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 20767). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 BRHADDEŚĪ page_header
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2 48 page_number
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3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
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5 (वं ? वा) main
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6 [३. धैवती] section_header
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7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
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11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
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14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
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23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
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24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
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35 नामः annotation_inline
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vol_II_p090 RIGHT — 38 lignes

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1 163 page_number
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2 TRANSLATION page_header
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3 Māngālī has pancama as its concluding note and is said to have dhaivata main
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4 as amśa. There is concert between şadja-dhaivata and similarly madhyama- main
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5 ṛṣabha; it is held to be always complete and should be known to be born of main
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6 ٠ page_number
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7 deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the main
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8 knowledgeable ones in music. main
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9 <math>(92-93)</math> main
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10 Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri editorial_bracket
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11 mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam main
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12 adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. main
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13 Pamāmāpāpā. Mārigālī [iii] editorial_bracket
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14 Having pañcama as amsa and the same as the concluding note, being main
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15 complete and brilliant with pañcama, saindhavī has been known to be a main
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16 vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama main
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17 is seen again and again. main
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18 (94) annotation_inline
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19 Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari main
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20 sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī main
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21 māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] editorial_bracket
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22 Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with main
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23 sparse madhyama. It has concert between sadja and madhyama, (and) is main
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24 always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be main
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25 complete. annotation_inline
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26 (95) main
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27 Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- main
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28 ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- main
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29 dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- main
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30 nismismidhāmapāpā. Gūrjari [v] editorial_bracket
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31 Combined with pañcama as the initial and concluding note, dākṣiṇātyā is main
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32 beautiful. This is complete and is said to be born in gandharapancama. 40 It main
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33 should always be known as a vibhāṣā born of pañcama bearing a regional main
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34 name.41 annotation_inline
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35 (96) main
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36 Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- main
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37 garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri main
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38 gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi] editorial_bracket
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1 85 page_number
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2 <b>TRANSLATION</b> page_header
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3 Aśvākrāntā (6) main
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4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
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5 Abhirudgatā (7) annotation_inline
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6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
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7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
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8 (Anu. 63) annotation_inline
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9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
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10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
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11 svaras). During the performance of raga, murchanas should be known to be main
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12 composed of twelve svaras. They should be known to be included in the main
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13 mūrchanās of şadjagrāma (?).64 main
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14 That is thus - annotation_inline
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15 Sauvīrī (1) annotation_inline
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16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
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17 Hariņāśvā (2) annotation_inline
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18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
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19 Kalopanatā (3) annotation_inline
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20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
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21 Suddhamadhyā (4) annotation_inline
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22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
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23 Mārgī (5) annotation_inline
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24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
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25 Pauravi (6) annotation_inline
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26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
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27 Hṛṣyakā (7) annotation_inline
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28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
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29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
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30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
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31 VI [Section on Varņas and Alankāras] section_header
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32 [The Varnas] section_header
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33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
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34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
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35 (118) annotation_inline
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36 ārohin (ascending) and avarohin (descending). main
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37 (Anu. 64) annotation_inline
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38 (Contention) what is spoken of by the word varna? (Answer) The act of main
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39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
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40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
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41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
