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 21391). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 91 page_number
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2 TRANSLATION page_header
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3 Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) main
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4 (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) main
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5 Hunkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or main
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6 juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33) main
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7 Gātravarṇa (the colour of the body). main
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8 (Anu. 70) annotation_inline
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9 Now the definition of these alankāras is being given (said). That is thus—the main
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10 gradual ascent beginning from 'low' upto the starting point of 'high' is (known main
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11 as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā main
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12 mā pā dhā nī sā.29 annotation_inline
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13 (1) annotation_inline
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14 Thus is (ends) prasannādi. annotation_inline
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15 (Anu. 71) annotation_inline
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16 Beginning from tara 30 (high) and (reaching) upto mandra (low) is main
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17 prasannānta. As - sā<sup>31</sup> nī dhā pā mā gā nī sā. Thus is (ends) prasannānta. main
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18 (2) annotation_inline
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19 (Anu. 72) annotation_inline
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20 Where there is 'low' in the beginning and end and 'high' in the middle, main
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21 that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī main
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22 (3) annotation_inline
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23 sā. Thus is (ends) prasannādyanta. main
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24 (Anu. 73) annotation_inline
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25 Where there is 'low' in the middle and 'high' in the beginning and end, main
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26 that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni main
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27 (4) annotation_inline
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28 sā.34 Thus is (ends) prasannamadhya. main
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29 (Anu. 74) annotation_inline
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30 The pronunciation (sounding) of the seven svaras with a similar sound in main
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31 the three registers is sama. This is being said. (A svara) should be made main
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32 (sounded) in the three registers with the same number of śrutis 35 as it is main
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33 composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama main
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34 (comes into being) on account of the pronunciation of pairs of samvādin main
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35 (consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma main
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36 changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special main
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37 <b>(5)</b> annotation_inline
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38 (structure of pairs). Thus is (ends) sama. main
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1 BRHADDESI page_header
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2 70 page_number
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3 अग्निचिद् द्वादशाहश्च उपाशुः सोम एव च। main
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4 <b>43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।।</b> main
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5 •ग्राहोद्वही• annotation_inline
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6 ॥ इति ऋषभहीनताननामानि ॥ editorial_bracket
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7 सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज्ञकः। main
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8 स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।। main
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9 ०श्च annotation_inline
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10 ॰पा annotation_inline
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11 ুখৰ annotation_inline
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12 ।। इति गान्धारहीनताननामानि ॥ list_item
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13 ।। इति मध्यमग्राम एकविंशतिः षाडवताननामानि ।। list_item
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14 ।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।। list_item
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15 इडा पुरुषमेधश्च श्येनो वज्र•ः इषुस्तथा। main
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16 •इस्यः annotation_inline
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17 यज्ञ annotation_inline
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18 अङ्गिराः ४०कस्क्रुसंज्ञश्च षड्जग्रामेऽपि चौडुवाः ॥१११॥ main
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19 क्स. annotation_inline
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20 ॥ इति षड्जपञ्चमहीनताननामानि ॥ editorial_bracket
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21 अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः। main
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22 47ज्योतिः annotation_inline
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23 দূ annotation_inline
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24 अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥ main
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25 की लो annotation_inline
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26 ॥ इति गान्धारनिषादहीनताननामानि ॥ editorial_bracket
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27 सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा। main
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28 ुक्ति annotation_inline
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29 भा annotation_inline
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30 काच annotation_inline
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31 वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥ main
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32 ।। इति पञ्चमर्षभहीनताननामानि ॥ main
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33 ।। इति षड्जग्राम औडुवितताननामानि एकविंशतिः।। main
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1 BŖHADDEŚĪ page_header
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2 144 page_number
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3 परस्परं तु गमनं यत्र तत् सम्प्रयोजयेत् । main
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4 सा सङ्कीर्णाऽथ विज्ञेया भाषा वै रविचन्द्रिका<sup>३६</sup> ॥ ५३॥ main
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5 ॰र्णादयो जेया annotation_inline
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6 उदाहरणम् - गागागामा । सासा । मागामामागामासासासा । गागाधानिसा main
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7 सागाधनिसा annotation_inline
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8 मा॰ annotation_inline
