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 21125). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_p115 RIGHT — 27 lignes

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1 213 page_number
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2 TRANSLATION page_header
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3 [9. Dodhaka] table
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4 Having sung the (first) half, the latter half is comprised of a stretching of svaras. table
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5 (391) table
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6 [10. <i>Totaka</i>] table
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7 [11. <i>Vastu</i>] section_header
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8 Where there are pāṭas and tennas 16 and the rest is comprised of a main
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9 stretching (elaboration) of svaras, that is vastu<sup>17</sup> used in desī gītas as well as main
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10 in drama. annotation_inline
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11 (392) main
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12 [12. Krauńcapada] section_header
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13 Krauñcapada is known to those proficient in gandharva as that which is main
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14 sung in pratitāla, being comprised of pada and svara. main
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15 (393) main
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16 [13. Haṁsapada] section_header
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17 Where there is one foot in Sainskṛta and the second (foot) is composed in main
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18 a regional (language) (and) which is sung with rhyme, that song is known main
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19 as hamsapada. annotation_inline
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20 (394) main
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21 [14. Śukasārika] section_header
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22 That which is combined with <i>tāla</i> (and) <i>pada</i>, bedecked with <i>pada</i> (and) main
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23 pāṭa (and) comprised of question and answer, is said to be śukaśārika. 19. main
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24 (395) annotation_inline
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25 That which is composed in the Karnāta language or is mixed (with other main
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26 languages) (and) is comprised of pada (text) embodying dialogue, is śukasārika. main
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27 (396) main
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vol_I_p095 RIGHT — 48 lignes

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1 <b>VIMARSA</b> page_header
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2 173 page_number
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3 Madhyama table
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4 Pañcama table
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5 Niṣāda-gāndhāra table
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6 Dhaivata table
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7 Gändhära table
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8 Nişāda table
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9 Şadja-rşabha table
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10 Şadja table
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11 Gāndhāra table
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12 This list does not seem to follow the general statement that all those which main
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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21 respectively and are hence vivadins. main
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22 44. Here again, the application of the concept of vivada in melodic structuring main
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23 is being illustrated. ( see glossary ) main
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24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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36 reciting the pk. The practice of the recitation of gatha is not generally known main
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37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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1 163 page_number
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2 TRANSLATION page_header
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3 Māngālī has pancama as its concluding note and is said to have dhaivata main
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4 as amśa. There is concert between şadja-dhaivata and similarly madhyama- main
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5 ṛṣabha; it is held to be always complete and should be known to be born of main
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6 ٠ page_number
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7 deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the main
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8 knowledgeable ones in music. main
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9 <math>(92-93)</math> main
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10 Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri editorial_bracket
parent ligne 9
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11 mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam main
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12 adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. main
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13 Pamāmāpāpā. Mārigālī [iii] editorial_bracket
parent ligne 12
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14 Having pañcama as amsa and the same as the concluding note, being main
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15 complete and brilliant with pañcama, saindhavī has been known to be a main
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16 vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama main
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17 is seen again and again. main
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18 (94) annotation_inline
parent ligne 17
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19 Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari main
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20 sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī main
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21 māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] editorial_bracket
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22 Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with main
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23 sparse madhyama. It has concert between sadja and madhyama, (and) is main
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24 always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be main
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25 complete. annotation_inline
parent ligne 24
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26 (95) main
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27 Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- main
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28 ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- main
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29 dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- main
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30 nismismidhāmapāpā. Gūrjari [v] editorial_bracket
parent ligne 29
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31 Combined with pañcama as the initial and concluding note, dākṣiṇātyā is main
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32 beautiful. This is complete and is said to be born in gandharapancama. 40 It main
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33 should always be known as a vibhāṣā born of pañcama bearing a regional main
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34 name.41 annotation_inline
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35 (96) main
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36 Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- main
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37 garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri main
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38 gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi] editorial_bracket
parent ligne 37
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vol_II_p151 LEFT — 47 lignes

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1 Page 1000 unknown
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2 284 page_number
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3 BRHADDEŚĪ section_header
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4 (ii) main
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5 बाङ्गाली भित्रपड्जे या मतङ्गस्य मते स्थिता । main
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6 तस्या भाषाङ्गतामाह सर्वाङ्गपरिपृरित:॥ main
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7 Ibid.3.119. annotation_inline
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8 9. cf. main
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9 (i) annotation_inline
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10 ममन्द्रा पड्ज-तारा च ग्रहन्यासांशपञ्चमा । main
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11 स्वल्प-धैवत-गान्धारा भम्माणी ऋषभेऽक्रिया[?]॥ editorial_bracket
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12 C.r. in Bha Bhā VII.231. main
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13 (ii) annotation_inline
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14 त्रिपा सतारा मृदुमस्वरा च, हीना निगाभ्यां धगताल्पता च । main
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15 भम्माणिका याष्ट्रिकसम्मतेन भाषाङ्गमुक्ता वसुधाधिपेन ॥ main
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16 S Rāj 11.2.3.112. annotation_inline
parent ligne 15
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17 10. cf. (i) main
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18 सान्ता धांशा हीनगपा पुलिन्दी भिन्नपङ्जजा । main
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19 सधयोः समयोर्युक्ता पुलिन्दजनबङ्गभा ॥ main
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20 Kalā (appendix) on SR II. p.140. main
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21 (ii) annotation_inline
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22 पुलिन्दिका भिन्नपङ्जे पूर्वमेवोदिता तु या । main
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23 सैव भाषाङ्गमित्युक्ता सर्वभाषाङ्गवेदिना ॥ main
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24 S Rāj II.2.3.77. annotation_inline
parent ligne 23
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25 11. The description (lakṣaṇa) is lost due to a break in the text. In S Rāj main
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26 II.2.2.17a gāndhārasindhu is mentioned as a bhāṣānga, but its definition is not main
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27 given even in that text, on the plea that it is not 'seen in current practice'. main
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28 न लक्षितात्र गान्धारसिन्धुर्लक्ष्येप्वदर्शनात् । main
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29 S Rāj II.2.3.107. annotation_inline
parent ligne 28
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30 12. P.t. is confused as - main
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31 गान्धारसिन्धुपङ्जन्यासग्रहा धांशधारिता । main
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32 + + + + + + + + + + मन्द्रमध्यमा॥ main
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33 Reconstruction based on (ii) and (iii) below(note 13). main
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34 13. cf. (i) annotation_inline
parent ligne 33
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35 गान्धारतारा मृदुमा धैवतांशग्रहान्तिमा । main
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36 समशेपस्वरा पूर्णा कर्णाटी वर्णिता भये ॥ main
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37 S Rāj II.2.3.108. annotation_inline
parent ligne 36
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38 थान्ता (धांशा) षड्जग्रहन्यासा तारगा मन्द्रमध्यमा । main
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39 (ii) annotation_inline
parent ligne 38
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40 समशेपस्वरा पूर्णा कर्णाटी कर्णरक्तिदा ॥ main
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41 इमां भाषां समाचष्ट मतङ्गादिविदां गण:। main
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42 रागाङ्गमाह नि:शङ्को ग्रामरागानुसारत: ॥ main
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43 S Rāj II.2.2.113,114. main
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44 (iii) annotation_inline
parent ligne 43
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45 षड्जन्यासग्रहा धांशा स(ग)तारा मन्द्रमध्येमा । main
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46 समस्वरा च सङ्कीर्णा पूर्णा पूर्णाटका मता ॥ main
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47 Kalā (appendix) on SR II, p. 128. main
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188 lignes a valider — change uniquement les roles incorrects.