Calibration 2g.6 — validation humaine du tagging

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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 20760). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p006 RIGHT — 36 lignes

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1 xiii page_header
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2 INTRODUCTION page_header
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3 A word about the translation. It has been my attempt to bring the original to main
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4 the reader with its flavour and nuances; if in this attempt the idiom of the main
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5 English language has been violated, I owe an apology. My only submission main
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6 would be that this is not a transcreation of creative literature, this is a main
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7 presentation of 'scientific' literature in a different language. Hence the criteria main
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8 of judgement should be different from those applied to translation of creative main
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9 literature. annotation_inline
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10 Technical terms have not been translated because that is virtually impossible; main
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11 rough equivalents have generally been given in paranthesis and if an equivalent main
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12 has been found adequate, the original word has been given in paranthesis in main
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13 order to help the reader in indentifying the equivalence. main
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14 The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira main
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15 KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the main
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16 title page. Once again, I acknowledge with affection his labour and patience main
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17 with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a main
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18 deep debt of gratitude for her constant inspiration and encouragement. My main
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19 sincere apologies are due to her for the delay in completing this work, caused main
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20 by both personal and professional reasons. To Dr. Bettina Bäumer, Hony. main
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21 Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt main
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22 gratitude for her constant support, both moral and material. My younger sister main
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23 Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I main
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24 express my loving gratitude to her. My affectionate thanks go to Dr. N. main
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25 Ramanathan, Reader, Department of Music, Madras University, my former main
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26 student, for going through the first half of the press-copy (upto the section on main
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27 grāma-mūrchanā) in 1988, while I was at Khairagarh. main
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28 I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt. main
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29 Editor, for seeing the book through the Press. main
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30 Prem Lata Sharma. annotation_inline
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31 Vasanta Pañcami annotation_inline
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32 'Āmnāya', Karaundi, annotation_inline
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33 Magha Sukla 5, V.S. 2048 annotation_inline
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34 Varanasi-221 005 annotation_inline
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35 <b>Feburary 8, 1992</b> annotation_inline
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36 The second of the second of the second of the second of the second of the second of the second of the second of the seco annotation_inline
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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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vol_II_p123 RIGHT — 34 lignes

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1 TRANSLATION page_header
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2 229 page_number
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3 [2. Kāmalekhā] section_header
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4 Kāmalekhā is that where there are twenty-two<sup>60</sup> (dviguņita-rudra) mātrās in the main
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5 first (foot) and in the foot bearing an even number (second) the same (number main
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6 of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). main
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7 (445) main
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8 [3. Bāṇalekhā] section_header
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9 If in all the three feet, in a uniform manner there are double the number main
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10 of mātrās (obtaining in kāmalekhā) (and) where they are composed in main
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11 bāṇagaṇas,61 that is bāṇalekhā. main
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12 (446) main
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13 [4. Candralekhā] section_header
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14 Where there are three above forty (forty-three) mātrās in a couple of feet main
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15 i.e. the first two feet (and where) the number of mātrās is less by one (forty- main
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16 two) in the foot bearing an odd number (third foot), that is candralekhā. main
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17 (447) main
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18 Thus ends the fourfold mātrailā. section_header
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19 [C. The varieties of <i>Varnailā</i>] section_header
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20 There is no regulation of <i>tāla</i> here, none of <i>msa</i> and none of <i>rāga</i>; there is only main
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21 the regulation of syllables <math>^{62}</math> (in their number); hence it is called <i>varyailā</i>. main
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22 (448) annotation_inline
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23 Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) main
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24 kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). main
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25 (449) annotation_inline
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26 Beginning with eleven syllables and ending with seventeen (syllables in main
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27 each foot), these seven are sung in sequence, by the gandharvas with main
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28 beautiful padas (textual units) (and) good sounds. main
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29 (450) main
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30 [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] section_header
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31 That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all main
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32 long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always main
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33 profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). main
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34 (451) main
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vol_II_p024 LEFT — 33 lignes

