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 20667). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p077 RIGHT — 34 lignes

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1 137 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
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4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
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5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
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6 <math>(30c-31)</math> main
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7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
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8 to be born of <i>bhinnapañcama</i>. main
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9 (32) annotation_inline
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10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
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11 bhāvinī, the one that is beautiful for the people. main
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12 (33) annotation_inline
parent ligne 11
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13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
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14 and drāvidī is the third bhāṣā there that is described with characteristics main
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15 (lakṣaṇas). annotation_inline
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16 (34) main
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17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
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18 Tānodbhavā should be known as being assigned to bhinnatāna. main
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19 (35) annotation_inline
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20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
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21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
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22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
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23 spoken of in <i>pañcamaṣāḍav</i>a. main
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24 (36) annotation_inline
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25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
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26 to their description alongwith illustration for each one. main
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27 (37) main
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28 [The description of bhāṣās] section_header
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29 [1. Bhāṣās in ṭakka-rāga] section_header
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30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
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31 pañcama and there is to be seen here again and again the mutual main
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32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
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33 be known as hexatonic. Travaņā should bear the name mūlā. main
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34 (38-39) annotation_inline
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vol_II_p122 RIGHT — 28 lignes

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1 227 page_number
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2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
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5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
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7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_II_p168 RIGHT — 42 lignes

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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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vol_II_p022 LEFT — 36 lignes

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1 BRHADDEŚĪ page_header
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2 26 page_number
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3 गान्धार्या द्वावनंशौ च हेयावृषभधैवतौ । main
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4 <sup>६८</sup>षु (गेआ?हेपा) main
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5 क्रमात्रित्यं त्वपन्यासौ विज्ञेयौ षड्जपञ्चमौ ॥२२२॥ main
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6 ६९ल्यमफ annotation_inline
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7 धैवतादृषभं गच्छेदेवं भ स्यात् सर्वमेव तत् । main
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8 तुष्ध unknown
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9 (व?वं) main
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10 प्रायशो रक्तगान्धार्यामपन्यासस्तु मध्यम: ॥२२३॥ main
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11 ७२०यां अ annotation_inline
parent ligne 10
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12 (मा/प:) main
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13 बहुप्रयोग: कर्तव्यो धैवतोऽथ निषादवान् । main
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14 षड्जगान्धारसञ्चार: कार्यश्चास्यां प्रयोक्तभि: ॥२२४॥ main
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15 (जं?ज) annotation_inline
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16 (₹?₹:) main
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17 श्स्याः annotation_inline
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18 गान्धारोदीच्यवा प्राय: षड्जोदीच्यवतीसमा । main
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19 (य?य:) annotation_inline
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20 षड्जश्च मध्यमश्चांशौ न चौडुवितमिष्यते ॥२२५॥ main
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21 0130 page_number
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22 पञ्चांशा मध्यमायास्तु ज्ञेया द्विश्रुतिवर्जिता:। main
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23 क्रमात् ताभ्यां च हीनत्वं बहुलौ षड्जमध्यमौ ॥२२६॥ main
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24 (मी) annotation_inline
parent ligne 23
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25 गान्धारोदीच्यवावतु मध्यमोदीच्यवा भवेत्। main
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26 (तुल्या मध्यमोदीच्यवा) main
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27 साप्तस्वर्यं तु नित्यं स्यादस्यामंशस्तु पञ्चम: ॥२२७॥ main
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28 पञ्चम्यां गुरुभि: प्रोक्तावंशावृषभपञ्चमौ । main
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29 •धेवती<sup>७३</sup> annotation_inline
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30 <sup>७४</sup>सनिषादावपन्यासौ मध्यमर्षभसंगति: ॥२२८॥ main
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31 समध्यमाः annotation_inline
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32 षड्जमध्यमगान्धारा अल्पाश्च परिकोर्तिता: । main
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33 <b>ल्लु<sup>७५</sup>,</b> main
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34 स्यात्रिषादाच्च गान्धारो मध्यमावच्च हीनता ॥२२९॥ main
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35 अल्पस्य परिकोर्तिता annotation_inline
parent ligne 34
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36 स्यात्रिपादाच्य + + + मध्यमा चच्च होनता(?) । main
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vol_I_p069 RIGHT — 32 lignes

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1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
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4 With this prescription itself the gitis should be sung by the wise. main
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5 (175) annotation_inline
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6 (Anu. 105) annotation_inline
parent ligne 4
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7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
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8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
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9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
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10 on account of the use of eight-mātrā (units). main
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11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
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12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
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13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
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14 (176) annotation_inline
parent ligne 13
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15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
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16 (177) annotation_inline
parent ligne 15
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17 (mārga). main
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18 As - table
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19 Māgadhī [-----] table
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20 Ardhamāgadhī [-----] table
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21 Sambhāvitā [-----] table
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22 Pythulā [-----] table
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23 (Anu. 106) annotation_inline
parent ligne 17
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24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
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25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
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26 (Anu. 107) annotation_inline
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27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
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28 (are the margas). annotation_inline
parent ligne 27
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29 The mātrās (to be used in them) are eight, four and two (respectively). As main
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30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
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31 (178) annotation_inline
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32 patitā is known to be the eighth one. main
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172 lignes a valider — change uniquement les roles incorrects.