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 20832). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p035 RIGHT — 29 lignes

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1 53 page_number
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2 <b>TRANSLATION</b> page_header
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3 This has been said— annotation_inline
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4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
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5 (Anu. 33) annotation_inline
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6 But why are there only two grāmas? It is being answered; here two grāmas main
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7 have been formulated on account of (musical) performance being rooted in main
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8 the usage of two svaras.11 main
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9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
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10 (Anu. 34) annotation_inline
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11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
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12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
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13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
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14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
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15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
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16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
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17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
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18 rāga occurs. annotation_inline
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19 [ Thus ends the treatment of grāma ]. editorial_bracket
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20 [ The treatment of Mürchanā ] section_header
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21 (Anu. 35) annotation_inline
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22 Now the murchanas that befit the occasion or context are being spoken of. main
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23 But what is the etymology of the word murchana and what is its lakşana main
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24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
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25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
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26 and samucchrāya 19 (increase, growth). main
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27 That through which raga 20 (colour, delightfulness) grows or increases, is main
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28 (90) annotation_inline
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29 called mūrchanā. annotation_inline
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vol_I_p032 LEFT — 32 lignes

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1 BRHADDESI page_header
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2 46 page_number
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3 अष्टमस्य तृतीयं तु हरिबीजसमन्वितम्। main
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4 आद्यं स्वरं स्वरज्ञस्तूद्धरेत् उभ्सर्वप्रयत्नतः ।।६३।। main
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5 •स्तु उद्धरेत् तु annotation_inline
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6 सप्तमस्य द्वितीयं तु कामबीजसमन्वितम्। main
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7 द्वितीयं तु स्वरं विद्धि ब्रह्मस्थानसमुद्भवात्॥६४॥ main
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8 द्वितीयस्यापि वर्गस्य तृतीयं विष्णुसंयुतम्। main
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9 उद्धरेच्च स्वरं नित्यं स्वरभेदमनोहरम्॥६५॥ main
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10 षष्ठस्यापि हि वर्गस्य अन्तिमं अन्तिमं अन्तिसंयुतम्। main
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11 •मग्चाः annotation_inline
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12 अविनष्टं विजानीयान् मध्यमं स्वरसत्तमम्।६६॥ main
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13 <sup>36</sup>₀मुत्तमम् annotation_inline
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14 <sup>37</sup>॰सप्तकम् annotation_inline
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15 <b>म्बतदादिप्रथमोपेतं स्वरं संविद्धि शोभनम्।</b> main
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16 था annotation_inline
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17 व्योमसंख्यासमायुक्तमोष्ठस्थानसमुद्भवम् ॥६७॥ main
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18 पञ्चमस्यापि वर्गस्य चतुर्थं चादिसंयुतम्। main
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19 कोदण्डद्वयसम्भूतमुद्धरेत् स्वरमुत्तमम्।।६८॥ main
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20 अकारान्यान्तसम्भिन्नं पञ्चमान्तं समुद्धरेत्। main
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21 ुन्ताः, annotation_inline
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22 ब्रह्मस्थानसमुद्भूतं सुतारध्वनिसंयुतम् ॥६९॥ main
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23 आगमस्थः स्वरोत्द्वार इति तावत् प्रदर्शितः। main
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24 [ स्वराणां कुलवर्णादिनिर्णयः ] editorial_bracket
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25 अधुना सम्प्रवक्ष्यामि कुलवर्णादिनिर्णयम्।।७०।। main
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26 <sup>५९</sup>देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
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27 पितृवंशसमुत्पन्नः स्वरोऽसौ पञ्चमः किल।।७१।। main
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28 ऋषिवंशसमुत्पन्नौ स्वरावृषभधेवतौ। main
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29 असुराणां कुले जातो निषादः स निसंज्ञितः ।। ७२ ॥ main
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30 4)पद्मपत्रप्रभः षड्ज ऋषभः शुकवर्णकः। main
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31 कनकाभस्तु गान्धारो मध्यमः कुन्दसन्निभः॥७३॥ main
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32 - . . . . . annotation_inline
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vol_I_p061 RIGHT — 29 lignes

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1 105 page_number
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2 TRANSLATION page_header
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3 (Anu. 102) annotation_inline
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4 Like hunkāra one should ascend (with) three solfa syllables without a gap main
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5 (and) in a combined80 (manner), thence two lower svaras (forming two phrase- main
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6 units each) should be made (pronounced) with shake81 and verily in main
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7 combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, main
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8 because of the combination or formulation of ekakala 83 svaras (forming main
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9 temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani main
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10 dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, main
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11 (33) annotation_inline
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12 sariga riri sasa. Thus is (ends) gatravarna. main
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13 [ The treatment of Alankaras according to Bharata's opinion ] section_header
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14 I shall now speak of the varnas 84 in which the charming alankāras are main
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15 'seated' (formed), according to the prescription of Bharata. main
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16 (121) annotation_inline
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17 Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, main
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18 recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras main
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19 (122, 123) annotation_inline
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20 should be known according to their respective definition. main
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21 After this, please understand (the alankāras) born of the sancārin (varņa), as main
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22 they are again and again being described (lit. glorified). Mandratāraprasanna, main
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23 bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, main
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24 upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of main
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25 <math>(124 - 126)</math> annotation_inline
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26 the sancarin (varna). annotation_inline
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27 Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, main
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28 hrādamāna, sampradāna, sandhipracchādana, prasannādi and main
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29 prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128) main
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vol_II_p094 RIGHT — 30 lignes

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1 171 page_number
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2 TRANSLATION page_header
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3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
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vol_I_p049 RIGHT — 37 lignes

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1 81 page_number
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2 TRANSLATION page_header
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3 krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri main
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4 - <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri< editorial_bracket
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5 <math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there main
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6 are six tanas of gandhara (along with the preceding two svaras viz. sa - n). main
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7 Similarly, there is only one krama (original order) of madhyama (added to main
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8 the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas main
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9 beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa - main
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10 ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga main
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11 thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly, main
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12 there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken main
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13 together they are twenty-four. annotation_inline
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14 Similarly, there is only one krama (original order) of pañcama (along with its main
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15 four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa main
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16 (formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni - main
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17 ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has main
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18 twenty-four (varieties beginning with it), taken together they become one main
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19 hundred and twenty. Similarly, dhaivata has one krama (original order along main
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20 with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma - main
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21 ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma - main
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22 ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken editorial_bracket
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23 together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is main
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24 only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga - main
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25 ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each main
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26 one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty main
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27 (through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty. main
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28 (Anu. 59) annotation_inline
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29 Thus the tāna-vidhāna (performance of tānas) of svaras is found on the main
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30 (viṇās having) sixty-six strings or hundred strings. The measurements of these main
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31 two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t main
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32 tānas has not been made on these (viņās) in order to avoid a digression; by this main
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33 order itself, it (the demonstration) should be understood by the wise ones on main
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34 their own. annotation_inline
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35 (Anu. 60) annotation_inline
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36 The objective of these tanas has been said to be for the sake of the main
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37 attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in editorial_bracket
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157 lignes a valider — change uniquement les roles incorrects.