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 21742). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p137 LEFT — 43 lignes

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1 1, 1 unknown
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2 <b>(4) 90 公司的第三人</b> annotation_inline
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3 256 page_number
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4 BRHADDEŚĨ page_header
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5 Note: Şadjamadhyamā and raktagāndhārī have been repeated in the interpo- main
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6 lated portion. main
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7 Chapter III (Rāgalakṣana) section_header
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8 कश्यपप्रमुखैरत्र यथास्वमति वर्णितम् । main
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9 l.cf. annotation_inline
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10 स्वरूपं रागशब्दस्य यथावत्तदिहोच्यते ॥ main
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11 स्वरवर्णविशिष्टेन ध्वनिभेदेन यत्परम् । main
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12 रज्यते येन सततं (सच्चित्तं) स राग: सम्मत: सताम् ॥ main
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13 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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14 रञ्जको जनचित्तानां स राग: कथितो बुधै: ॥ main
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15 S Rāj II. 2.I.10-12. main
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16 2. Reading in Sam Sa Sā, I. 58 and c.r. in Kalā. on SR. II.1.1, p.2. list_item
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17 3. Reconstruction based on ibid. (Kalā) list_item
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18 4. Reading in BhaKo p. 921. list_item
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19 5. C.r. in Kalā on SR. II .1.1, p. 2, Sudhā on the same, p. 3 and Rā Vi, list_item
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20 p. 101. list_item
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21 6. Reading in Sam Sa Sā, IV.76. list_item
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22 7. P.t.; neuter gender has been preferred by us in deference to the list_item
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23 gender of the noun being qualified, viz. lakṣaṇam. list_item
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24 8, 9,10. Reading in Sam Sa Sā, IV. 76. list_item
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25 11. The two lines of this verse are transposed in p.t. list_item
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26 12. Reconstruction based on c.r. in Sudhā on SR.II.I.I., p. 3; c.r. in list_item
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27 Kalā on ibid, p.2 reads 'vāpi manthavat' and so does c.r. in Rā Vi, p. 101. list_item
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28 13. C.r. in Rā Vi, p.101. list_item
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29 14. Reconstruction based on consideration of grammar and metre. list_item
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30 15. Reconstruction based on c.r. in Sudhā on SR.II.I.2-5, p.5 and list_item
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31 S.Rāj II.2.1.28d, 29c. list_item
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32 16. P.t. adds- 'teşam lakşanamucyate'- after 'iti', which is redundant. list_item
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33 17. Actually the gîtis spoken of by Bharata are 'modes' of textual list_item
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34 rendering, i.e., are related to pada, but they have been cited here in the list_item
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35 context of rāga. list_item
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36 One minor reading variant in this verse is -NS reads 'tu' in the place of 'ca' in main
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37 the third foot. annotation_inline
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38 18. 'Matanga' of p.t. has been replaced with 'Kasyapa' because - list_item
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39 (i) the opinion of Matanga has been given in verses 268-270, list_item
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40 (ii) S.Rāj II.2.1.30 d, 31b ascribes these two gītis to Kasyapa, and list_item
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41 (iii) citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do list_item
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42 the same. list_item
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43 and the second second annotation_inline
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vol_I_p066 RIGHT — 49 lignes

