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 20863). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p038 RIGHT — 40 lignes

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1 59 page_number
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2 <b>TRANSLATION</b> page_header
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3 [ Anu . 39 ] editorial_bracket
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4 Thus have been spoken of the fourteen complete murchanas of both the main
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5 grāmas. Now their names are being mentioned. main
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6 In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in main
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7 dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93) main
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8 Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in main
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9 gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one. main
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10 (94) annotation_inline
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11 Thus are to be known the seven mūrchanās subsisting in şadja-grāma. main
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12 Hereafter I shall speak of the murchanas of madhyama-grama. main
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13 (95) annotation_inline
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14 Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and main
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15 (96) annotation_inline
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16 kalopanatā would be the mūrchanā with ṛṣabha itself. main
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17 Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is) main
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18 mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama. main
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19 ł annotation_inline
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20 (97) main
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21 Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I main
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22 shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas. main
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23 (98) annotation_inline
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24 Şāḍava is to be known as having six svaras and auḍavā is to be known with main
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25 five svaras; and the etymology of sadavas and auduvitas is being spoken of. main
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26 (99) annotation_inline
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27 (Anu. 40) annotation_inline
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28 Those six svaras that protect (the performance) are (known as) sadava main
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29 svaras; their use (in performance) is (called) sādava. Falling under the tāraka main
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30 gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’ main
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31 is formed). annotation_inline
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32 (Anu. 41) annotation_inline
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33 The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as main
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34 auduva. By that (the word auduva) the number five is indicated. (<math>\bar{A}k\bar{a}\dot{s}a</math>) is the main
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35 fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa) main
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36 exists. annotation_inline
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37 Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and main
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38 it is to be known as being numbered forty-nine,52 by the knowledgeable ones in main
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39 (100) annotation_inline
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40 gīta (lit. song i.e. music). 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_p088 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 159 page_number
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3 [4. Bhāṣās in hindolaka] section_header
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4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
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5 is formed with the (profuse) use of gandhara. The to and fro movement main
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6 between şadja and gandhara should be arranged there by the performers. main
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7 (83) unknown
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8 Illustration main
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9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
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10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
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11 Having pancama as amśa, şadja as the concluding note, being devoid of main
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12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
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13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
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14 (84) annotation_inline
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15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
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16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
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17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
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18 thus has been described chevāțī and concert between șadja-madhyama and main
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19 similarly şadja-gāndhāra should always be put up. main
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20 (85) annotation_inline
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21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
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22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
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23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
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24 Having şadja às amśa and madhyama as concluding note, being weak in main
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25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
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26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
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27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
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28 nature. It is sung also by Kinnaras.<sup>33</sup> main
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29 <math>(86-87)</math> main
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vol_I_p024 LEFT — 28 lignes

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1 <b>BRHADDEŚ</b>I page_header
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2 30 page_number
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3 तथा चाह कोहलः — main
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4 <b>"जातिभाषादिसंयोगादनन्तः कीर्तितः स्वरः।</b> main
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5 <b>॰पदैर्युक्तस्त्वलमिति कृतौ योज्यो रसेष्वपि</b>"।। इति। annotation_inline
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6 。स्ता。 annotation_inline
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7 ना annotation_inline
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8 नित्योऽविनाशी। व्यापकः सर्वगतः। main
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9 तथा चाह कोहलः — annotation_inline
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10 "ऊर्ध्वनाडीप्रयत्नेन सर्वीभत्तिनिघट्टनात्। main
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11 मुर्छितो ध्वनिरामुर्ध्नः स्वरोऽसौ व्यापकः परः"।। main
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12 [ अनु. १७ ] editorial_bracket
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13 ननु षड्जादीनां कथं स्वरत्वम् ? व्यञ्जनत्वात्। यदि व्यञ्जनानां main
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14 स्वरत्वमभिधीयते, तदानीं कादीनामेवास्तु स्वरत्वम्। main
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15 अत्रोच्यते — असाधारणत्वात् षड्जादीनामेव स्वरत्वं न कादीनामिति। main
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16 ननु षड्जादीनामसाधारणत्वं कथम् ? आप्तोपदेशात् षड्जादीनामसाधारणत्वम्। main
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17 तथा चाह कोहले महेश्वरः- main
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18 ｡लः annotation_inline
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19 "षड्जं वदति मयूर ऋषभं चातको वदेत्। main
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20 अजा वदित गान्धारं क्रौञ्चो वदित मध्यमम्।। main
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21 ्नित annotation_inline
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22 पुष्पसाधारणे काले कोकिलः पञ्चमं वदेत्। main
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23 प्रावृद्काले तु सम्प्राप्ते धैवतं दर्दुरो वदेत्।। main
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24 सर्वदा च तथा देवि। निषादं वदते गजः॥" main
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25 यद्वा ऊर्ध्वध्वनिगामित्वेन षड्जादीनामेवासाधारणत्वमिति, अथवा main
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26 ₄व annotation_inline
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27 षड्जादयः स्वरा न भवन्ति, आकारादय एव स्वराः। षड्जादयस्तु main
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28 तेषामाकारादीनामुच्चारणार्थमिति। main
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vol_I_p043 RIGHT — 30 lignes

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1 69 page_number
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2 TRANSLATION page_header
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3 mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha- main
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4 śloka).37 How is that (the difference)? The group of svaras that is arranged in main
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5 the ascending and descending order is spoken of as murchana, whereas tana is main
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6 with the ascending order, this is the distinction.58 main
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7 [The Yajña-names of Tānas] section_header
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8 Now the yajña-names 59 of tanas are being spoken of— main
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9 Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and main
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10 (104) annotation_inline
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11 rājasūya is the seventh one. main
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12 Thus are the names of sadava tanas devoid of sadja. main
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13 Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as main
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14 (105) annotation_inline
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15 ртājāpatya. annotation_inline
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16 Thus end the names of şāḍava tānas devoid of ṛṣabha. main
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17 Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit main
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18 (106) annotation_inline
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19 (and) nāgayajāa. annotation_inline
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20 Thus end the names of şādava tānas devoid of pañcama. main
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21 Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi, main
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22 <math display="block">(107)</math> annotation_inline
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23 citra and the seventh one is udbhidyaga. main
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24 Thus end the names of şādava tānas devoid of niṣāda. main
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25 ١ page_number
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26 Thus end the names of twenty-eight şādava tānas in şadjagrāma. main
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27 Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement) editorial_bracket
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28 of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana editorial_bracket
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29 (108) main
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30 of kaunapas (demons) is the seventh one. main
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173 lignes a valider — change uniquement les roles incorrects.