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 21685). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p160 RIGHT — 42 lignes

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1 VIMARŚA page_header
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2 303 page_number
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3 lustre, splendour (Monier Williams). Maitrī Upaniṣad VI. 7 says "bha is so main
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4 called as it illuminates these worlds." It has been used in neuter gender main
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5 because it qualifies 'jyotis'. There is a sāman known as 'bhakāra' wherein all main
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6 the consonants are replaced with bh, keeping the vowels intact. That the main
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7 consonant 'bh' should have been selected for this purpose bears testimony main
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8 to the special importance of this consonant as it stands for light. main
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9 2. 'Hamsa' occurs in several Upanișads; the most relevant occurrence list_item
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10 is in Kathopanişad II.5.2, where hamsa is mentioned as one of the synonyms list_item
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11 of 'ātman'. list_item
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12 3. 'Bharata' here stands for ātman and not the sage Bharata. list_item
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13 4. Bhāratī is another name of Saraswatī and occurs in Rgveda (VIII. list_item
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14 6.9). list_item
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15 The verse containing the above four words is placed in the very main
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16 beginning of the chapter on raga. If it is taken to embody mangalacarana, its main
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17 relevance to rāga is not obvious (See Vol. III). main
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18 5. Here 'Bharata' stands for the sage who is the author of Nāṭyaśāstra. list_item
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19 6,7. 'Dhvani' basically means sound; a 'type of sound' or 'special list_item
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20 sound 'could mean 'a melodic form 'which is called 'dhun' in Hindi. list_item
via surya_layout
21 8,9. The general lakṣaṇa pertains to a category like jāti or rāga and list_item
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22 special lakṣaṇa pertains to the 'individuals' within a category. list_item
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23 10. A rūdha word is that where the etymological meaning is not list_item
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24 relevant; only the conventional meaning operates. list_item
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25 11. Aśvakarņa literally means 'the ear of a horse', but it is used for list_item
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26 a fracture of the bones that resembles the ear of a horse. list_item
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27 12. Yaugika means combinational. Mandapa is a compound list_item
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28 meaning one who drinks 'manda' or the scum of boiled rice or any grain, list_item
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29 stands for an open hall or pavilion. Really speaking, the list_item
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30 but it list_item
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31 combinational meaning does not operate here. list_item
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32 13. Yogarūdha is a type of word where both combination and list_item
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33 convention operate. The classic example is that of pankaja, which means list_item
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34 'that which is born in mud', but is restricted to lotus, although many other list_item
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35 things are born of 'mud'. list_item
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36 14. 'Sūkṣma' literally means small or subtle; here we have interpreted list_item
via surya_layout
37 it as being short in time, because 'small' in a temporal context would list_item
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38 naturally mean 'short in time'. list_item
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39 15. 'Kampa' has been translated here as shake according to English list_item
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40 idiom, although literally it could also be rendered as 'tremor'. list_item
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41 16. ' Pāṇi' means 'hand', but here 'hand' could not be relevant to the list_item
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42 context, not even the figurative usage of 'hand' in tāla as a synonym of list_item
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vol_I_p004 RIGHT — 39 lignes

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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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vol_II_p081 LEFT — 47 lignes

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1 BŖHADDEŚĪ page_header
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2 144 page_number
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3 परस्परं तु गमनं यत्र तत् सम्प्रयोजयेत् । main
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4 सा सङ्कीर्णाऽथ विज्ञेया भाषा वै रविचन्द्रिका<sup>३६</sup> ॥ ५३॥ main
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5 ॰र्णादयो जेया annotation_inline
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6 उदाहरणम् - गागागामा । सासा । मागामामागामासासासा । गागाधानिसा main
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7 सागाधनिसा annotation_inline
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8 मा॰ annotation_inline
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9 धाधामारीमागारीगसा सासासामा सारीधाधाधाधा धमागरीगागा धारीसासासा । मागामामागा । main
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10 मासा- annotation_inline
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11 ॰धाः annotation_inline
parent ligne 9
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12 ्सासामागारीधा धमगरि गमधनी। सासागाधानिसासा। main
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13 धाधाधापरीगमरीगमसा annotation_inline
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14 सामागा main
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15 रविचन्द्रा।[११] editorial_bracket
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16 मध्यमांशा तु षड्जान्ता बहुगान्धारधैवता । main
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17 वा॰ annotation_inline
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18 असम्पूर्णस्वरा नित्यमम्बाहेरी प्रकीर्तिता ॥ main
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19 भाषेयं ३७पोज्झिता नित्यं देश्याख्या सम्प्रकीर्तिता ॥५४॥ main
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20 के + + annotation_inline
parent ligne 19
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21 उदाहरणम् – मामासा । नीनी । main
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22 निधाधानी धाधानि । annotation_inline
parent ligne 21
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23 धानिधाधानी । सागागारी । main
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24 सनासनाधा annotation_inline
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25 सासा annotation_inline
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26 तथा annotation_inline
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27 निधानिगागा मागानिसासानि । साधानीगा गानिसासा । सानिनीसनीधा धामानीमा धासनिनी । main
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28 नीसाधानीमाधाधामागासानिसानिधा । माधाधा । साधानीधानीसासा । मामाधासासा main
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29 मामा- annotation_inline
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30 गारीमागासासा । मासामामागारीमागासासा । मसानी निनिमानि धाधानिधामागा । सानीमाधा । main
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31 सासनीधा धनिसाधाधा । धनिधानीसा । अम्बाहेरी ।[१२] editorial_bracket
parent ligne 30
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32 षड्जाद्यन्तसमायुक्ता बहुमध्यमधैवता ॥ main
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33 बाहुलाधमः annotation_inline
parent ligne 32
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34 द्विश्रुतिभ्यां तु गमनं हीनत्वमृषभेण तु । main
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35 विभ annotation_inline
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36 (भीत?हीन) main
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37 भाषा <sup>३८</sup>षाडविता ह्येषा सङ्कीर्णा ललिता भवेत्<sup>३९</sup> ॥५५॥ main
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38 औडुविता ++ annotation_inline
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39 टकरागजा annotation_inline
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40 उदाहरणम् - सागागाधागामामागा । धमधानीसासा । निधागागा । सासासामापाधानी main
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41 धापा- annotation_inline
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42 मासा साधापाधानीधाधासा नीधागानीगाधनीसससा । लिलता ।[१३] editorial_bracket
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43 सरसा annotation_inline
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44 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
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45 विरहिता सप्तमेन षड्जे मध्यमसङ्गता ॥ ५६॥ main
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46 विनि annotation_inline
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47 त् annotation_inline
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vol_II_p029 LEFT — 36 lignes

