLATION page_header
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2 69 page_number
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3 rī rī gā sama mā mā pā pā table
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4 (8) table
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5 mā pā mā pariga gā gā gā gā table
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6 (9) table
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7 dhā nī pā mā dhā nī sā sā table
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8 (10) table
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9 nī nī nī nī ņī nī nī nī table
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10 (11) table
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11 mā mā dhā nī nī dhā pā pā table
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12 (12) table
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13 mā pā mā pariga gā gā gā gā table
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14 (13) table
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15 nī nī pā dhani gā gā gā gā table
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16 (14) table
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17 sā rī gā sā nī nī nī nī table
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18 (15) table
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19 nī nī dhā dhā pā pā pā pā table
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20 (16) table
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21 Thus ends Kārmāravī. section_header
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22 [7.Gāndhārapañcami] section_header
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23 Pañcama is the amsa in gandharapañcami. The wise should produce main
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24 concert (among svaras) here also as in gāndhārī and pancamī. main
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25 (19) annotation_inline
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26 Caccatpuța ( is the tāla), there are sixteen kalās here. The mūrchanā main
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27 beginning with gandhara obtains. Application is (prescribed) in the singing main
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28 of dhruvās pertaining to the fourth act. main
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29 (20) annotation_inline
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30 Gāndhārais the nyāsain this (jāti). Ŗṣabhaand pañcamaare apanyāsas. The main
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31 prastāra is thus - main
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32 mā mā pama dhanī dhapa mā dhā nī table
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33 (1) table
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34 sani dhā pā pā pā pā pā table
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35 (2) table
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36 dhā nī sā sā mā mā pā pā table
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37 (3) table
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38 ការី ការី ការី ការី ការី ការី ការី ការី table
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39 (4) table
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40 nī nī dhapa mā nidha nidha pā pā table
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41 (5) table
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42 pā pā rī rī rī rī pā pā table
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43 (6) table
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44 mā riga sā sadha nī nī nī nī table
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45 (7) table
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46 nī rī sā risa rī rī rī rī table
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47 (8) table
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48 ni gā sā niga sā nī nī nī table
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49 (9) table
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50 nī mā nī mā pā pā gā gā table
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51 (10) table
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vol_I_p052 LEFT — 38 lignes

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1 BRHADDESI page_header
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2 86 page_number
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3 [ अनु₀ ६५ ] editorial_bracket
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4 यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन editorial_bracket
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5 निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः । main
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6 [ अनु₀ ६६ ] editorial_bracket
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7 यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते। main
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8 (वं ?) annotation_inline
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9 यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम main
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10 गरि पम annotation_inline
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11 मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा main
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12 इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही। main
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13 अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु। main
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14 स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥ unknown
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15 ब्दे तु annotation_inline
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16 ुन् annotation_inline
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17 पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम main
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18 प्र म्मि annotation_inline
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19 मध्यम annotation_inline
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20 निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर- main
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21 ध्(?) म्र नाद (?) annotation_inline
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22 द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्- main
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23 शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः। main
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24 म् annotation_inline
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25 ुगु annotation_inline
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26 अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5 main
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27 [ ना. शा. २९. १७ ] editorial_bracket
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28 [ अनु₀ ६७ ] editorial_bracket
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29 ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति main
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30 गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य main
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31 निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी main
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32 नी annotation_inline
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33 ्ता धध annotation_inline
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34 oर्णा ? main
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35 ুজা annotation_inline
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36 नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि main
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37 नी पधा annotation_inline
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38 पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः— main
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1 TRANSLATION page_header
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2 89 page_number
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3 The first alternative does not hold good. Why? Because of this rāga being main
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4 complete (with seven svaras). Hence the second alternative alone is main
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5 stronger. Why is it said to be prominent among the six rāgas? Because of main
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6 the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On main
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7 account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been main
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8 indicated in the beginning. main
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9 Suddhaṣāḍava is born of the modified madhyamā jāti. main
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10 Its <i>nyāsa</i> is annotation_inline
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11 madhyama, which is also the amśa and gāndhāra is weak in it. main
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12 (300) annotation_inline
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13 [ Anu. 165 ] section_header
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14 This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) main
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15 madhyama is its graha. Madhyama is the amśa and nyāsa and there is the main
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16 sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 main
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17 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is main
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18 the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. main
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19 There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā main
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20 beginning with madhyama obtains here. The avarohin (descending) varņa,34 main
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21 prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla main
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22 The kalā<sup>37</sup> (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains main
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23 in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 main
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24 obtains in the svaras and padas (units of text). main
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25 Ākṣiptikā..... table
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26 [2. Suddhapañcama] table
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27 ********* table
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28 [ Anu. 166 ] table
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29 Šuddhapancama is known to be born of şadjodicyavatī jāti. table
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30 --------------------------------------- table
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31 [3. Šuddhasādhārita] section_header
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32 It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis main
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33 (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti main
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34 is the śuddhasādhārita. annotation_inline
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35 (301) annotation_inline
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36 A Section of the second section of the section of the section of the section of the section of the section of the sectio annotation_inline
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vol_I_p005 RIGHT — 39 lignes

