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 21344). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p099 RIGHT — 45 lignes

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1 181 page_number
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2 VIMARŚA page_header
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3 is also used. This is how the distinction brought about by mandra and tara could be main
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4 understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. main
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5 48. 'Sukha' has been translated here as convenience or it could be rendered main
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6 as facility. The facility of the performer and listener is said here to be the main
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7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
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8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
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9 author has tried to distinguish between murchana and tana, we have accepted main
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10 the reading anyatvam which means distinction (see note 78 under textual notes main
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11 on the section ). In NS mūrchanā-tāna is also a compound name for the 84 main
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12 tānas. BṛD does not use this compound and emphasises the distinction between main
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13 the two; viz. mūrchanā and tāna. main
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14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
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15 said that the variety of murchana and tana accords facility to the performer by main
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16 making possible the use of three sthanas (registers) and also the omission of main
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17 svaras (according to a specific system as embodied in the 84 tanas). The main
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18 distinction between murchana and tana brought out in the reading accepted by main
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19 us could be construed to mean that mūrchanā as a complete scale in ascending main
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20 and descending establishes the three sthanas and tana (involving omission) main
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21 establishes a specific pattern in ascent. It is interesting to note that even today main
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22 omission of one or two svaras is very effective in the ascent in all those ragas main
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23 that involve omission in ascent and use the omitted svaras in descent. ( see main
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24 glossary) main
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25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
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26 of this specific omission could be said to be the distinguishing feature between list_item
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27 the jātis and rāgas of one grāma and the other. list_item
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28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
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29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
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30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
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31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
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32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
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33 the first instance the number of tanas (permutation of a given number of list_item
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34 svaras ) is implied and in the second instance the number of svaras constituting list_item
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35 the specific tāna (combination of svaras) is implied. list_item
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36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
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37 remains intact and uthrama is a permutation where the original order is list_item
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38 changed. The method of obtaining the number of kramas and utkramas of a list_item
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39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
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40 number, without leaving any number in-between. For example if the number of list_item
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41 svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and list_item
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42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
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43 kramas and the remainder viz. 714 is the number of utkramas. list_item
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44 57. 'Māna' could stand here for the measure (length, breadth and the like) of the list_item
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45 viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI, list_item
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1 1 page_number
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2 TRANSLATION page_header
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3 105 page_number
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4 [C. Gauda rāgas] section_header
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5 [Anu. 186] section_header
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6 (Contention) Why are they known as gaudas? It is being answered, on main
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7 account of being related to gaudigiti. What is its description? It is being main
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8 answered. That is thus - annotation_inline
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9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
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10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
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11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
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12 (315) annotation_inline
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13 [1. Gaudapañcama] section_header
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14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
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17 pañcama. annotation_inline
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18 (316) annotation_inline
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19 [Anu. 187] section_header
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20 This means - gaudapañcama is related to sadjagrāma on account of being main
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21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
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22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
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23 hexatonic, being devoid of pañcama. Its application is prescribed in main
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24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
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25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
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26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
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27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
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28 the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [2. Gaudakaisika] section_header
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31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
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1 TRANSLATION page_header
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2 195 page_number
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3 ......Mālavī [iii] editorial_bracket
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4 .....Gūrjarī [iv] editorial_bracket
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
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6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
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8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
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13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
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14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
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33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
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34 in due order (?).<sup>24</sup> main
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35 (28) main
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vol_II_p066 RIGHT — 39 lignes

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1 1.50 4 1 annotation_inline
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2 TRANSLATION page_header
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3 115 page_number
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4 [Anu. 198] editorial_bracket
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5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
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6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
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7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
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8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [7. Ţakkakaiśika] section_header
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13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
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14 and concluding note and is weak in the svaras comprised of two śrutis each main
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15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
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17 [Anu. 199] editorial_bracket
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
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22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
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24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
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25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
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26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
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27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
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28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
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29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
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30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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32 obtains in songs comprised of svara and pada. main
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33 [8. Mālavakaisika] section_header
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34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
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35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
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37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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vol_II_p059 RIGHT — 37 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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189 lignes a valider — change uniquement les roles incorrects.