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9 धाधामारीमागारीगसा सासासामा सारीधाधाधाधा धमागरीगागा धारीसासासा । मागामामागा । main
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10 मासा- annotation_inline
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11 ॰धाः annotation_inline
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12 ्सासामागारीधा धमगरि गमधनी। सासागाधानिसासा। main
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13 धाधाधापरीगमरीगमसा annotation_inline
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14 सामागा main
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15 रविचन्द्रा।[११] editorial_bracket
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16 मध्यमांशा तु षड्जान्ता बहुगान्धारधैवता । main
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17 वा॰ annotation_inline
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18 असम्पूर्णस्वरा नित्यमम्बाहेरी प्रकीर्तिता ॥ main
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19 भाषेयं ३७पोज्झिता नित्यं देश्याख्या सम्प्रकीर्तिता ॥५४॥ main
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20 के + + annotation_inline
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21 उदाहरणम् – मामासा । नीनी । main
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22 निधाधानी धाधानि । annotation_inline
parent ligne 21
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23 धानिधाधानी । सागागारी । main
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24 सनासनाधा annotation_inline
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25 सासा annotation_inline
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26 तथा annotation_inline
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27 निधानिगागा मागानिसासानि । साधानीगा गानिसासा । सानिनीसनीधा धामानीमा धासनिनी । main
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28 नीसाधानीमाधाधामागासानिसानिधा । माधाधा । साधानीधानीसासा । मामाधासासा main
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29 मामा- annotation_inline
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30 गारीमागासासा । मासामामागारीमागासासा । मसानी निनिमानि धाधानिधामागा । सानीमाधा । main
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31 सासनीधा धनिसाधाधा । धनिधानीसा । अम्बाहेरी ।[१२] editorial_bracket
parent ligne 30
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32 षड्जाद्यन्तसमायुक्ता बहुमध्यमधैवता ॥ main
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33 बाहुलाधमः annotation_inline
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34 द्विश्रुतिभ्यां तु गमनं हीनत्वमृषभेण तु । main
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35 विभ annotation_inline
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36 (भीत?हीन) main
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37 भाषा <sup>३८</sup>षाडविता ह्येषा सङ्कीर्णा ललिता भवेत्<sup>३९</sup> ॥५५॥ main
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38 औडुविता ++ annotation_inline
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39 टकरागजा annotation_inline
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40 उदाहरणम् - सागागाधागामामागा । धमधानीसासा । निधागागा । सासासामापाधानी main
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41 धापा- annotation_inline
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42 मासा साधापाधानीधाधासा नीधागानीगाधनीसससा । लिलता ।[१३] editorial_bracket
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43 सरसा annotation_inline
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44 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
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45 विरहिता सप्तमेन षड्जे मध्यमसङ्गता ॥ ५६॥ main
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46 विनि annotation_inline
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47 त् annotation_inline
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1 TRANSLATION page_header
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2 107 page_number
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3 [Anu. 188] editorial_bracket
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4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
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5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
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6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
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7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
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8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
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9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
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10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
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11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
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12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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14 like caccatputa obtains in the songs comprised of svara and pada. main
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15 [3. Gaudakaisikamadhyama] section_header
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16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
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17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
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18 (318) annotation_inline
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19 [Anu. 189] editorial_bracket
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20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
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21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
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22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
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23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
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24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
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25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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27 obtains in the songs comprised of svara and pada. main
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28 [The assignment of gaudaragas to gramas] section_header
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29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
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30 grāmas- annotation_inline
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31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
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32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
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33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
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34 to vesarā gīti). annotation_inline
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35 (319) main
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36 (vide) annotation_inline
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1 177 page_number
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2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
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6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
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8 different from the seven sthanas discussed above in note No. 63. list_item
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9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
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17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
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32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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197 lignes a valider — change uniquement les roles incorrects.