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 21438). 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 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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1 1, 1 unknown
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2 <b>(4) 90 公司的第三人</b> annotation_inline
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3 256 page_number
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4 BRHADDEŚĨ page_header
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5 Note: Şadjamadhyamā and raktagāndhārī have been repeated in the interpo- main
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6 lated portion. main
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7 Chapter III (Rāgalakṣana) section_header
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8 कश्यपप्रमुखैरत्र यथास्वमति वर्णितम् । main
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9 l.cf. annotation_inline
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10 स्वरूपं रागशब्दस्य यथावत्तदिहोच्यते ॥ main
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11 स्वरवर्णविशिष्टेन ध्वनिभेदेन यत्परम् । main
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12 रज्यते येन सततं (सच्चित्तं) स राग: सम्मत: सताम् ॥ main
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13 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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14 रञ्जको जनचित्तानां स राग: कथितो बुधै: ॥ main
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15 S Rāj II. 2.I.10-12. main
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16 2. Reading in Sam Sa Sā, I. 58 and c.r. in Kalā. on SR. II.1.1, p.2. list_item
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17 3. Reconstruction based on ibid. (Kalā) list_item
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18 4. Reading in BhaKo p. 921. list_item
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19 5. C.r. in Kalā on SR. II .1.1, p. 2, Sudhā on the same, p. 3 and Rā Vi, list_item
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20 p. 101. list_item
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21 6. Reading in Sam Sa Sā, IV.76. list_item
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22 7. P.t.; neuter gender has been preferred by us in deference to the list_item
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23 gender of the noun being qualified, viz. lakṣaṇam. list_item
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24 8, 9,10. Reading in Sam Sa Sā, IV. 76. list_item
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25 11. The two lines of this verse are transposed in p.t. list_item
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26 12. Reconstruction based on c.r. in Sudhā on SR.II.I.I., p. 3; c.r. in list_item
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27 Kalā on ibid, p.2 reads 'vāpi manthavat' and so does c.r. in Rā Vi, p. 101. list_item
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28 13. C.r. in Rā Vi, p.101. list_item
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29 14. Reconstruction based on consideration of grammar and metre. list_item
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30 15. Reconstruction based on c.r. in Sudhā on SR.II.I.2-5, p.5 and list_item
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31 S.Rāj II.2.1.28d, 29c. list_item
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32 16. P.t. adds- 'teşam lakşanamucyate'- after 'iti', which is redundant. list_item
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33 17. Actually the gîtis spoken of by Bharata are 'modes' of textual list_item
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34 rendering, i.e., are related to pada, but they have been cited here in the list_item
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35 context of rāga. list_item
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36 One minor reading variant in this verse is -NS reads 'tu' in the place of 'ca' in main
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37 the third foot. annotation_inline
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38 18. 'Matanga' of p.t. has been replaced with 'Kasyapa' because - list_item
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39 (i) the opinion of Matanga has been given in verses 268-270, list_item
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40 (ii) S.Rāj II.2.1.30 d, 31b ascribes these two gītis to Kasyapa, and list_item
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41 (iii) citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do list_item
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42 the same. list_item
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43 and the second second annotation_inline
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1 264 page_number
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2 BRHADDEŚĪ section_header
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3 101. cf. (i) annotation_inline
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4 मार्गप्रष्टेऽध बीभत्से नीचे भम्माणपञ्चम:। main
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5 Cited in the name of Kasyapa in Abhi main
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6 Bhā on NŚ XXIX. 13, p. 77. main
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7 पथि भ्रष्टे वनभ्रान्ते विनियुक्तः शिवप्रियः। main
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8 (ii) annotation_inline
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9 SR II.2.62 ab. main
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10 102.cf. annotation_inline
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11 अवरोोहाँण वर्णे स्यात् ..... main
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12 SR 11.2.57a. annotation_inline
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13 103.cf. annotation_inline
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14 अस्यापि धैवतीजातिजन्यत्वं षड्जसंश्रयम् । main
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15 यस्य त्रिश्रुतितायोगाद् दुर्गशक्तिरभाषत ॥ main
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16 भरतादिकसम्मत्या ब्रह्मशैलाधिप: पुन: । main
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17 मध्यमग्रामसम्बन्धमाचप्टे शास्त्रमोदनात् ॥ unknown
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18 S Rāj II.2. 1.551, 552. main
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19 104.cf. annotation_inline