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1 115 page_number
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2 <b>TRANSLATION</b> page_header
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3 Giti (musical rendering) without alankāra is like a night without the moon, main
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4 a river without water, a creeper without flowers (and) a woman without main
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5 (168) annotation_inline
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6 ornaments.119 main
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7 Thus have been described these thirty-three alankāras by me. Those that main
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8 have not been indicated here, they should also be understood. main
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9 (169) annotation_inline
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10 (Anu. 103) main
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11 Thus are the prastaras (notational representations) in (svaras) beginning main
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12 with şadja.120 main
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13 (1) table
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14 sarigamapadhanisa,121 prasannādi table
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15 (2) table
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16 sanidhapamagarisa, 122 prasannānta table
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17 (3) table
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18 sarigamapadhanisa 123 nidhapamagarisa, prasannādyanta table
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19 <b>(4)</b> table
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20 sanidhapamagarisa 124 sarigamapadhanisa, prasannamadhyama table
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21 <b>(5)</b> table
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22 sā rī gā mā pā dhā nī sā,125 sama table
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23 (6) table
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24 sā sā 126 sā, bindu table
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25 <b>(7)</b> table
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26 sā sā sā, 127 nivītta pravītta table
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27 (8) table
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28 sarigamapadhaninidhapamagarisa, veņu table
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29 (9) table
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30 sarigamapadhanisa.<sup>128</sup> kampita table
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31 (10) table
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32 sarigamapadhanisa,129 kuharita table
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33 (11) table
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34 sarigamapadhanisa,150 recita table
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35 sarīrisā rigagarī gamāmagā mapāpamā padhādhapā, dhanīnidhā 151 nisāsani, table
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36 (12) table
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37 prenkholita unknown
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38 mapadhanisama, main
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39 gamapadhaniga annotation_inline
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40 rigamapadhari main
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41 sarigamapasa annotation_inline
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42 (13) main
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43 tāramandraprasanna annotation_inline
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44 masanidhapama, 132 main
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45 ganidhapamaga annotation_inline
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46 ridhapamagari main
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47 sapamagarisa annotation_inline
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48 (14) main
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49 mandratāraprasanna main
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vol_I_p035 RIGHT — 29 lignes

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1 53 page_number
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2 <b>TRANSLATION</b> page_header
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3 This has been said— annotation_inline
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4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
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5 (Anu. 33) annotation_inline
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6 But why are there only two grāmas? It is being answered; here two grāmas main
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7 have been formulated on account of (musical) performance being rooted in main
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8 the usage of two svaras.11 main
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9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
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10 (Anu. 34) annotation_inline
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11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
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12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
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13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
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14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
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15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
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16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
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17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
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18 rāga occurs. annotation_inline
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19 [ Thus ends the treatment of grāma ]. editorial_bracket
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20 [ The treatment of Mürchanā ] section_header
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21 (Anu. 35) annotation_inline
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22 Now the murchanas that befit the occasion or context are being spoken of. main
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23 But what is the etymology of the word murchana and what is its lakşana main
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24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
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25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
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26 and samucchrāya 19 (increase, growth). main
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27 That through which raga 20 (colour, delightfulness) grows or increases, is main
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28 (90) annotation_inline
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29 called mūrchanā. annotation_inline
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vol_II_p097 LEFT — 33 lignes

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1 (vide) annotation_inline
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2 176 page_number
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3 BRHADDEŚĪ page_header
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4 उदाहरणम् - धाधानिधासासानिधा धानिधाधाधापामागारिरिरिगामपापाधा main
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5 पगारिरिधमाधापा- annotation_inline
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6 पाधा पामरिगामानी annotation_inline
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7 धापाधाधा धामपाधापानिरिगरिसारिधा रिधारिधारिपाधाधाधाधानि। सासा- main
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8 প্ৰাণ annotation_inline
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9 रिगागामसामपमाधाधा धापाधासानिधैवतधाधा । धैवतभूषिता । [३] editorial_bracket
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10 विशाला पञ्चमांशा तु धैवतान्ता मनोहरा। main
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11 सुसम्पूर्णस्वरा होषा ११८ सञ्चार: सधयोर्हि च ॥ main
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12 शो धैवतस्तत: annotation_inline
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13 एषा भाषा तु विज्ञेया किन्नरैर्गीयते सदा ॥ १३०॥ main
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14 उदाहरणम् – पाधासासाधानी गासानिधाधा। पाधाधा। निसासानीधा पामागानिनिनिरिगामामा– main
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15 नीधानिसारिगारिसासानिधा रिगास निसानिधानि नीधापधधधपापामागारिरिधा- main
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16 गाममधा annotation_inline
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17 रिरिममध्यमगमापापापा निधधधधपामाधा निसासासारिरिरिमममपमपापाधा नीसानीधापाधा- main
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18 धा पानिनिनिसासामधापाधानिधा । विशाला । [४] editorial_bracket
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19 एता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषा:। main
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20 भित्रप(ञ्च)मभाषा(:) annotation_inline
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21 [९ अथ बोट्टरागे ] section_header
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22 पोट्ट annotation_inline
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23 पञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज्ज्वला । main
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24 <sup>११९</sup>धैवतनिषादसञ्चारो दृश्यते <sup>१२०</sup>बहुल: सदा ॥ १३१॥ main
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25 ॰निपाद: annotation_inline
parent ligne 24
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26 एषा बङ्गालभाषा तु बोट्टरागे प्रगीयते । main
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27 (तु) annotation_inline
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28 सर्वेषां मङ्गलानां च नायकैर्गीयते सदा ॥ main
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29 मङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता ॥ १३२ ॥ unknown
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30 उदाहरणम् - पाधापाधामा धापामा गारिरिरिगमपा धासागासानिधापापामा । मङ्गला । [१] editorial_bracket
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31 माङ्गाली annotation_inline
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32 [१०. अथ मालवपञ्चमे] section_header
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33 ······<sup>१२१</sup>[ भाविनी ] table
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vol_II_p158 RIGHT — 48 lignes

