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 20823). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p136 RIGHT — 53 lignes

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1 PĂŢĦAVIMARŚA page_header
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2 255 page_number
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3 170. Ibid.adds asyāḥ before ‘prastāraḥ’. list_item
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4 171. Reading in SR I. 7. 94. list_item
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5 172. SR I. 7. p. 242 adds 'raktagāndhāryām 'after 'asyām'. list_item
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6 173. Ibid.adds 'asyāḥ 'before 'prastāraḥ'. list_item
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7 174. SR I. 7. p. 245 adds ‘gāndhārapañcamyāṁ ’ after ‘ asyāṁ ’. list_item
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8 175. Ibid.adds ‘asyāḥ ’before ‘ prastāraḥ’. list_item
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9 176. SR. I. 7. p. 253 adds 'madhyamodīcyavāyām' after 'asyām'. list_item
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10 177. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. list_item
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11 178. SR 1. 7. p. 253 adds ‘ kārmāravyāṁ ’ after ‘ asyāṁ ’. list_item
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12 179. Ibid.adds ‘ asyāḥ ’ before ‘ prastāraḥ ’. list_item
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13 180. SR1. 7.104 reads ‘sūribhiḥ’ but SRĀ I.7.103 reads ‘sū (bhū) ribhiḥ’. list_item
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14 181. SR 1.7. p.257 adds ‘gāndhārapañcamyām’ after ‘asyām’. list_item
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15 182. Ibid.adds ‘ asyāḥ ’ before ‘prastāraḥ ’. list_item
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16 183. Reading in SR I. 7. 105. list_item
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17 184. Reading in SR I.7.106. list_item
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18 185. Reading in SR 1.7.106; SRĀ 1.7.106 and Sudhā on the same, p. list_item
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19 260 read 'tāla' which fits the context. list_item
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20 186. SR I. 7, p.261 adds 'āndhryam' after 'asyām'. list_item
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21 187. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. list_item
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22 188. Reading in SR I. 7.109. list_item
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23 189. SR I. 7, p. 264 adds ‘ nandayantyām’ after ‘ asyām’. list_item
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24 190. Ibid.adds asyāḥ before prastāraḥ. list_item
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25 191. P.t. adds 'sa' or 'ma' after each jātiprastāra in this interpolated list_item
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26 portion; the significance is not clear. list_item
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27 192. The jātis described in this interpolated portion do not complete list_item
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28 the number eighteen because of two repetitions as follows- list_item
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29 Jätis left out table
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30 Jātis described in the table
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31 Jātis described table
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32 interpolated portion table
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33 in the prose portion table
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34 1. Madhyamā table
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35 1.Şadjamadhyamā table
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36 1. Şādjī table
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37 2. Pañcami table
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38 2. Gändhärodicyavā table
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39 2. Arşabhī table
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40 3. Raktagāndhārī table
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41 3. Dhaivatī table
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42 4. Kaišikī table
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43 4. Naisādī table
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44 5. Madhyamodicyavā table
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45 5. Şadjakaisikī table
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46 6. Kārmāravī table
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47 6. Şadjodicyavā table
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48 7. Gändhärapañcamī table
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49 7.Şadjamadlıyrunā table
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50 8. Āndhrī table
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51 8. Gändhäri table
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52 9. Nandayanti table
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53 9. Raktagāndhārī table
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vol_I_p062 RIGHT — 34 lignes

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1 107 page_number
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2 TRANSLATION page_header
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3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
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4 (129) annotation_inline
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5 should be known in the avarohin (varna). main
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6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
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7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
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8 (130, 131) annotation_inline
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9 alankāras are said to be based on all the varnas. main
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10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
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11 (132) annotation_inline
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12 are said to belong to all the varnas. main
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13 These alankaras should be known by the wise to be subsistent in the seven main
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14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
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16 excessive 'stretching' of syllables (of the text). main
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17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
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18 whichever others are (involved with stretching and) counter-stretching, they main
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19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
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21 their own measure (of extension). main
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22 135ab) annotation_inline
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23 In the performance of dhruvās, ascending svaras should be used. main
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24 (135cd) main
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25 t annotation_inline
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26 Because dhruvā that is formed in accordance with the (desired) meaning, main
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27 has to be made the communicator of meaning, in dhruvās the adequate main
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28 sparseness or thinness of varnas (patterns of melodic movement) should again main
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29 be brought about (lit. made). main
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30 (136) annotation_inline
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
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32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
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34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
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vol_II_p161 RIGHT — 46 lignes

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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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vol_II_p133 LEFT — 46 lignes

