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 20750). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p070 LEFT — 43 lignes

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1 122 page_number
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2 <b>BRHADDES!</b> page_header
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3 तत्र ध्रुवा सशब्दा स्यात् सर्पिणी वामगा भवेत् । main
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4 ध्वका च गब्दस्याः annotation_inline
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5 कृष्णा दक्षिणतो याता वर्तिनी चाप्यधोगता ॥१७९॥ main
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6 (ना?ता) annotation_inline
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7 .ताः annotation_inline
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8 विसर्जिता बहिर्याता विक्षिप्ता कुञ्चिता भवेत् । main
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9 •वर्ति₀10 annotation_inline
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10 पताका चोर्ध्वगा जेया पतिता भूमिगा भवेत्12 ॥१८०॥ main
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11 ( का ?गा ) <sup>11</sup>वनि, भूम्मिगा (?) main
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12 ध्वका सर्पिणी चित्रे वार्तिक च परेऽपि द्वे । main
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13 कृष्णापिद्मिनीनाम्न्यश्चाः दक्षिणेऽष्टौ स्मृता मात्राः ॥१८१॥ main
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14 .नाम्न्यो annotation_inline
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15 [ अनु॰ १०८ ] editorial_bracket
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16 14दक्षिणावृतिषिचत्रेति वृत्तयो गीतोभयवाद्यप्राधान्यवशात् main
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17 प्रतीताः । annotation_inline
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18 वृत्तिः, उभयप्रधाना वृत्तिवृत्तिः, वाद्यप्रधाना चित्रा main
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19 दक्षिणा annotation_inline
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20 गीतप्रधाना main
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21 वृत्तिः। annotation_inline
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22 [ अनु॰ १०९ ] editorial_bracket
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23 इदानी प्राधान्यं ज्ञापयति पाणिकृतं विवर्तितम्। main
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24 तदुक्तम् :- main
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25 •क्ताम् annotation_inline
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26 "15ताल [ गीतिलय - ] यतिमार्गप्राधान्यान्यासां यथास्वं व्यञ्जकानि editorial_bracket
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27 (न ?) न्यादासा <b>.संस्य</b> स्वरं (र) ( ? ) main
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28 भवन्ति। 16चित्रे समा यतिः, द्वतो लयः, उपरिपाणिः, मागधीगीति - main
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29 याति+ annotation_inline
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30 रोघोऽवयवः। वार्तिक स्रोतोगता यतिर्मध्यो लयः, समपाणिः, सम्भाविता main
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31 .पनामुस्रो, annotation_inline
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32 „Ц annotation_inline
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33 गीतिरनुगतं चावयवः । तद्वद्क्षिणे गोपुच्छा यतिर्विलम्बितो लयः. main
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34 गवोबलयवः----- annotation_inline
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35 उदाद. annotation_inline
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36 अवपाणिः, पृथुला गीतिस्तत्त्वं चावयवः।" main
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37 ÷ annotation_inline
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38 अधम, annotation_inline
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39 ₽. annotation_inline
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40 [ अनु॰ ११० ] editorial_bracket
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41 वृत्तीनां च वाद्यं 17समानागतातीतग्रहैः कार्यम्। तत्र main
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42 .पा annotation_inline
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43 .ম. annotation_inline
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vol_II_p120 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 223 page_number
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3 In the opinion of some, it (elā) is combined with the (name of the) object main
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4 of description (alone). Elā should be made full of charming qualities of main
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5 song, embodying the gaņas (textual units)<sup>31</sup> of metre (and) endowed with main
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6 alankāra and rasa, by the wise. main
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7 (422) annotation_inline
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8 [The types of <i>Elā</i>] editorial_bracket
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9 [A. Out of them the varieties of Gaṇailā] editorial_bracket
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10 First, nādāvatī has been said, then is known hamsāvatī, nandāvatī is the main
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11 third and bhadrāvatī is known as the fourth. main
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12 (423) annotation_inline
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13 Derived out of Rgveda and the like, 'coloured' with variegated sounds, main
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14 thus has elā been said to be fourfold by the wise, in accordance with the main
