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 20968). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p101 RIGHT — 49 lignes

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1 185 page_number
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2 <b>VIMARŠA</b> page_header
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3 45. In the absence of any notational sign, all the three viz. kampita, kuharita main
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4 and recita are identically illustrated. main
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5 46. Here kalā stands not only for a phrase, but for a component unit of a main
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6 phrase, if sani risa these two are taken to complete a phrase. main
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7 47. The word 'amsa' means the initial note of a phrase and this is a limited list_item
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8 meaning because amsa stands for the fundamental svara of a jāti or rāga which list_item
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9 is a much bigger and much more complex structure. list_item
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10 48. The name tāra-mandra-prasanna is interesting because it uses both mandra list_item
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11 and prasanna which individually stand for 'low'. unknown
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12 49. The sa belongs to the tāra-sthāna. list_item
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13 50. The second sa here belongs to the tāra-sthāna. list_item
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14 51. The sthāyin varņa spoken of here could be understood only in the sense list_item
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15 that the phrase begins and ends at the same svara all throughout. list_item
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16 52. The sa at the end of the preceding phrase and at the beginning of the list_item
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17 succeeding one belongs to tāra-sthāna. list_item
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18 53. The ascent operates upto nisa and descent starts with sani. list_item
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19 54. Identical with note 52 above. list_item
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20 55. The word sthāyin is used here as a synonym of amsa. BrD is the first list_item
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21 extant text to introduce this word. S R (III, 191, 193) uses it in the decription list_item
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22 of Rāgālapti. list_item
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23 56. Different names for identical forms are also found in abundance in desi list_item
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24 tālas. (cf. deśī-tāla section of SRV) list_item
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25 57. Identical with note 52 above. list_item
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26 58. The word kalā is used here both as a time-unit and a phrase-unit. list_item
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27 59. sa in the beginning of the three phrase-units belongs to tāra-sthāna. list_item
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28 60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would list_item
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29 mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a list_item
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30 mālrā. list_item
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31 61. The sa belongs to tāra-sthāna. list_item
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32 62. Here kalā stands both for a time-unit and phrase because there are eight list_item
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33 phrases and each phrase is of the duration of one kalā (two-mātrā-unit). list_item
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34 63. Identical with note 52 above. list_item
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35 64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of list_item
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36 rāga. That is a kind of gamaka, but here in the description of the alankāra there list_item
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37 is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī list_item
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38 comes in which is hard to comprehend; at the most it could be understood to list_item
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39 ¥ unknown
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40 indicate special voice-production similar to ohāţī, which could be identified with list_item
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41 1 page_number
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42 the hudaka of present-day oral tradition of dhrupad which also is associated with list_item
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43 the 'ha' sound (cf. DA I, p. 46). list_item
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44 (vide) unknown
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45 65,66. Identical with note 52 above. list_item
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46 7 page_number
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47 67. There are twelve phrases in this alankara. From the way they are notated, list_item
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48 the duration of each of them could be taken to be either a kalā composed of list_item
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49 two mātrās or four mātrās, as follows- list_item
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1 101 page_number
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2 TRANSLATION page_header
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3 remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - main
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4 sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 main
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5 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari main
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6 rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) main
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7 (Anu. 95) annotation_inline
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8 Aksiptaka (is formed) with the measure of kalās (time-units) starting with main
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9 one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the main
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10 ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, main
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11 mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, main
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12 pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. main
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13 (26) annotation_inline
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14 (Anu. 96) annotation_inline
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15 Leaving the immediate (svara) after the first one and going (forward) in main
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16 two svaras and on account of descent in the same order in the ekakala 69 (one main
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17 time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the main
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18 sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two main
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19 kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī main
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20 nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā main
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21 gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 main
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22 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, main
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23 panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, main
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24 pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) main
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25 (Anu. 97) annotation_inline
parent ligne 24
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26 Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of main
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27 dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha main
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28 maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa main
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29 mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus main
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30 (28) annotation_inline
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31 is (ends) hasita. annotation_inline
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32 (Anu. 98) annotation_inline
parent ligne 29
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33 Like hasita, through the ascent (and descent) of three svaras, or the ascent main
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34 (and descent) of four svaras, both ways hunkāra is ekakala 75 (with one-unit main
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1 1.50 4 1 annotation_inline
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2 TRANSLATION page_header
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3 115 page_number
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4 [Anu. 198] editorial_bracket
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5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
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6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
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7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
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8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [7. Ţakkakaiśika] section_header
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13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
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14 and concluding note and is weak in the svaras comprised of two śrutis each main
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15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
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17 [Anu. 199] editorial_bracket
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
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22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
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24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
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25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
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26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
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27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
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28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
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29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
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30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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32 obtains in songs comprised of svara and pada. main
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33 [8. Mālavakaisika] section_header
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34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
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35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
parent ligne 35
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37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_I_p068 RIGHT — 39 lignes

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1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 sarimapapamarisa rigapadhadhapagari gamadhaninidhamaga 143 mapanisasasanipama main
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4 sanipamamapanisa nidhamagagamadhani dhapagaririgapadha pamarisasarimapa, main
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5 (25) annotation_inline
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6 udghattitah annotation_inline
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7 sarigā rigamā gamapā mapadhā padhanī dhanisā 144 sanidhā nidhapā dhapamā main
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8 (26) annotation_inline
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9 pamagā magarī garisā, āksiptakah main
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10 sagamā marisā rimapā pagarī gapadhā dhamagā madhanī nipamā panisā 145 main
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11 sadhapā dhanisā sadhapā panisā nipamā madhanī dhamagā gapadhā pagarī main
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12 (27) annotation_inline
parent ligne 11
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13 rimapā marisā sagamā garisā, sampradānam main
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14 sagama marisa rimapa pagari..... main
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15 VII [ Section on Pada - giti ] section_header
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16 O! most venerable muni! I have duly spoken of the alankaras. Now I shall main
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17 speak about giti1 which is associated with chandas2 and akṣara3 (syllable). main
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18 (170) annotation_inline
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19 The first one should be known as māgadhī, and the second one is main
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20 ardhamāgadhī, the third one is sambhāvitā and the fourth one is known as main
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21 (171) annotation_inline
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22 pṛthulā. annotation_inline
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23 The giti which is 'returned to'4 (repeated) thrice, that giti is known as main
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24 māgadhī. That (gītī) which is completed5 in half the time (of māgadhī) should be main
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25 (172) annotation_inline
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26 known as ardhamāgadhī (lit. half-māgadhī). main
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27 And sambhāvitā should be known to be composed of guru (lit. heavy, here main
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28 long) syllables. And the one called pṛthulā should be known to be composed of main
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29 (173) annotation_inline
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30 laghu (lit. light, here short) syllables. main
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31 (Anu. 104) annotation_inline
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32 In dakṣiṇa 6 mārga 7 (lit. path) (operates) the pṛthulā gīti, in vārtika 8 mārga main
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33 sambhāvitā (gīti) and in citra 10 mārga māgadhī gīti. There are eight mātrās in main
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34 dakṣiṇa mārga, four mātrās in vārtika mārga and two mātrās in citra mārga in the main
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35 order of the use of kalās.11 main
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36 In the citra mārga and ekakala tāla, māgadhī gīti should be known; in the main
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37 vārtika mārga (and) dvikala tāla sambhāvitā gīti should be known. (174) main
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38 ___ annotation_inline
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39 (vide) annotation_inline
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197 lignes a valider — change uniquement les roles incorrects.