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1 BRHADDEŚĪ page_header
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2 30 page_number
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3 [अनु॰ १३२] editorial_bracket
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4 ८१ अस्मद्गुरुमते ऋषभस्तावदपन्यासो भवति । अनंशत्वात् कैश्चित् पुनः अंशवद् main
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5 ऋषभोऽप्यपन्यासः स्वीकृतः। main
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6 (वृ?म्र) annotation_inline
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7 पञ्चमो बलवानस्यां स्यात्रिषादस्तथैव च ४२ main
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8 न स्यात् annotation_inline
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9 अंशवच्च ग्रहा ज्ञेया[:] सर्वासामेव नित्यश: ॥२३८॥ editorial_bracket
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10 ८३∞स्तासां main
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11 [६. जातीनां गणनिर्देश:] section_header
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12 सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः । main
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13 (षष्टि? जाति) annotation_inline
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14 लक्षणात् स च विज्ञेयो वर्धमानस्वरो बुधै: ॥२३९॥ main
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15 <sup>८४</sup>ते च सप्त गणा ज्ञेया annotation_inline
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16 नः गा annotation_inline
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17 एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः। main
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18 पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥ main
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19 स्यादेकधा<sup>८५</sup> · main
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20 न्सः annotation_inline
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21 [अनु॰ १३३] editorial_bracket
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22 अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: - main
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23 (गु?ग) annotation_inline
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24 ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प । main
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25 द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि । main
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26 त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप । main
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27 (प:?पा:) annotation_inline
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28 सास annotation_inline
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29 चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि main
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30 (त्य?त्या) annotation_inline
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31 पञ्चस्वरांशाश्चतस्तः - षाड्जी, गान्धारी, रक्तगान्धारी, मध्यमा चेति । सगमपंध, सगमपनि, main
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32 पड् (ज? जा) main
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33 Sec. 15. unknown
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vol_II_p056 RIGHT — 39 lignes

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1 95 page_number
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2 TRANSLATION page_header
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3 prescribed; ṣāḍava is in pūrvaranga, but in the citra (pūrvaranga?)comprised of main
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4 eighteen aigas (components), kaišikamadhyama (is performed) in the end. main
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5 This is the application of śuddha rāgas prescribed by Brahmā." main
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6 [NS as quoted in Kalā on SR II.2.30-32] editorial_bracket
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7 [B. Bhinna rāgas] section_header
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8 Now he (the author) has spoken of the description of bhinna rāgas. main
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9 Bhinna (modified) 45 on account of śruti, bhinna on account of jāti, bhinna main
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10 on account of śuddha (rāga) similarly having (bhinna) svara, it (this category main
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11 of rāgas) is called bhinnaka because it is modified in respect of (the above) main
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12 four. annotation_inline
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13 (304) annotation_inline
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14 [Anu. 172] editorial_bracket
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15 (Contention) Whatisstated by the word 'bhinna?' Does the word bhinnamean main
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16 that which is split or does it mean 'this is distinct from that'? This should not be main
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17 said. 'Bhinna' here is said to be vikṛta (modified). The state of being vikṛta is main
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18 according to the prescription given before in terms of śruti-bhinna and the like. main
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19 [Svarabhinna] section_header
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20 [Anu. 173] editorial_bracket
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21 Now for the sake of elucidating the aforesaid description of bhinna (rāgas), main
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22 the definition of svarabhinna (out of the four) is being spoken of in the main
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23 beginning - annotation_inline
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24 When the <math>v\bar{a}din^{46}</math> is upheld (as the initial note) and the <math>sainv\bar{a}din</math> or <math>anu main
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25 or vivādin is released (as the finale), that is called svara-bhinna. main
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26 (305) annotation_inline
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27 [Anu. 174] editorial_bracket
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28 This means – the madhyama that is the graha and amsa of suddha-sādava main
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29 (rāga) that belongs to madhyamagrāma, is replaced with dhaivata that is taken main
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30 up as being vivādin or anuvādin. When the samvādin of the svara madhyama main
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31 is treated as a point of release (tyāga) or placement (nyāsa), then it is called main
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32 svara-bhinna. In bhinna-ṣaḍja, dhaivata is vādin on account of 'speaking out' main
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33 (vadana) and it is again of abundant usage. main
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34 (Contention) Out of the five (bhinna) rāgas, why is bhinna -ṣaḍja being main
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35 described in the beginning itself? Truly has it been said, on account of its main
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36 prominence. Its prominence is thus-just as in the (rāgas of) śuddhagīti, there is main
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37 the prominence of śuddha ṣāḍava, similar is the case of bhinna ṣaḍjain the (rāgas main
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38 of) bhinna gīti, on account of this (bhinna-ṣadja) being a variety of that (śuddha main
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39 sādava).<sup>47</sup> main
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178 lignes a valider — change uniquement les roles incorrects.