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 20873). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p045 RIGHT — 54 lignes

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1 73 page_number
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2 TRANSLATION page_header
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3 (11) table
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4 ni ni ni ni ri ri ri ri table
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5 (12) table
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6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
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7 (13) table
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8 pā pā mā gari gā gā gā gā table
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9 (14) table
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10 rī rī mā sama mā mā pā pā table
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11 (15) table
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12 mā mā nī nī sā rī gā pā table
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13 riga gã gã gã gã gã gã gã table
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14 (16) table
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15 Thus ends andhri. section_header
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16 [9. Nandayanti] section_header
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17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
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18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
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19 gīta (melody). annotation_inline
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20 (23) main
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21 There is the abundance of the lower rṣabha. The hexatonic form comes main
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22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
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23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
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25 (24) main
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26 The application is (prescribed) in the singing of dhruvās in the first act. main
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27 (25) annotation_inline
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28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
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29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
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35 pā pā pā pā pā pā pā pā ` table
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36 (4) table
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37 dhā nī mā pā gā gā gā gā table
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38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
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40 (6) table
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41 mã mã pã pã dhã nidha pã pã table
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42 (7) table
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43 dhã nĩ mã pã gã gã gã gã table
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44 (8) table
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45 gama pā pā pā mā mā gā gā table
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46 (9) table
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47 dhā nī mā pā gā gā gā gā table
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48 (10) table
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49 mā mā mā mā mā mā mā mā table
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50 (11) table
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51 rī gā mā pā pama pā pā nī table
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52 (12) table
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53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
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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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vol_I_p027 RIGHT — 28 lignes

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1 37 page_number
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2 TRANSLATION page_header
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3 (Anu. 23) main
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4 Anuvāditva (the state of being anuvādin) occurs by the state of being one main
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5 śruti less<sup>41</sup> (i.e. pairs of svaras where one of the constituents is less than the other main
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6 by one śruti are anuvādins). But what is that anuvāditva? main
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7 The expositorhood of the ragatva of raga brought about by the samvadin is main
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8 indeed anuvāditva. annotation_inline
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9 The anuvādi-maņdala is thus - main
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10 Sa annotation_inline
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11 Ň annotation_inline
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12 ni annotation_inline
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13 ga annotation_inline
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14 dha annotation_inline
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15 ma annotation_inline
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16 pa annotation_inline
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17 Thus ends the anuvādi-maṇḍala. [in ṣaḍjagrāma] caption
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18 (Anu. 24) main
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19 The use<sup>42</sup> of anuvadins is thus - şadja in the place of ṛṣabha and ṛṣabha in the main
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20 place of şadja, remaining in its own form, does not destroy jāti or rāga. main
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21 Dhaivata, being used in the place of pañcama and pañcama being used in the main
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22 place of dhaivata may not become the destroyer of jāti and rāga. Dhaivata being main
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23 used in the place of şadja and şadja being used in the place of dhaivata does not main
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24 become the destroyer of jāti and rāga. Rṣabha being used in the place of pañcama main
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25 and pañcama being used in the place of rṣabha does not destroy jāti and rāga. main
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26 Rṣabha in the place of madhyama and madhyama in the place of ṛṣabha; main
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27 similarly, madhyama being used in the place of dhaivata and dhaivata in the place main
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28 of madhyama does not destroy jāti and rāga. main
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vol_II_p063 RIGHT — 35 lignes

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1 . ..... ... ... ....................... annotation_inline
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2 r . annotation_inline
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3 TRANSLATION page_header
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4 109 page_number
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5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
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6 [Anu. 190] editorial_bracket
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7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
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8 account of the statement by the authorities. Similarly has said Kaśyapa - main
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9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
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13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
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15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
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17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
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18 being gratifying to Laksmi.65 That is thus - main
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19 [1. Takkarāga] section_header
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20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
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21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
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22 (320) main
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23 [Anu. 192] section_header
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24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
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25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
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26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
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27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
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28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
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29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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31 caccatputa obtains in the songs comprised of svara and pada. main
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32 [2. Sauvīra] section_header
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33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
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34 and niṣāda also is weak. main
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35 (321) main
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vol_II_p168 RIGHT — 42 lignes

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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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189 lignes a valider — change uniquement les roles incorrects.