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42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
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43 māmāmāmā in the madhyamā (jāti). main
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1 92 page_number
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2 BRHADDESI page_header
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3 [ अनु₀ ७५ ] editorial_bracket
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4 स्वरे षड्जादिरूपे स्थित्वा तदीयतारमग्निवत् स्पृष्ट्वा कलामेकां च main
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5 चिरमेकस्मिन् annotation_inline
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6 स्थित्वा यत्र पुनरपि सहसा मन्द्र आगम्यते, स बिन्दुः । यथा - सा [ स ] सा इति editorial_bracket
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7 ुमा annotation_inline
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8 या annotation_inline
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9 [६] editorial_bracket
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10 बिन्दुः। main
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11 [ अनु₀ ७६ ] editorial_bracket
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12 एककलान्तरं स्पृष्ट्वा बिन्दोरेव विपर्ययोच्चारणा [ -त् ] editorial_bracket
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13 प्रवृत्तविनिवृत्तत्वान्निवृत्तप्रवृत्ताख्यः। यथा— सा सासा [ इति ] निवृत्तप्रवृत्तः । editorial_bracket
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14 [ 9 ] editorial_bracket
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15 द्निवृत्तास्यः। main
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16 ,तो, annotation_inline
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17 ₀त (?) annotation_inline
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18 [ अनु₀ ७७ ] editorial_bracket
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19 आक्रीडितवदारोहावरोहक्रमेण सप्तकलो वेणुः। यथा—सरिगमपधनि निधपमगरिस । main
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20 ष (ष्क ? द्क ) लो annotation_inline
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21 6 page_number
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22 इति विणुः। main
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23 [ अनु。 ७८ ] editorial_bracket
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24 मन्द्रसप्तकमध्ये पवननिरोधेन १६त्रिश्रुतेः कम्पनात् कम्पितस्त्रिकलः। यथा- main
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25 <b>.म. ्नी (?)</b> हि main
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26 सरिगमपधनिस [ इति ] कम्पितः। editorial_bracket
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27 [९] editorial_bracket
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28 सा₀ annotation_inline
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29 [ अनु₀ ७९ ] editorial_bracket
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30 मध्यसप्तके त्रिश्रुतेः कम्पनात् त्रिकलः कुहरितः। यथा—सरिगमपधनिस [ इति ] editorial_bracket
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31 ,सा main
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32 कुहरितः। annotation_inline
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33 [ 80 ] editorial_bracket
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34 [ अनु。 ८० ] editorial_bracket
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35 तारसप्तके त्रिश्रुतेः कम्पनात् त्रिकलो रेचितः । [ यथा - ] सरिगमपधनिसा [ इति ] editorial_bracket
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36 रेचितः। main
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37 [ ११ ] editorial_bracket
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38 [ अनु₀ ८१ ] editorial_bracket
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39 द्वयोः स्वरयोर्बहुनां च स्वराणां समकलगमागमाच्चतुर्दशकलः प्रेङ्खोलितः। यथा— unknown
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40 ο₹ο annotation_inline
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1 ٠ page_number
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2 <b>VIMARŚA</b> page_header
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3 305 page_number
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4 central part of present Madhya Pradesh. The special preference for Mālavā main
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5 requires further investigation. annotation_inline
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6 29. The word gamaka is used here in the sense of vocal embellishments list_item
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7 including shakes; it is not restricted to shake. list_item
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8 30. See note 22. list_item
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9 31. Each grāmarāga is said to be born of one or more jātis. list_item
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10 32. Pūrvaranga has been described in NS IV and V; it embodies list_item
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11 instrumental rendering, song, dance, dialogue etc. presented as a preliminary list_item
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12 to drama. It has both ritualistic and psychological value as it ensures the list_item
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13 success of drama by propitiating the gods and prepares the audience for list_item
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14 being receptive to drama. list_item
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15 33. Kākalī and antara are always prescribed to be sparse, but here only list_item
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16 the sparseness of gandhara is prescribed, although both antara and kakali are list_item
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17 present. It could be construed that gandhara stands for the original list_item
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18 gāndhāra and not antara. See note 91. list_item
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19 • annotation_inline
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20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
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21 not easy to comprehend. It could only be surmised that the peculiar form list_item
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22 of a raga in some cases becomes manifest in ascent, in other cases in descent list_item
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23 and similarly a specific alankāra could be assigned to a rāga on account of list_item
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24 having a special role in establishing the same. list_item
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25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
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26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
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27 being its double and dakṣiṇa again being its double. Our text describes two list_item
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28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
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29 being half of dhruva. (See Vol.I. Anu.113) list_item
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30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
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31 that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in list_item
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32 tāla, sounded or unsounded and thirdly, the unsounded action. Here the list_item
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33 first meaning is relevant because the length of kalā depends on the mārga in list_item
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34 use at a given time. list_item
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35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
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36 This is the only caturasra (lit. square) tala, being composed of four kalas or list_item
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37 eight mātrās. list_item
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38 39. Garbha-sandhi is the third among the five sandhis or junctures in list_item
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39 drama described in NŚ XIX; the first two being mukha and pratimukha and list_item
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40 the last two being vimarsa and nirvahana. Garbha literally means 'womb', list_item
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41 the inside or interior of something. In drama garbha-sandhi stands for that list_item
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42 juncture where the 'sprouting' of the 'seed' has taken place, but the fruit list_item
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43 is still enshrouded in the 'garbha'. list_item
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44 40. Our text does not uphold the relationship of any raga to both the list_item
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45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
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46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
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202 lignes a valider — change uniquement les roles incorrects.