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 21322). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p019 RIGHT — 33 lignes

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1 21 page_number
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2 TRANSLATION page_header
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3 The distinction of svara and śruti (exists) because they are prasādhya (lit. main
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4 accomplished, here perceived) by different buddhis (apprehensions, main
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5 perceptions). And also on account of the distinction of aśraya (seat or main
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6 substratum, here śruti) and āśrayin (that which is seated, here svara) the main
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7 identification (of the two) does not stand. main
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8 (36) annotation_inline
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9 The state of svaras being reflections, that has been spoken of, does not stand main
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10 reason (because) if the state of svaras being reflection (is accepted), then main
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11 perception having the nature of delusion becomes applicable. main
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12 (37) annotation_inline
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13 The relationship of cause and effect between śruti and svara is not possible; main
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14 there is no pramana (means of valid knowledge or evidence) of the existence of main
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15 (38) annotation_inline
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16 śrulis. annotation_inline
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17 (Objection) If by arthāpatti 55 (negative inference) or by the pramāņa main
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18 presuming vyāpti-grahaņa, (the comprehension of concomitance, i.e. anumāna,56 main
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19 inference) svara is proved to be the bheda (modification or result) of the gagana- main
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20 gunas<sup>57</sup> (qualities of space or ether i.e. sounds) that are the progenitors of svara main
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21 (then the kārya-kāraņa relationship between the two would be established). (39) main
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22 (Answer) It is true. annotation_inline
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23 Although the kārya-kāraņa difference (between svara and śruti) is evident, main
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24 (40) annotation_inline
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25 yet the kāraņatva (causality) of śrutis is impossible. main
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26 (This is so) because (here) the cause (śruti) is available (perceptible) (even) main
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27 when the kāryas (svaras) are present, (but) when the jar and the like are main
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28 existent, the lump of clay is not available (perceptible). main
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29 (41) annotation_inline
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30 Pariņāma 58 (transformation) (and, or) abhivyakti (manifestation) is main
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31 understood to be the justified proposition by the wise; thus the alternatives main
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32 (42) annotation_inline
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33 starting with tādātmya have been spoken of by me. main
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vol_I_p088 RIGHT — 76 lignes

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1 VIMARŚA annotation_inline
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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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vol_II_p078 RIGHT — 27 lignes

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1 TRANSLATION page_header
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2 139 page_number
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3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
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4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
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6 That which has sadja as its concluding note, madhyama as its amsa, is main
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7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
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8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
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9 (40) annotation_inline
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10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
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11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
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12 nīsasā. Travaņodbhavā [ii] editorial_bracket
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13 Verañjikā should be known to have gandhāra as its amśa and weak main
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14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
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15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
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16 should be known (this) bhāṣā; it is said to be hexatonic. main
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17 <math>(41-42)</math> main
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18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
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19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
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20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
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21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
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22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
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23 complete, brilliant 15 with madhyama, there being the mutual concert main
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24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
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25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
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26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
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27 (43) page_footer
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vol_II_p122 LEFT — 27 lignes

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1 BŖHADDEŚĨ page_header
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2 226 page_number
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3 [सामान्यविधानम् ] section_header
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4 त्रिपदं पादसंख्यानं मूर्छनाबिन्दुसङ्कुलम् । main
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5 स्थितं [च] गमकं कुर्यादेतदेलासु लक्षणम् ॥४३९॥ editorial_bracket
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6 य(त्)स्थितं main
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7 ततश्च वर्ण्यमानस्य नाम सम्यक् प्रवेशयेत्। main
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8 सव्यत् annotation_inline
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9 लिलता रससंयुक्ता स्वाभिधानमतः परम् ॥४४०॥ main
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10 ॥ इति गणैलाचतुष्टयम् ॥ editorial_bracket
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11 [५. सङ्करैला] section_header
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12 तृतीयपादवत् पादश्चतुर्थो यदि वर्धते । main
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13 एला सङ्करतामेति मतङ्गमुनिभाषिता ॥ main
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14 पञ्चमी ह्यत्र सङ्कर-नाम्नी त्वेला[प्रकीर्तिता] ॥ ४४१॥ editorial_bracket
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15 द्वि(त)यं annotation_inline
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16 एला + + + annotation_inline
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17 [इति गणैलाः] editorial_bracket
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18 [ख. मात्रैलाप्रकाराः] section_header
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19 रितलेखा कामलेखा बाणलेखा तथैव च। main
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20 कथ्यते चन्द्रलेखा च ३४मात्रैलामाह वल्लभः॥ ४४२॥ main
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21 [१. रतिलेखा] section_header
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22 यस्यामङ्घ्रिद्वये मात्रा रुद्रसङ्ख्यास्तृतीयके । main
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23 रुद्रहस्तसमाश्चैव रत्याख्यगणसम्मिता: ॥४४३॥ main
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24 (:) annotation_inline
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25 भवन्तीति यतस्तज्ज्ञैर्धातुमातुसमन्विता: । main
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26 ॰सन्मातृमाभि च (?) annotation_inline
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27 कथिता गीतशास्त्रज्ञै रतिलेखेति नामतः ३५॥४४४॥ 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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197 lignes a valider — change uniquement les roles incorrects.