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 21501). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p086 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 155 page_number
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3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
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4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
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6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
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7 complete in svaras, (and) there is the concert of sadja-dhaivata and similarly main
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8 pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first main
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9 one born of kakubha. annotation_inline
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10 (72) main
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11 Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā. main
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12 Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i] editorial_bracket
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13 Having madhyama as amśa and dhaivata as the concluding note, main
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14 madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful main
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15 one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual main
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16 concert. annotation_inline
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17 (73) annotation_inline
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18 ٨. annotation_inline
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19 Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā. main
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20 Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā main
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21 dhadhadha. Madhyamagrāmikā [ii] editorial_bracket
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22 <math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma main
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23 concluding note. Madhyama and ṛṣabha are seen to be in mutual concert. main
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24 Some people desire the seventh (niṣāda) to be profuse and others (desire) main
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25 the same to be weak. annotation_inline
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
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28 marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni. main
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29 Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri main
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30 māpāpāmāsānidhādhā. Sātavāhinī [iii] editorial_bracket
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31 Having madhyama as amśa, niṣāda as the concluding note, being weak in main
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32 ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in main
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33 kakubha, where there is concert between the two svaras comprised of two main
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34 śrutis<sup>30</sup> each and pañcama. main
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35 <b>(75)</b> annotation_inline
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36 Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani. editorial_bracket
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
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1 PÄŢĦĄVIMARŚĄ page_header
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2 275 page_number
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3 as the graha, amśa and nyāsa. main
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4 101. Ibid.corroborates this as - 'ripavarjitā' (182 d). list_item
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5 102. P.t. adds (सैन्धवी ?) which is redundant. list_item
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6 103. Kalā (appendix) on SR II, p.140 treats it as a <i>bhāṣā</i> and also as list_item
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7 vibhāṣā on p. 141. S Rāj II.2.1.1076 gives an antarabhāṣā named kaliṅgajā list_item
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8 bearing almost the same description as Kālindī. list_item
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9 या भित्रपड्जे कालिङ्गी याष्ट्रिकेन पुरोदिता । main
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10 104. cf. annotation_inline
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11 सैव भाषाङ्गममला परिणाममुपेयुपी ॥ main
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12 S Rāj II.2.106. main
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13 105. Reconstruction based on Kalā (appendix) on SR II, p. 140, list_item
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14 reading 'sāntā dhāmśā'. list_item
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15 106. Reconstruction based on ibid-reading - ‘sadhyoḥ samayoryuktā’. list_item
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16 107. The prose sentence of p.t. has been reconstructed by us as two feet list_item
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17 of the metre anustup in view of similar concluding statements in this chapter list_item
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18 of our text. list_item
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19 108. Reconstruction based on S Raj II.2.11.662f reading list_item
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20 'ṣadjapañcamabhūyasī'. SR II.2.122 d reads 'bahulamadhyamā'. BhaKo p. 743 list_item
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21 cites Bhattamādhava, reading 'alpamadhyamā'. list_item
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22 सौवीरे याष्ट्रिकेनोक्ता सौवीरी यात्र भाषिका । main
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23 109. cf. annotation_inline
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24 सैव भाषाङ्गमित्युक्ता भाषामर्मविदां वरै: ॥ main
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25 S Rāj II.2.3.121. main
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26 110. Kalā (appendix ) on SR II, p. 132 reads-‘sagrahāntā, madhyamāinsā,’ list_item
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27 describing şadjaas the graha and concluding note (nyāsa) and madhyama as the list_item
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28 amśa, thus corroborating our text. list_item
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29 111. cf. ibid which reads 'sa-pa-sangatā' describing a 'sangati' (concert) list_item
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30 between 'sa-pa'. S Rāj. II.2.1.661 c reads-'sangatyāmapayoryuktā', describing list_item
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31 a 'sangati' (concert) between ma-pa. list_item
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32 112. The text seems to break here. The lost portion could thus be seen list_item
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33 in other texts so far as the description (lakṣaṇa) is concerned; the illustrative list_item
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34 notation is not found in them. list_item
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35 रिमयो: समयोर्युक्तगमका सकलस्वरा । list_item
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36 (i) list_item
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37 Kalā (appendix) on SR II, p. 132. main
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38 पड्जधैवतसंवादा गान्धारपंभसङ्गता । main
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39 (ii) annotation_inline
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40 S. Rāj II. 2.1.657 cf. main
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41 निषादांशग्रहा पद्जन्यासाल्पर्पभनिस्वना । main
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42 113. cf. annotation_inline
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43 बहमध्यमगान्यारा सौवीरकसमुद्भवा ॥ main
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44 भाषा गान्धारिका नाम पूर्णा स्यात् करुणे रसे ॥ main
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45 Ibid. 659. annotation_inline
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46 114. Rṣabha is totally absent in this illustration and hence the same main
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1 33 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 18) annotation_inline
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4 But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22 main
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5 svaras? Truly has this been said. These have been accepted because of their main
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6 uncommonness. Their uncommonness is because of their movement in upward main
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7 sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of. main
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8 But .... this is said to be only a sign 24 (by convention), that is to say, (the names main
