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 20651). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_I_p071 LEFT — 45 lignes

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1 124 page_number
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2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
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4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
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6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
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7 अभिप्रवीं (?) ,प्रयोगः main
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8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
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9 सोऽधःपाणिरुच्यते । main
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10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
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17 मागधी सम्भाविताः annotation_inline
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18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
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22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
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30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
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35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
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40 •वयेन (?) unknown
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41 ,प्प, main
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42 .ला unknown
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43 या annotation_inline
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44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
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45 <b>यरदेन</b> unknown
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vol_I_p096 RIGHT — 61 lignes

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1 VIMARŚA main
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2 175 page_number
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3 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, main
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4 instead of rasa (chyle) of our text. Monier Williams also enumerates seven main
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5 dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak main
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6 with rasa. main
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7 62. The seven minerals are not clear. list_item
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8 63. The number of cakras (psychophysical centres in the human body list_item
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9 visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight list_item
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10 or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere list_item
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11 ( in the confused reading in the section on Varṇālankāra towards the end of list_item
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12 Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, list_item
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13 anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last list_item
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14 one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it list_item
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15 is the location of the sahasrāra cakra. These seven names do form part of the list_item
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16 ten cakras spoken of in SR in the following locations - list_item
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17 Name of Cakra table
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18 Location table
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19 1. Ādhāra table
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20 In-between the anus and the genitals table
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21 2. Svādhişthāna table
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22 Root of the genitals table
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23 Around the navel table
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24 3. Manipūra table
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25 4. Anāhata table
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26 Heart table
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27 5. Visuddhi table
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28 Throat table
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29 6. Ājāā table
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30 In-between the two eye-brows table
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31 7. Sahasrāra table
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32 Cerebral aperture table
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33 It is notable that SR associates the production of musical notes with the main
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34 anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone main
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35 and not with all the seven listed above. The treatment of cakras in BrD could main
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36 not be assessed from this stray reference. It is only the number seven that main
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37 corresponds with the connection of seven cakras with the svaras that the author main
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38 is trying to establish here. In note 59 above, we have said that the connection of main
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39 dhaivata with the forehead is not clear. If the seven svaras are connected with main
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40 the seven sthanas listed above, one by one, then dhaivata being the sixth one main
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41 could be connected with the viśuddhi cakra located in-between the eye brows. main
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42 But the location of seven svaras in the seven cakras is not corroborated by any main
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43 other known text. annotation_inline
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44 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as main
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45 follows- main
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46 Name of Svara table
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47 Name of Duipa table
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48 Sadja table
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49 Jambū table
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50 Rsabha table
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51 Šāka table
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52 Gändhära table
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53 Kuśa table
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54 Madhyama table
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55 Krauñca table
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56 Sālmalī table
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57 Pañcama table
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58 Dhaivata table
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59 Sveta table
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60 Nisāda table
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61 Puşkara table
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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_p155 RIGHT — 36 lignes

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1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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197 lignes a valider — change uniquement les roles incorrects.