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 21560). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p104 RIGHT — 66 lignes

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1 VIMARSA page_header
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2 191 page_number
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3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
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4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
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5 predominance of gita and vādya has been viewed here alongwith temporal main
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6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
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7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
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8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
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9 following correspondences have been indicated in the above passages in NS and main
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10 S R; BrD is in agreement with them here. main
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11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
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16 Mārga table
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17 Yati table
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18 Pāņi or table
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19 Avayava table
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20 Laya table
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21 Graha table
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22 Citrā table
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23 Māgadhi table
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24 Citrā table
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25 Druta table
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26 Samā table
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27 Uparipāņi table
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28 Ogha table
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29 Sambhāvitā Vārtika table
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30 Vytti table
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31 Madhya table
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32 Srotogatā Sama table
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33 Anugata table
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34 Daksiņā Pythulā table
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35 Vilambita table
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36 Daksina table
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37 Gopucchā Avapāņi table
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38 Tattva table
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39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
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40 this word seems to have been used in the general sense of the variable factors list_item
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41 that operate tāla, like mārga, yati, laya etc. list_item
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42 33. Laya lit. means merging; the rest or pause immediately following an list_item
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43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
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44 intervening time between one kriyā (action) and another. Druta (fast), list_item
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45 madhya (medium) and vilambita (slow) are the three layas that are list_item
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46 progressively double, each succeeding laya being double of the preceding one list_item
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47 i.e. the rest or pause is double and hence the tempo is slower. list_item
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48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
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49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
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50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
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51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
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52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
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55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
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56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
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57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
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58 each unit of 'song' or melody that is ogha. list_item
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59 40. See note 34 above. list_item
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60 41. See note 33 above. list_item
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61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
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62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
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63 follows the song or melody, which means that it is not perfectly identical with list_item
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64 the latter. list_item
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65 44. See note 34 above. list_item
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66 45. See note 33 above. list_item
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vol_II_p064 LEFT — 27 lignes

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1 110 page_number
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2 BRHADDEŚĪ page_header
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3 [अनु॰ १९३] section_header
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4 अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
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5 ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां main
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6 संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:। main
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7 वास्य annotation_inline
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8 षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला । main
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9 स्वरपदगीते चच्चत्पुटादितालः। main
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10 [३. मालवपञ्चम:] section_header
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11 पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:। main
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12 स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥ main
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13 [अन्॰ १९४] section_header
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14 अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो main
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15 ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे main
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16 कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः । main
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17 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
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18 [४. वेसरपाडव:] section_header
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19 मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा । main
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20 अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥ main
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21 [अनु॰ १९५] section_header
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22 अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो main
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23 न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे main
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24 (गान्धारनिपादयोरल्पत्वम्) annotation_inline
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25 चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: । main
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26 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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27 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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vol_I_p033 RIGHT — 41 lignes

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1 49 page_number
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2 TRANSLATION page_header
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3 Pañcama is kṛṣṇa (black), dhaivata is yellow-coloured, this niṣāda is multi- main
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4 coloured, (thus) should be known the colours of svaras. main
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5 (74) annotation_inline
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6 (iii) Devatās. main
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7 The daivata 83 (presiding deity) of şadja is Brahmā, ṛṣabha is with the daivata main
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8 vahni (fire), gandhara has Bharati as its deva, madhyama is with Hara as daivata. main
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9 (75) annotation_inline
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10 Pañcama is with Satayajña (Indra is its daivata), dhaivata is with Gaṇa-nāyaka main
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11 (as its daivata), niṣāda, on the other hand, has Bhānu (Sun) as its deva; thus are main
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12 (76) annotation_inline
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13 the devatā84 of svaras. annotation_inline
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14 (iv) Singers (seers). annotation_inline
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15 The svara şadja is sung ('seen')85 by Agni (fire), ṛṣabha is revealed by main
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16 Brahmā, gāndhāra is sung by Soma (moon), madhyama svara (is revealed) by main
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17 Vișnu. annotation_inline
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18 (77) main
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19 On the other hand, the svara pancama is sung by the mahatman (great- main
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20 souled) Nārada, the svaras dhaivata and niṣāda are 'sung' by Tumburu. main
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21 (78) annotation_inline
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22 (v) Rasas annotation_inline
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23 The two svaras madhyama and pañcama should be 'made'86 (used) in the two main
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24 (rasas) hāsya and śṛṅgāra, the two (svaras) şadja and ṛṣabha should be known in main
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25 (79) annotation_inline
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26 vira, raudra and adbhuta rasas. main
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27 Gāndhāra and niṣāda should be 'done' in karuņa rasa. Dhaivata should also main
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28 (80) annotation_inline
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29 be 'done' (used) in bibhatsa and bhayānaka. main
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30 (vi) Sthānas annotation_inline
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31 Ṣadja arises from the throat, 67 rṣabha is known (to arise) from the cerebrum, main
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32 gāndhāra from the nose, madhyama svara from the chest. main
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33 (81) annotation_inline
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34 Pañcama svara is arisen from the throat, O glorious onel dhaivata, on the main
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35 other hand, is born of the palate-region (tālu-deśa). Niṣāda, on the other hand, main
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36 should be known to be born of all the joints (sandhis). main
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37 (82) annotation_inline
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38 Thus one should know the svaras born in the ocean of gita (melody, music), main
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39 arisen out of the mouth of Mahadeva and placed in the 'path' of desi.68 main
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40 (83) annotation_inline
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41 [ Thus ends the section on svara ] editorial_bracket
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vol_I_p089 RIGHT — 48 lignes