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1 VIMARŚA page_header
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2 299 page_number
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3 Sixth or third below table
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4 <b>Gändhāra</b> table
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5 Şadja table
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6 Madhyama table
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7 Fifth or fourth below table
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8 Şadja table
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9 Fourth or fifth below table
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10 Pañcama table
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11 Şadja table
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12 Dhaivata table
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13 Third or sixth below table
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14 Şadja table
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15 It is obvious that when a svara other than sadja becomes the amsa, then main
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16 it will be necessary to search a path for sparseness and abundance. The main
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17 identity of sadjī will establish with this path and with nyasa. The paryayamsas main
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18 of ṣāḍjī also become amsás in many other jātis. In view of this, the distinct main
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19 identity of each jāti cannot be established on the basis of amśa because one main
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20 and the same intervals will obtain in many jātis. Hence, the distinct identity main
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21 of each jāti will depend on sparseness and abundance alone. main
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22 The above is true of the seven jātis bearing svara names. In samsargajā main
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23 vikṛtā jātis, the situation would be all the more complex because they involve main
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24 the mixture of more than one jāti in each case. The sparseness-abundance main
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25 of the jātis that are mixed in a given combination would emerge from time main
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26 to time. This is a more complex form of antara-mārga. main
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27 Abhi adds with regard to antara-mārga that sometimes a non-amśa svara main
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28 also is not sparse. For example, in kārmāravī, gāndhāra has concert (sangati) main
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29 with all svaras and thus, it has profuse usage in antara-mārga. main
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30 The citation from Bharata occurring after Anu. 129 says that nyāsa and main
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31 antara-mārga, the special use of sparseness and abundance, is responsible for main
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32 manifesting the identity of jātis. This statement appears to apply only to main
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33 samsargajā jātis. The weakness (abala) of a sparse svara and the abundance main
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34 of the balavan(strong) svara has also been mentioned in the description of main
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35 sparseness and abundance. main
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36 39. The description of kārmāravī is available only in the interpolated main
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37 portion (from SR) in our text. The line cited here occurs in NS XXVIII. as main
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38 the second half of verse 136. The interpolated portion from SR says - main
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39 "Many(svaras) are said to be non-amsas on account of antara-marga. main
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40 Gāndhāra is excessively abundant...... main
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41 (17) annotation_inline
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42 Thus gāndhāra is said to be abundant, inspite of its being non-amśa, on main
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43 account of antaramārga. main
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44 The use of future tense in our text, in relation to the description of main
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45 kārmāravī in NS is apparently somewhat queer, as it befits a commentary on main
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46 NS rather than an independent work. Incidentally, this line of our text main
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47 containing the use of future tense is found in Abhi Bhā on NŚ referred to main
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48 in note 38. main
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202 lignes a valider — change uniquement les roles incorrects.