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1 INTRODUCTION section_header
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2 Bṛhaddeśi and more so its Puranic author Matanga Muni have been well main
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3 known in Sangītasāstra for more than one millenium. The text has been main
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4 profusely quoted in texts of Sangītaśāstra upto the 17th century. But for two or main
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5 three centuries it had gone into oblivion. There was no access to it in the main
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6 nineteenth century and the first quarter of the present century, until Pt. K. main
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7 Sāmbaśiva Śāstrī edited and published it in the Anantaśayana Granthāvalī No. 94 main
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8 (Trivandrum Sanskrit Series) in 1928. The following excerpts from his main
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9 introduction would throw light on the MSS retrieved by him. main
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10 "I would add, before concluding, that the present work though incomplete main
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11 has been published on account of its rare merit and that the manuscript of this main
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12 work was Travancore's contribution to the exhibition held at the All India main
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13 Conference of Scholars and Artists at Indore in 1921. main
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14 "The edition of the work is based on two palm-leaf manuscripts in Malayalam main
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15 characters obtained from the poonjar Raja, North Travancore. One of these main
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16 manuscripts marked as ka is exceedingly worn out; it is about four centuries old main
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17 and wanting in the first leaf as well as four leaves from the 41st. The other main
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18 manuscript marked as kha is fragmentary, ending with a portion of the main
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19 Jātiprakaraņa*. annotation_inline
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20 "The work ends abruptly saying इदानीं कथियध्यामि बाह्यस्य निर्णयो यथा (p. 154) and so we main
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21 conclude that there are subsequent parts of the text yet to be discovered." main
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22 The text, available to Pt. K. Sāmbaśiva Śāstrī, is incomplete and it has not main
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23 been possible to discover another manuscript in the last seventy years, that main
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24 could accord access to the complete text. main
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25 In 1980 I suggested to my student Sri Anil Bihari Beohar to take up a critical main
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26 study of Brhaddesi including reconstruction of the text on the basis of citations main
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27 or references available in various texts from Abhinava-Bhāratī of Abhinavagupta main
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28 to Rāga-Vibodha of Somanātha. He took up this subject for his doctoral research main
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29 and started collecting and collating citations and references. As his supervisor, main
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30 I continued to struggle and grapple with the problems of reconstruction of the main
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31 text on the basis of the material collected by him, in collation with the main
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32 Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost main
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33 immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira main
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34 Gandhi National Centre for the Arts, New Delhi, conceived the publication of main
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35 a series of Kalāmūlaśāstra (Fundamental Texts on the Arts). It was decided that main
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36 so far as Sangītasāstra was concerned, Dattilam and Brhaddesī should be in the main
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37 first priority. annotation_inline
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38 *We have recorded the reading of these two MSS on the testimony of the editor of the footnote
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39 Trivandrum edition referring to them as MS A and MS B for ka and kha respectively. footnote
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vol_I_p071 LEFT — 45 lignes

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1 124 page_number
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2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
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4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
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6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
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7 अभिप्रवीं (?) ,प्रयोगः main
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8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
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9 सोऽधःपाणिरुच्यते । main
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10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
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17 मागधी सम्भाविताः annotation_inline
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18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
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22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
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30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
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35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
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40 •वयेन (?) unknown
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41 ,प्प, main
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42 .ला unknown
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43 या annotation_inline
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44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
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45 <b>यरदेन</b> unknown
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209 lignes a valider — change uniquement les roles incorrects.