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1 161 page_number
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2 VIMARŚA page_header
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3 commenting on NS XXVIII, 1. He says there that even if an untrained person main
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4 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) main
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5 i.e. svara will be attained. Since the tuning has to take effect only in one of the main
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6 mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has main
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7 used the word murchana in the same sense when he says for the Yakşi that again main
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8 and again she forgets the mūrchanā made by herself. main
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9 30. This prescription of establishing the two viņās in sadjagrāma immediately main
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10 after the mention of murchana appears to be rather queer, but the apparent main
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11 repetition could be justified if the mention of 'mūrchanā' is taken to refer to main
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12 equality in tuning, pure and simple and the later mention of sadjagrāma is main
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13 accepted as the specification of tuning. The construction of the sentence main
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14 implying that equal tuning is to be done first and then the viņās have to be main
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15 established in sadjagrāma which itself is a tuning, will have to be ignored as the main
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16 initial reference to tuning is a part of the general prescription about perfect main
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17 equality between the two viņās and the second reference relates to special main
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18 tuning. annotation_inline
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19 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could main
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20 be interpreted in two ways, viz.- main
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21 (a) 'Sruti' could be taken here as standing for sound in general; accordingly, main
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22 the total tuning of each grāma could be referred to as śruti in singular number. main
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23 (b) The interval of sruti perceived through apakarşa (lowering) of pañcama main
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24 is madhyamagrāmikī śruti and the same interval being perceived through the main
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25 utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that main
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26 the utkarşa of pañcama is not actual but only 'resultant' because it comes into main
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27 . annotation_inline
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28 being when all the other svaras are lowered in accordance with the lowering of main
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29 pañcama so that the samvada of şadja-pañcama that was disturbed on account of main
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30 the lowering of pañcama is restored. main
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31 33. In the mention of the restoration of sadjagrāma, the process i.e. the main
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32 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is main
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33 made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the main
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34 augmentation of pañcama. annotation_inline
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35 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by main
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36 one śruti, but this process does not prove the interval of any svaras in terms of main
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37 śruti since there is no svara in this system, that manifests on consecutive śrutis; main
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38 the gap or interval of one śruti is indispensable. main
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39 35. The word 'tadvat' has raised a big controversy among modern scholars. list_item
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40 It has been generally interpreted to mean "in the same manner" literally, giving list_item
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41 the sense that the second step of this process of demonstration of śrutis has to list_item
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42 begin again with the lowering of pañcama. Three opinions are notable in this list_item
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43 context. list_item
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44 (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, list_item
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45 Vol. IV, p. 37). He has inferred that since all the four steps start with the list_item
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46 lowering of pañcama, the value (in pitch) of all the four lowerings is identical list_item
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47 and hence all śrutis are identical according to Bharata. list_item
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48 (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all main
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vol_II_p019 RIGHT — 32 lignes

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1 21 page_number
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2 TRANSLATION page_header
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3 [7. The definition of alpatva] section_header
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4 [Anu. 128] editorial_bracket
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5 Now I speak of alpatva (sparseness) and bahutva (abundance). Out of main
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6 these, alpatva comes into being on account of the sparse use of svaras and main
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7 bahutva is on account of (their) abundant use. Alpatva and bahutva are main
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8 twofold each, one operating in samnyāsa and the like and the other through main
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9 antaramārga. 38 The definition of antaramārga is thus—sometimes in jātis even main
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10 the svara that is not an amsa (anamsa) is not sparse (alpa). Similarly in main
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11 Kārmāravī, gāndhāra (which is not an amśa), is used in antaramārga with main
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12 abundance through concert (saigati) with all the other svaras; thus will be main
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13 said-39 annotation_inline
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14 "Specially gāndhāra has movement towards all (svaras)." main
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15 (NŚ XXVIII.136) main
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16 [8. The definition of bahutva] section_header
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17 [ Anu. 129 ] editorial_bracket
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18 After this he (the author) spoke (speaks) of bahutva. Bahutva is like main
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19 alpatva; it is to be perceived, thus is the special implication of the said main
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20 statement (about bahutva). How is that? Thus spoke (speaks) he (the main
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21 author), the inversion of strong and weak, i.e. the weak one is sparse (by main
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22 rule), in the case of inversion it becomes strong, thus is understood the main
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23 characteristic of strong (svara). Hence it has been said - main
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24 "The sparseness in jātis is always manifested through their svaras. There main
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25 is sañcāra (to and fro movement) among the amsas and the strong svaras. main
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26 Sparseness occurs in those jātis which have weak (svaras). Antaramārga main
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27 (inversion of strength and weakness) and nyāsa brings about the manifestation main
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28 of jātis." annotation_inline
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29 (Cf. NŚ XXVIII 74cd, 75) main
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30 [9. The definition of nyasa] section_header
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31 [ Anu. 130 ] editorial_bracket
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32 Now he (the author) spoke (speaks) of nyāsa - that (svara) on which or main
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214 lignes a valider — change uniquement les roles incorrects.