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1 BRHADDEŠĪ page_header
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2 40 page_number
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3 ‘‘षट्स्वरा सप्तमे त्वंशे नेष्यते षड्जमध्यमा । main
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4 ९७-र्य annotation_inline
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5 ९९हांशे main
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6 ९८०राः १०००मांशा त unknown
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7 संवाद्यलोपाद् गान्धारे १०१तद्वदेव हि नेष्यते ॥ main
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8 <sup>९०२</sup>संवादिलोपाद् गान्धारस्तत्रैव न भविष्यति main
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9 गान्धारी-रक्तगान्धारी-कैशिकीनां च पञ्चमम्। main
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10 १०३त व्मः annotation_inline
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11 षड्जायाश्चेव गान्धारमंशकं विद्ध्यषाडवम् ॥ main
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12 १०४वां चैव unknown
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13 <sup>१०५</sup>विद्धि षाडवम् main
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14 षाडवं धैवते नास्ति षड्जोदीच्य[ां]शके द्विजा:। editorial_bracket
parent ligne 13
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15 <sup>१०६</sup>षाडवे धैवतो १०७पड्जोदीच्यवियोगता main
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16 <sup>१०८</sup>दीच्यामधांशके main
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17 <sup>१०९</sup>[संवाद्यलोपात् सप्तैता: षाट्स्वर्येण विवर्जिता: ॥] editorial_bracket
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18 गान्धारी-रक्तगान्धार्यो: षड्जमध्यमपञ्चमा:। main
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19 व्यौ<sup>११०</sup> annotation_inline
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20 सप्तमश्चैव विज्ञेया १११ यैस्त्वनौडुवितं भवेत् ॥ main
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21 <sup>११२</sup>सनिपादाश्च विज्ञेया येषु नौडुविते इमे unknown
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22 <sup>११३</sup>येषु नौडुवितं भवेत् main
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23 द्वौ षड्जमध्यमांशा तु गान्धार: सनिषादवान् । main
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24 न्त्रोपुरेश्४ न्तोऽधरेर५ main
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25 ऋषभश्चेव पञ्चम्यां कैशिक्यां धैवतस्तथा ॥ main
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26 चैव धैवत: annotation_inline
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27 <sup>११६</sup>॰क्याक्षैव annotation_inline
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28 एवं च द्वादशैवैते वर्ज्या:११९ पञ्चस्वरे सदा । main
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29 तु११७ व्वेह११८ (र्गा:? ज्यां:) न्या:१२० main
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30 [तास्त्वनौडुविता नित्यं कर्तव्या हि स्वराश्रया: ॥] १२१ editorial_bracket
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31 सर्वस्वराणां नाशोऽत्र विहितः सर्वजातिषु । main
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32 <sup>१२२</sup>नाशस्तु विहितस्त्वथ जातिषु main
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33 <sup>१२३</sup>विहितो विनाशस्त्वथ जातिषु main
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34 न मध्यमस्य लोपो हि कर्तव्यस्तु कदाचन ॥ main
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35 १२४नाशस्तु कर्तव्यो हि main
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36 <sup>१२५</sup>मध्यमस्य विनाशस्तु कर्तव्यो न main
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vol_I_p025 RIGHT — 34 lignes

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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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198 lignes a valider — change uniquement les roles incorrects.