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9 of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas main
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10 (teachers). annotation_inline
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11 [The fourfold-ness of svaras according to kinds beginning with vadin ] editorial_bracket
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12 (Anu. 19) section_header
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13 Now I show the fourfold-ness of svaras, that befits the occasion or context. main
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14 That is thus - annotation_inline
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15 Vādin 26 is so because of vadana 27 (speaking), like the master. The main
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16 saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister. main
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17 The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking) main
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18 like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking), main
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19 like the enemy. annotation_inline
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20 (Anu. 20) section_header
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21 But vadana and the like are the nature (dharma) of living beings, how are they main
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22 possible in insentient svaras? Truly has this been said. Vadana is here intended to main
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23 mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana main
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24 and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras main
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25 are only seven. That vādin should be understood as tenfold like the amśa.57 The main
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26 vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni. main
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27 (Anu. 21) section_header
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28 The samvadins should again be understood according to the interval of main
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29 thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the main
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30 two svaras concerned, in terms of number of śrutis). What indeed is that main
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31 samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga main
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32 1 page_number
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33 produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The main
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34 samvādi-mandala is thus — main
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vol_II_p098 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 178 page_number
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3 [११. अथ टककैशिके] section_header
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4 धैवताद्यन्तसंयुक्ता ज्ञेया <sup>१२२</sup>मालवपञ्चमी । main
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5 <sup>१२३</sup>षड्जर्षभसंवाद: स्यात् <sup>१२४</sup>षड्जधैवतयोस्तथा ॥ main
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6 बहुधैव तयोस्तथा annotation_inline
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7 <sup>१२५</sup>सम्पूर्णा सुस्वरा ह्येषा देशभाषा मनोहरा ॥ १३३॥ main
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8 उदाहरणम्-धैवत धापाधैवत धाधाधारिमामाधा । पामधाधापामागरिमाधापाधा। मालवा [१] editorial_bracket
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9 षड्जांशा धैवतन्यासा विज्ञेया <sup>१२६</sup>भित्रवालिका । main
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10 भित्रलालिका annotation_inline
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11 धैवतनिषादबाहुल्यं दृश्यते च परस्परम् ॥ १३४॥ main
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12 •बाहु<del>ल्</del>या annotation_inline
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13 क्वचिद् दृष्टं न दृष्टं च भित्रपञ्चमसंज्ञिता[?]। editorial_bracket
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14 किशिद् प्रष्टं annotation_inline
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15 एषा तु कथिता लोके भाषा सङ्कीर्णशोभना ॥ १३५॥ main
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16 उदाहरणम् - सासासागासाधा नीसासाधानीमधा निधाधाधा निधामाधा निमधापाधाधाधा main
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17 भित्रवालिका।[२] editorial_bracket
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18 भित्रलालिता annotation_inline
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19 <sup>१२७</sup>गान्धारांशा धैवतान्ता द्राविडी सम्प्रकीर्तिता । main
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20 द्विश्रुतीनां च गमनं षड्जधैवतयोस्तथा ॥ main
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21 द्राविडविषये होषा देशाख्या सुमनोहरा<sup>१२८</sup> ॥ १३६॥ main
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22 उदाहरणम्-[गा]धानिमधानिधाधाधानिधामधापाधाधा पामाधाधागामाधाधा सागासानि- editorial_bracket
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23 धाधा पामागाममनि[धा] । द्राविडी । [३] editorial_bracket
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24 ॥ एताष्ट्रक्ककैशिकभाषास्तिस्र: ॥ main
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25 [१२. अथ वेसरपाडवे ] editorial_bracket
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26 मध्यमाद्यन्तसंयुक्ता विज्ञेया बाह्यषाडवा । main
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27 ॰पाडवं annotation_inline
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28 १२९द्विश्रुत्यो: स्याच्च संवादो मध्यमर्पभयोस्तथा ॥ १३७॥ main
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29 वि? द्वित्र्तिभ्यां च annotation_inline
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1 175 page_number
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2 TRANSLATION page_header
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3 Illustration-.....Sādhāritā [iii] editorial_bracket
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4 Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is main
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5 complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in main
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6 karuna (rasa).<sup>57</sup> main
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7 (123) annotation_inline
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8 Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] editorial_bracket
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9 Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>. main
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10 [8. After this are being described the bhāṣās in bhinna-paācama] section_header
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11 Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note, main
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12 is complete, there is concert between dhaivata-ṛṣabha and similarly between main
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13 șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It main
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14 is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people. main
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15 (124-125) annotation_inline
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16 Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā main
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17 pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] editorial_bracket
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18 Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha, main
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19 this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert main
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20 between şadja-dhaivata and the svaras comprised of two śrutis each alongwith main
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21 dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 main
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22 <math>(126-127)</math> annotation_inline
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23 Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. main
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24 Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] editorial_bracket
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25 Lower (mandra) ṛṣabha should be used and so also dhaivata again and main
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26 again. (The gamaka) sphurita60 should be used there as fast, medium and main
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27 One should bring about movement in high and low and similarly main
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28 slow.<sup>61</sup> annotation_inline
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29 ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. main
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30 <math>(128-129)</math> main
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177 lignes a valider — change uniquement les roles incorrects.