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 21321). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p089 RIGHT — 48 lignes

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1 161 page_number
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2 VIMARŚA page_header
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3 commenting on NS XXVIII, 1. He says there that even if an untrained person main
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4 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) main
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5 i.e. svara will be attained. Since the tuning has to take effect only in one of the main
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6 mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has main
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7 used the word murchana in the same sense when he says for the Yakşi that again main
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8 and again she forgets the mūrchanā made by herself. main
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9 30. This prescription of establishing the two viņās in sadjagrāma immediately main
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10 after the mention of murchana appears to be rather queer, but the apparent main
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11 repetition could be justified if the mention of 'mūrchanā' is taken to refer to main
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12 equality in tuning, pure and simple and the later mention of sadjagrāma is main
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13 accepted as the specification of tuning. The construction of the sentence main
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14 implying that equal tuning is to be done first and then the viņās have to be main
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15 established in sadjagrāma which itself is a tuning, will have to be ignored as the main
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16 initial reference to tuning is a part of the general prescription about perfect main
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17 equality between the two viņās and the second reference relates to special main
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18 tuning. annotation_inline
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19 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could main
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20 be interpreted in two ways, viz.- main
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21 (a) 'Sruti' could be taken here as standing for sound in general; accordingly, main
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22 the total tuning of each grāma could be referred to as śruti in singular number. main
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23 (b) The interval of sruti perceived through apakarşa (lowering) of pañcama main
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24 is madhyamagrāmikī śruti and the same interval being perceived through the main
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25 utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that main
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26 the utkarşa of pañcama is not actual but only 'resultant' because it comes into main
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27 . annotation_inline
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28 being when all the other svaras are lowered in accordance with the lowering of main
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29 pañcama so that the samvada of şadja-pañcama that was disturbed on account of main
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30 the lowering of pañcama is restored. main
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31 33. In the mention of the restoration of sadjagrāma, the process i.e. the main
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32 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is main
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33 made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the main
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34 augmentation of pañcama. annotation_inline
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35 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by main
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36 one śruti, but this process does not prove the interval of any svaras in terms of main
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37 śruti since there is no svara in this system, that manifests on consecutive śrutis; main
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38 the gap or interval of one śruti is indispensable. main
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39 35. The word 'tadvat' has raised a big controversy among modern scholars. list_item
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40 It has been generally interpreted to mean "in the same manner" literally, giving list_item
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41 the sense that the second step of this process of demonstration of śrutis has to list_item
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42 begin again with the lowering of pañcama. Three opinions are notable in this list_item
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43 context. list_item
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44 (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, list_item
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45 Vol. IV, p. 37). He has inferred that since all the four steps start with the list_item
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46 lowering of pañcama, the value (in pitch) of all the four lowerings is identical list_item
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47 and hence all śrutis are identical according to Bharata. list_item
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48 (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all main
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vol_I_p024 LEFT — 28 lignes

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1 <b>BRHADDEŚ</b>I page_header
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2 30 page_number
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3 तथा चाह कोहलः — main
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4 <b>"जातिभाषादिसंयोगादनन्तः कीर्तितः स्वरः।</b> main
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5 <b>॰पदैर्युक्तस्त्वलमिति कृतौ योज्यो रसेष्वपि</b>"।। इति। annotation_inline
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6 。स्ता。 annotation_inline
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7 ना annotation_inline
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8 नित्योऽविनाशी। व्यापकः सर्वगतः। main
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9 तथा चाह कोहलः — annotation_inline
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10 "ऊर्ध्वनाडीप्रयत्नेन सर्वीभत्तिनिघट्टनात्। main
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11 मुर्छितो ध्वनिरामुर्ध्नः स्वरोऽसौ व्यापकः परः"।। main
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12 [ अनु. १७ ] editorial_bracket
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13 ननु षड्जादीनां कथं स्वरत्वम् ? व्यञ्जनत्वात्। यदि व्यञ्जनानां main
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14 स्वरत्वमभिधीयते, तदानीं कादीनामेवास्तु स्वरत्वम्। main
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15 अत्रोच्यते — असाधारणत्वात् षड्जादीनामेव स्वरत्वं न कादीनामिति। main
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16 ननु षड्जादीनामसाधारणत्वं कथम् ? आप्तोपदेशात् षड्जादीनामसाधारणत्वम्। main
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17 तथा चाह कोहले महेश्वरः- main
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18 ｡लः annotation_inline
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19 "षड्जं वदति मयूर ऋषभं चातको वदेत्। main
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20 अजा वदित गान्धारं क्रौञ्चो वदित मध्यमम्।। main
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21 ्नित annotation_inline
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22 पुष्पसाधारणे काले कोकिलः पञ्चमं वदेत्। main
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23 प्रावृद्काले तु सम्प्राप्ते धैवतं दर्दुरो वदेत्।। main
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24 सर्वदा च तथा देवि। निषादं वदते गजः॥" main
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25 यद्वा ऊर्ध्वध्वनिगामित्वेन षड्जादीनामेवासाधारणत्वमिति, अथवा main
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26 ₄व annotation_inline
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27 षड्जादयः स्वरा न भवन्ति, आकारादय एव स्वराः। षड्जादयस्तु main
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28 तेषामाकारादीनामुच्चारणार्थमिति। main
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vol_II_p077 RIGHT — 34 lignes

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1 137 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
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4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
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5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
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6 <math>(30c-31)</math> main
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7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
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8 to be born of <i>bhinnapañcama</i>. main
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9 (32) annotation_inline
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10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
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11 bhāvinī, the one that is beautiful for the people. main
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12 (33) annotation_inline
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13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
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14 and drāvidī is the third bhāṣā there that is described with characteristics main
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15 (lakṣaṇas). annotation_inline
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16 (34) main
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17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
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18 Tānodbhavā should be known as being assigned to bhinnatāna. main
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19 (35) annotation_inline
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20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
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21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
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22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
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23 spoken of in <i>pañcamaṣāḍav</i>a. main
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24 (36) annotation_inline
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25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
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26 to their description alongwith illustration for each one. main
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27 (37) main
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28 [The description of bhāṣās] section_header
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29 [1. Bhāṣās in ṭakka-rāga] section_header
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30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
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31 pañcama and there is to be seen here again and again the mutual main
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32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
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33 be known as hexatonic. Travaņā should bear the name mūlā. main
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34 (38-39) annotation_inline
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vol_II_p053 RIGHT — 36 lignes

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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_II_p156 RIGHT — 41 lignes

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1 VIMARŚA page_header
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2 295 page_number
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3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
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4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
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5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
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6 has been used in isolation, the compound utsarga-vidhi being implicit. main
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7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
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8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
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9 anuvādin svaras. annotation_inline
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10 14. This phrase or piece of notation does not occur in SR in the list_item
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11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
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12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
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13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
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14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
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15 this word in a different meaning, which could, perhaps, be graha. list_item
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16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
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17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
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18 in intervallic and melodic organisation. list_item
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19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
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20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
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21 rendering with or without text and 'pada' could stand for self-contained list_item
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22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
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23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
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24 pause between one vidārī and another. list_item
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25 19. 'Pāda', literally meaning foot is used both in the context of list_item
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26 textual metre and musical composition. list_item
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27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
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28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
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29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
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30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
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31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
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32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
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33 much earlier than our text. list_item
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34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
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35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
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36 of Bharata does not occur in the introduction to the citation. list_item
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37 22. The octave of the amsa is implied here; that is the beginning of list_item
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38 tāra (high). list_item
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39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
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40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
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41 indicating their tara position. list_item
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187 lignes a valider — change uniquement les roles incorrects.