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 21737). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p032 RIGHT — 46 lignes

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1 47 page_number
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2 TRANSLATION page_header
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3 The third (letter) of the eighth (group viz. 's') combined with the Hari-bija main
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4 <math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out main
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5 with all effort. annotation_inline
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6 (63) main
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7 The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja main
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8 (viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna main
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9 (64) annotation_inline
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10 (brahmagranthi). main
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11 The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja, main
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12 (viz. 'a'), one should always draw out (this) svara which is attractive among the main
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13 (65) annotation_inline
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14 various svaras. main
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15 The last (letter) of the sixth group, (viz. 'm') combined with the initial one main
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16 (viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras. main
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17 (66) annotation_inline
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18 The first one of the same (sixth group, viz. 'p') combined with the first one main
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19 (viz. 'a'), know that as the beautiful svara, associated with the number (five) of main
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20 (67) annotation_inline
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21 vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup> main
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22 The fourth (letter) of the fifth group (viz. 'dh') combined with the initial main
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23 one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68) main
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24 The last (letter) of the fifth group (viz. 'n') differentiated by the end that is main
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25 other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture) main
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26 is combined with 'high' sound. main
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27 (69) annotation_inline
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28 Thus, this much has been shown as the svaroddhāra (analysis of svara-names) main
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29 (70 ab) annotation_inline
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30 contained in agama.79 main
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31 [ Assignment of community, colour and the like to svaras ] section_header
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32 Now I shall speak of the assignment of community, colour and the like (to main
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33 <math>(70 \text{ cd})</math> main
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34 svaras). main
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35 (i) Kula-Vamśa. section_header
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36 Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods, main
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37 this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa). main
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38 (71) unknown
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39 The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda main
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40 (72) annotation_inline
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41 born in the community of demons, is called 'ni'. main
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42 (ii) Colours. section_header
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43 Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot, main
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44 gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi- main
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45 (73) annotation_inline
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46 florum). main
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vol_II_p100 RIGHT — 22 lignes

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1 183 page_number
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2 <b>TRANSLATION</b> page_header
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3 15. Now the bhāṣās in pañcamaṣāḍava section_header
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4 Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is main
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5 said to be complete (and) having abundant gändhära-pañcama. The profusion main
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6 of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in main
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7 pancamaṣāḍava, being born of śakarāga. 71 main
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8 (142-143) annotation_inline
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9 Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā. editorial_bracket
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10 [Thus in pañcamaṣāḍava] section_header
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11 Thus are the bhāṣās manifested in (this)world, that are known to be main
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12 accepted by many. That <math>(bh\bar{a}s\bar{a})</math> is so modified as it is performed by one.<sup>72</sup> main
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13 (144) annotation_inline
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14 Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all main
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15 effort. It should always be listened to by the singers in the context of wit and main
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16 humour and whatever is seen in fighting or sacrifice (yajña), all that is shown main
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17 by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas. main
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18 <math>(145-146)</math> annotation_inline
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19 Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā- main
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20 lakṣaṇa where Yāṣṭika is the leader. main
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21 [ B. Bhāṣās according to Śārdūla] section_header
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22 After this I shall speak of the description of bhāṣā according to Śārdūla. main
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vol_II_p068 LEFT — 31 lignes

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1 118 page_number
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2 BRHADDESÎ page_header
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3 [अनु॰ २०२] editorial_bracket
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4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
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5 न(क?) र्क annotation_inline
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6 न्दौ annotation_inline
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7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
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8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
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9 [१.नर्तरागः] section_header
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10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
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11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
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14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
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15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
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17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
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22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
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23 [२. शक:] section_header
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24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
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25 (जि? ह्जी) annotation_inline
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26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
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27 काकल्य:(?) annotation_inline
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28 [अनुष् २०५] section_header
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29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
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30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
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31 (पश्चमस्याल्पत्वम्) annotation_inline
parent ligne 30
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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vol_II_p162 RIGHT — 41 lignes

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1 <b>VIMARŚA</b> annotation_inline
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2 307 page_number
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3 52. The word gamaka seems to stand for shake here. list_item
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4 53. Dānavīra is one of the four varieties of vīra, the other three being list_item
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5 dharmavīra, yuddhavīra and dayāvīra. list_item
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6 54. The import seems to be that śuddha-bhinna has an independent list_item
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7 form and that it is not the modified form of a suddharaga. list_item
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8 55. Here the distinction of a bhinna raga is established only on the list_item
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9 basis of giti or distinctive tonal rendering. list_item
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10 56. Syasthāna is a word used in SR III.140 and III.191-192 in the list_item
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11 context of sthāya and ālapti respectively; it stands for the sections of rāgālapti list_item
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12 formed on the basis of the units of tonal range within an octave, the first unit list_item
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13 being formed in the range from the tonic and from below it upto the svara list_item
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14 preceding the fourth, the second unit touching the fourth, the third list_item
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15 reaching below the octave and the fourth touching the octave. list_item
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16 57. 'Leaving the svasthana' seems to imply that the lower register will list_item
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17 be used in this rāga, as distinct from śuddhakaiśika which is performed with list_item
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18 tāra svaras. Here svasthāna does not seem to signify the units of tonal range list_item
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19 described in note 56 above, rather it appears to mean ' the own sthana or list_item
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20 register' of a raga. list_item
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21 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie list_item
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22 fallacious statement because pañcama is not adjacent to niṣāda. But there list_item
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23 could be a hidden meaning, taking the two grāmas together, as follows - list_item
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24 Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. main
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25 Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. main
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26 Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The main
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27 above statement could be valid in terms of the two grāmas taken together. main
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28 59. The 'omission' of pancama comprised of three śrutis in list_item
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29 ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. list_item
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30 60. 'Mature' karuṇa rasa is a notable expression. list_item
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31 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) list_item
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32 also mentions it while describing the gaudi gita and defines it as the list_item
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33 "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." list_item
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34 62. There is a striking contradiction between the viniyoga or list_item
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35 application in terms of śringāra and the rasas mentioned separately, viz. list_item
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36 bībhatsa and bhayānaka that are incompatible to śṛṅgāra. list_item
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37 63. Here again the viniyoga is given in terms of karuņa and the rasa list_item
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38 is mentioned as vīra in accordance with the amśa that is ṣaḍja. list_item
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39 64. 'Rāga' is another name for vesarā gīti; this alternative name is also list_item
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40 mentioned in later texts like SR II.1.6. The basis of this alternative name as list_item
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41 cited in the name of Kasyapa seems to be that the ragas that are not list_item
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167 lignes a valider — change uniquement les roles incorrects.