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15 'path'<math>^{32}</math> (order) of ganas. main
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16 (424) main
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17 [1. Nādāvatī] section_header
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18 The elā (named) nādāvatī is charming, bedecked with varņa (and) main
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19 alankāra, is sung with manthatāla (and) is full of nāda 33 in every foot. There main
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20 takkarāga becomes delightful to all. main
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21 (425) annotation_inline
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22 (Its) colour should be known to be white and śṛṅgāra has been said to be main
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23 the rasa; kaišikī vṛtti<sup>34</sup> has been spoken of (and) pañcālī rīti<sup>35</sup> is accepted. main
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24 (426) annotation_inline
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25 Bhāratī is its devatā (presiding deity) and the lineage of brāhmaņas prevails. main
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26 Where five candraganas 36 combined with one svargana 37 are there, that cla main
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27 is known to be nādāvatī, by the foregoing learned ones. main
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28 (427) main
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29 [2. Hamsāvatī] section_header
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30 Making movement like a swan, with nāda and pada, it is known as main
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31 hamsāvatī, because it proceeds smoothly. Dvitīyaka is the tāla there and (it) main
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32 is sung in <i>hindola (rāga</i>). main
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33 (428) annotation_inline
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34 Red colour has been said to prevail. Caṇḍikā is the devatā (presiding main
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35 deity), ārabhaţī is the vṛtti<sup>38</sup> (and) lāṭīyā rīti<sup>39</sup> is accepted. main
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36 (429) main
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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_p114 LEFT — 33 lignes

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1 • • annotation_inline
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2 BRHADDEŚĪ page_header
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3 210 page_number
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4 [३. गद्य:] section_header
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5 ५प्रान्ते यस्य भवेत्तालो वर्णनीयस्य संज्ञया । main
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6 म्रातो annotation_inline
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7 गीयते यत् तदत्राहुर्गद्यं गीतविशारदा: ॥३८५॥ main
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8 [४.दण्डक:] section_header
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9 तालयुक्तं स्वरोपेतं मध्ये- ६पाटविराजितम् । main
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10 पुन: पदसमायुक्तं गानं तद् दण्डकं विदु: ॥३८६॥ main
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11 दण्डको बुधैः main
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12 [५. वर्णः] section_header
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13 विभूतित्यागसौभाग्यबिरुदै: समलङ्कृत: । main
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14 ॰(तम् ? तः) annotation_inline
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15 •विस्तै: main
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16 विभृत्याग + annotation_inline
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17 तालेनापि च युक्त: स्याद् वर्ण: कर्णाटभाषया ॥३८७॥ main
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18 ٦٧ page_number
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19 [६.पद्धडी] section_header
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20 स्वरपाटसमायुक्ता तालेन च समन्विता । main
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21 <sup>८</sup>कयापि भाषया युक्ता बिरुदै: सा तु पद्धडी ॥३८८॥ main
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22 पाटली annotation_inline
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23 <i>्</i>विभाषया annotation_inline
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24 [७. अडिला] section_header
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25 यत्र स्यात् स्वरिवन्यासः प्रतिपादान्तमुज्ज्वलः । main
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26 ॰पादा (द्ध?मु)॰ annotation_inline
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27 तालेन च समायुक्त: <sup>९</sup>अडिला नामतो भवेत् ॥३८९॥ main
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28 अधिला नामशो (?) main
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29 [८.चतुष्पदी] section_header
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30 यत्र प्रतिपदार्थं तु गीतं तालयुतं भवेत्। main
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31 परूप्रतिः annotation_inline
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32 <sup>१</sup>॰स्वरतेनकसंयुक्तैः सा चतुष्पदिका भवेत् ॥३९०॥ annotation_inline
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33 तातेन्तकैस्वासंयुक्तैः स्वाचतुष्पीटिका भवेत् (?) main
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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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180 lignes a valider — change uniquement les roles incorrects.