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1 <b>F</b> unknown
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2 age grant in the annotation_inline
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3 248 page_number
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4 BRHADDEŚĪ page_header
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5 ग्रहापन्यासविन्याससंन्याससन्यासगोचर:। main
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6 अनुवृत्तश्च यस्येह सोंऽशः स्याद्दशलक्षणः ॥ main
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7 XXVIII. 69. annotation_inline
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8 37. P.t. adds here - 'syādityādi', which is out of context. main
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9 38. Reconstruction based on Datti . 142. main
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10 39,40. Reconstruction based on c.r. in Sudhā on SR I.7.47cd,p.190. main
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11 41-44. C.r. in Sudhā on SRI.7.47cd, p.190. main
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12 45. Reconstruction based on c.r. in Kalā on SR I.7.29-34, p.180,181. main
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13 46. cf.(i) annotation_inline
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14 यस्मिन् भवति रागश्च यस्माच्चैव प्रवर्तते । main
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15 मन्द्रश्च तारमन्द्रश्च योऽत्यर्थं चोपलभ्यते ॥ main
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16 [अनेकस्वरसंयोगो योऽत्यर्थमुपलभ्यते । editorial_bracket
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17 अन्यश्च बलिनो यस्य संवादी चानुवाद्यपि ॥] editorial_bracket
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18 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
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19 अनुवृत्तश्च यस्येह सोंऽशः स्याद्दशलक्षणः॥ main
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20 NŚ XXVIII. 68,69. annotation_inline
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21 (ii) main
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22 यस्मिन् वसति रागस्तु यस्माच्चैव प्रवर्तते । main
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23 तेन वै तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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24 मन्द्रश्च तारविषया पञ्चस्वरपरा गति: ॥ main
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25 अनेकस्वरसंयोगो योऽत्यर्धमुपलभ्यते । main
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26 अन्यच्च बलिनो यस्य संवादी चानुवाद्यपि । main
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27 ग्रहोपन्यासविन्यासविन्यासाभ्यासगोचर: । main
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28 परिवार्य स्थितो यस्तु सोंऽश: स्याद् दशलक्षण:॥ main
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29 NŚ Chau. XXVIII.72 -74. main
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30 (iii) annotation_inline
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31 यद्यपि भरतमतङ्गादिभिः संन्यासविन्यासयोर्विदार्याश्रयत्वादपन्यासेऽन्तर्भावेणान्तर- main
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32 मार्गस्याप्यंशकाद्यवयवानामन्योन्यसंघटनात्मकस्यांशादिसम्बन्धाधीनसिद्धेः पृथगुद्देशो नापेक्षित इति दशकं जातिलक्षणमित्युक्त main
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33 तथापि संन्यासिवन्यासयो: पृथगवयवत्वेनान्तरमार्गस्य तु सत्स्वंशादिष्ववयवेषु तेन विना प्रयोगासिद्धेस्तस्यावश्यिकत्वाक्षक्षण main
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34 पृथगुद्दिश्य त्रयोदशेत्युक्तं ग्रन्थकारेण । main
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35 Kalā on SR I. 7.3.29-34 p.180,181. main
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36 In the last passage above the inclusion of samnyāsa-vinyāsa and antaramārga in main
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37 jāti-lakṣaṇas by Śārṅgadeva in addition to the ten lakṣaṇas accepted by main
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38 Bharata and Matanga is noticed and justified. main
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39 47. P.t. begins - balavati ca śrutike 'mśe durbalem' śāmśe, which is redun- main
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40 dant and has been dropped. main
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41 cf.तत्पूर्वावधित्वे त्वातारषड्जं तारषड्जमारभ्यारोहः सामान्यतः प्राप्तचतुर्थस्वरारोहः। सामान्यतः प्रकीर्तितो  स्द्रटादिभि main
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42 यावत्पड्जमेव तारगतिर्मध्यमस्याप्यत्र संवादित्वादनाशित्वाच्च तारगती रुद्रटेन कृता मध्यमस्येति न दोष इति मतङ्गोक्तम् । main
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43 C.r.in Kalā on SR I. 7.35,36, p.185. main
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44 48. MS B reading as recorded by the ed. is - 'evamatra vinyāsau'. main
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45 والمعالم والمعالي والمعالي والمعالي والمعالي والمعالي والمعالي والمعالية والمعالية والمعالية والمعالية والمعالية والمعال annotation_inline
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46 and the second second second annotation_inline
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vol_II_p050 RIGHT — 34 lignes

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1 83 page_number
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2 TRANSLATION page_header
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3 [3. Gaudī giti and its component ohāțī] section_header
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4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
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5 to consist of a combination of the sound 'ha' and 'o'. main
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6 (277) annotation_inline
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7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
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8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
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9 svara. annotation_inline
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10 (278) annotation_inline
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11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
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12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
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13 in the three registers. annotation_inline
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14 (279) annotation_inline
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15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
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16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
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17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
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19 (280) annotation_inline
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20 Gaudī gīti is said to subsist without rest in the three registers. main
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21 (281) annotation_inline
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22 [4. Rāga giti] section_header
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23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
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24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
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213 lignes a valider — change uniquement les roles incorrects.