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 21058). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p117 LEFT — 26 lignes

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1 1 page_number
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2 216 page_number
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3 BRHADDEŚĪ page_header
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4 [२०.विचित्र:] section_header
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5 अनेकदेशभाषाभि: पाटैर्बिरुदतेनकै:। main
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6 पादै॰ annotation_inline
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7 चित्रित: स्वरतालैश्च विचित्र इति कीर्तित: ॥४०२॥ main
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8 [२१. त्रिभङ्गिः] section_header
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9 ٠ page_number
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10 पदै: स्वरैस्तथा पाटैर्वृत्तत्रयपदेन च । main
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11 पार्दै॰ annotation_inline
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12 तालत्रयविमिश्रेण त्रिभङ्गिरभिधीयते<sup>२१</sup> ॥४०३॥ main
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13 ٠ page_number
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14 [२२. चतुरङ्गः] section_header
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15 रागतालचतुष्केण यत्र भाषाचतुष्टयम् । main
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16 गीयते गीतचतुरैश्चतुरङ्गः स उच्यते ॥४०४॥ main
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17 [२३. जयवर्धन:] section_header
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18 जयमालापदैर्युक्तो यत्र स्याद् विजयो जय:। main
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19 क · म्तु<br>जयार्थं गीयते यस्तु ज्ञेयोऽसौ जयवर्धन: ॥ ४०५॥ main
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20 यत्र annotation_inline
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21 [२४. अङ्कचारिणी] editorial_bracket
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22 [.....] editorial_bracket
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23 [२५. सिंहविक्रान्त:] section_header
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24 आदितालेन संयुक्तं यत्र खण्डचतुष्टयम् । main
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25 खण्ड( भ्र?च) annotation_inline
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26 पदपादाष्टकं स स्यात् सिंहविक्रान्तसंज्ञकः २२॥४०६॥ main
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1 127 page_number
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2 <b>TRANSLATION</b> page_header
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3 mā mā sā sā annotation_inline
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4 de - vam - annotation_inline
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5 mā sā sā mā annotation_inline
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6 de vam sa rvam annotation_inline
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7 sasa masa mama nn annotation_inline
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8 devam sarvam vande annotation_inline
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9 (Anu. 112) annotation_inline
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10 Māgadhī is (known as such) because of its origin in the magadha deśa (south main
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11 Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). main
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12 Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 main
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13 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to main
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14 'pada'. In the repetition of half a pada the verbal meaning should not be main
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15 construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or main
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16 acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is main
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17 predominantly musical, the verbal meaning is not cared for in the repetitions. It main
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18 has been said - the word jātavedasam (fire) that is repetitive, here (in the main
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19 context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī, main
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20 on the other hand, is based on the predominance of laghu (short syllables); main
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21 on account of the profusion of the grouping (grāma) of padas (syllabic units) it main
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22 is called pṛthulā (lit. broad or large). main
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23 (Anu. 113) annotation_inline
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24 In the three margas in the prescription about gitis, the use of laya should be main
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25 seen to be ninefold. annotation_inline
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26 He (the author) shows the use of laya as - daksina marga, vartika marga and main
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27 citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina main
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28 mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas main
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29 in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus main
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30 are the three layas in the operation of citra-marga. Thus has been propounded main
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31 in the chapter on gitis. As - in the daksina marga there are four gurus (long main
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32 units) two gurus and one guru. In vārtika mārga there are two gurus, one guru main
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33 and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half main
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34 - mātrā unit). annotation_inline
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vol_II_p159 RIGHT — 41 lignes

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1 301 page_number
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2 VIMARŚA page_header
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3 52. The word 'yatah' in this verse seems to imply that because the main
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4 svaras have to match the angahāras performed in the order of āsārita, the main
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5 formation or variation of amsas should be done in the text of the main
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6 vardhamāna. Āsārita and vardhamāna have identical temporal dimensions main
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7 with slight variation in splitting (shown below). These are the two gītakas main
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8 alongwith which the performance of dance is prescribed in NS XXXI - main
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9 <math>16 + 17 + 32 = 65 \text{ Kalās}</math> annotation_inline
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10 Asārita annotation_inline
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11 <math>9 + 8 + 16 + 32 = 65 \text{ Kalās}</math> annotation_inline
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12 Vardhamāna annotation_inline
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13 53. 'Not exceptional' means those svaras, the operation of which main
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14 in the formation of pentatonic varieties is not hindered by the rule of main
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15 samvāda. annotation_inline
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16 54. The strict prohibition of the omission of madhyama seems to main
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17 be based on the fact that this svara is the link between gandharva and main
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18 sāman, it being the tonic in sāman and the connecting point between the main
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19 two triads of the heptad. main
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20 55,56.The words utsarga and apavada are borrowed from main
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21 Pūrvamimāmsā. The former stands for the general rule and the latter for main
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22 the exception to the same. main
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23 57. The import is not clear from here to the end of the Anu. main
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24 58. 'Sangati' stands for to and fro movement between two svaras in a main
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25 jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- main
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26 paragamana '(mutual movement i.e. each of the two given svaras reaching main
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27 out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The main
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28 word sangati is used even to-day in the oral tradition in the same meaning. main
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29 It is notable that this relationship between any two svaras is purely melodic main
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30 phenomenon; it does not depend on the acoustic relationship of samvāda. main
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31 It is interesting to note that the word samvada has been used in our text in main
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32 the place of sangati several times in the section on ragas. main
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33 59. Omission, in ancient thought, is not something absolute, rather main
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34 it is the extreme state of sparseness. The svara that is omissible in a jāti is main
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35 sparse in its complete state. main
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36 60. NŚ does not mention the mūrchanās of jātis. Matanga does this main
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37 the first time. This innovation seems to be necessitated by the main
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38 for annotation_inline
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39 introduction of fretted viņās (see Glossary). main
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40 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the main
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41 third name being uttara. main
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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_p047 RIGHT — 37 lignes

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1 1 page_number
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2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
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192 lignes a valider — change uniquement les roles incorrects.