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 21399). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p050 RIGHT — 44 lignes

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1 83 page_number
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2 <b>TRANSLATION</b> page_header
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3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
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42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
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43 Matsarikṛtā (5) annotation_inline
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44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
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vol_II_p034 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 51 page_number
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3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
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4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
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5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
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6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
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7 upto the nyāsa or upto the svara next to it. main
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8 [Anu. 153] section_header
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9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
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10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
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11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
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12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
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15 [5. Şadjakaisiki] section_header
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16 [Anu. 154] section_header
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17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
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19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
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24 It has no śuddhā state, there are three amśas in the complete state. main
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25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
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29 with entry in the second scene (or act). main
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30 [6. Şadjodicyava] section_header
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31 [Apu. 156] section_header
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32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
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33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
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34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
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vol_II_p016 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 15 page_number
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3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
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4 becomes samnyāsa if it is used in the end of the first vidārī. main
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5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
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8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
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vol_II_p102 RIGHT — 28 lignes

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1 TRANSLATION page_header
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2 187 page_number
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3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
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4 māgāmā annotation_inline
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5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
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6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
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9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
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10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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vol_II_p161 RIGHT — 46 lignes

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1 ٠ page_number
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2 <b>VIMARŚA</b> page_header
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3 305 page_number
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4 central part of present Madhya Pradesh. The special preference for Mālavā main
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5 requires further investigation. annotation_inline
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6 29. The word gamaka is used here in the sense of vocal embellishments list_item
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7 including shakes; it is not restricted to shake. list_item
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8 30. See note 22. list_item
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9 31. Each grāmarāga is said to be born of one or more jātis. list_item
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10 32. Pūrvaranga has been described in NS IV and V; it embodies list_item
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11 instrumental rendering, song, dance, dialogue etc. presented as a preliminary list_item
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12 to drama. It has both ritualistic and psychological value as it ensures the list_item
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13 success of drama by propitiating the gods and prepares the audience for list_item
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14 being receptive to drama. list_item
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15 33. Kākalī and antara are always prescribed to be sparse, but here only list_item
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16 the sparseness of gandhara is prescribed, although both antara and kakali are list_item
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17 present. It could be construed that gandhara stands for the original list_item
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18 gāndhāra and not antara. See note 91. list_item
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19 • annotation_inline
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20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
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21 not easy to comprehend. It could only be surmised that the peculiar form list_item
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22 of a raga in some cases becomes manifest in ascent, in other cases in descent list_item
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23 and similarly a specific alankāra could be assigned to a rāga on account of list_item
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24 having a special role in establishing the same. list_item
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25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
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26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
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27 being its double and dakṣiṇa again being its double. Our text describes two list_item
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28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
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29 being half of dhruva. (See Vol.I. Anu.113) list_item
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30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
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31 that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in list_item
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32 tāla, sounded or unsounded and thirdly, the unsounded action. Here the list_item
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33 first meaning is relevant because the length of kalā depends on the mārga in list_item
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34 use at a given time. list_item
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35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
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36 This is the only caturasra (lit. square) tala, being composed of four kalas or list_item
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37 eight mātrās. list_item
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38 39. Garbha-sandhi is the third among the five sandhis or junctures in list_item
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39 drama described in NŚ XIX; the first two being mukha and pratimukha and list_item
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40 the last two being vimarsa and nirvahana. Garbha literally means 'womb', list_item
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41 the inside or interior of something. In drama garbha-sandhi stands for that list_item
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42 juncture where the 'sprouting' of the 'seed' has taken place, but the fruit list_item
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43 is still enshrouded in the 'garbha'. list_item
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44 40. Our text does not uphold the relationship of any raga to both the list_item
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45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
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46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
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182 lignes a valider — change uniquement les roles incorrects.