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20 गान्धारांशग्रहन्यासः क्वचिद् वां(द्धां)शग्रहान्तभाक्। main
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21 S Rāj II.2.1.548 cd. main
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22 105. Reconstruction based on SR II.2.105 ab. main
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23 106. This rāga has been mentioned in the initial enumeration as well main
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24 as in the assignment of rāgas to grāmas, but its description is not to be found main
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25 in the text. The following extract from SR would be useful - main
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26 पड्जर्पभांशग्रह: स्यात् कैशिकीजातिसम्भव:॥ main
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27 ऋषभोऽल्पो निगन्यासो मन्द्रगान्धारषङ्जकः। main
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28 प्रसन्नाद्यवरोहिभ्यां युक्तः षड्जादिमूर्छनः ॥ main
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29 वीररौद्राद्भुतरसः शाम्भवः षड्जकैशिकः। main
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30 SR II.2.65c - 67b. annotation_inline
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31 107. cf.(i) main
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32 मध्यमग्रामसम्बन्धो .... annotation_inline
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33 SR II.2.86 c. annotation_inline
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34 षड्जग्रामेण सम्बन्धो...... main
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35 (ii) annotation_inline
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36 S Rāj II.2.1.639 a. main
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37 108.Reconstruction based on- main
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38 तथाह मतङ्गः - प्रयोक्तृवशात् क्वचिन्मध्यमोऽशोऽपि न्यासश्च । main
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39 C.r. in Kalā on SR II.86-88 p. 76. main
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40 109.cf. annotation_inline
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41 मतङ्गो रेवगुप्तं च टक्कसैन्धवमेव च। main
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42 साधारणेषु निक्षिप्य न च तान(य) ब्रवीदथ ॥ main
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43 ग्रामरागानगणयद द्वात्रिंशदिति तद्युजै:। main
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44 पञ्चैव चोपरागान् स विना पञ्चमषाडवम् ॥ main
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45 ग्रामरागेषु निक्षिप्य कश्चित् पञ्चमपाडवम् । main
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46 त्रयस्त्रिंशदिति प्राह न तदाचार्यसम्मतम् ॥ main
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47 S Rāj II.2.1.62-64. annotation_inline
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48 110. P.t. adds the following after this, which is out of place here and main
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49 has, therefore, been omitted by us; the ed. has put it in square brackets. main
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50 • annotation_inline
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51 [इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते - editorial_bracket
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52 ---- annotation_inline
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vol_II_p063 LEFT — 27 lignes

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1 BRHADDEŚĪ page_header
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2 108 page_number
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3 [घ. रागगीतिगता वेसरागीतिगता वा रागा:] section_header
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4 [अनु॰ १९०] section_header
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5 नन् वेसराणां कथं रागशब्द: प्रवर्तते ? आसोपदेशात् । तथा चाह कश्यप: - main
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6 आ(टो?प्तो)फ annotation_inline
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7 <sup>६७</sup> ‘चतुर्णामपि वर्णानां यो राग: शोभनो भवेत् । main
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8 योगा राग:+शोभना(?) annotation_inline
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9 स सर्वो दृश्यते येषु तेन रागा इति स्मृता: ॥'' main
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10 [अनु॰ १९१] section_header
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11 दुर्गशक्तिमते रागा एव वेसरा गण्यन्ते । तथा चाह दुर्गशक्ति: - main
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12 ६८‘‘स्वरा: सरन्ति यद्वेगात् तस्माद् वेसरका: स्मृता: ।’’ main
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13 दुर्गशक्तिमते वेसरषाडव एव मुख्य:, षाडवत्वेन क्रमायातत्वात् । कश्यपमते तु टक्कराग main
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14 एव मुख्य:, लक्ष्मीप्रीतिकरत्वात् । तद्यथा - main
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15 [१. टक्करागः] section_header
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16 <sup>६९</sup>षड्जांशन्याससंयुक्तष्टक्करागोऽल्पपञ्चम: । main
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17 कारणं चास्य निर्दिष्टे धैवतीषड्जमध्यमे ॥३२०॥ main
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18 कार(णा?णं चा)स्य annotation_inline
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19 [अनु॰ १९२] section_header
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20 अस्यार्थः - टक्करागः षड्जग्रामसम्बन्धः , धैवतीषड्जमध्यमासमुत्पत्रत्वात् । षड्जोऽस्य main
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21 ग्रहोंऽशश्च न्यासश्च। निषादपञ्चमयोरत्राल्पत्वम् <sup>७९</sup> निषादगान्धारावत्र काकल्यन्तरौ। पूर्णश्चायम् । main
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22 युद्धवीरेऽस्य प्रयोग: । वीराद्धुतौ रसौ । षड्जादिमूर्छना । वर्ण: सञ्चारी । प्रसन्नान्तोऽलङ्कार: । main
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23 शुद्ध annotation_inline
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24 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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25 [२. सौवीर:] section_header
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26 अंशश्च षड्जो न्यासश्च कारणं षड्जमध्यमा । main
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27 सौवीरकस्य गान्धारो निषादश्चापि दुर्बल: ॥३२१॥ main
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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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189 lignes a valider — change uniquement les roles incorrects.