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 21211). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p077 LEFT — 32 lignes

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1 * 1 annotation_inline
parent ligne 4
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2 BRHADDEŚĪ page_header
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3 136 page_number
via heuristic_pagenum
4 साधारिता तृतीया तु गान्धारी च चतुर्थिका । main
via surya_layout
5 एवं ज्ञेयाश्चतस्रो हि भाषा: सौवीरकोद्भवा: ॥३१॥ main
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6 भाषा सैन्यविकी ज्ञेया ज्ञेया: <sup>१४</sup> main
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7 शुद्धिभन्ना तु वाराटी तथा धैवतभूषिता । main
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8 न्हो annotation_inline
parent ligne 7
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9 ক্ট annotation_inline
parent ligne 7
via heuristic_height
10 १५विशाला च तत: प्रोक्ता भित्रपञ्चमसम्भवा: ॥३२॥ main
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11 वराटी annotation_inline
parent ligne 10
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12 माङ्गल्याख्या तु या भाषा बोट्टरागोद्भवा तु सा । main
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13 TPo annotation_inline
parent ligne 12
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14 मालवपञ्चमे जाता भाविनी लोकभाविनी<sup>र६</sup>॥३३॥ main
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15 टक्ककैशिकजा ज्ञेया मालवा <sup>१७</sup>भित्रवालिका । main
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16 तृतीया वेगमध्यमा annotation_inline
parent ligne 15
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17 तृतीया द्राविडी तत्र भाषा लक्षितलक्षणा ॥३४॥ main
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18 मालवा भित्रवालीका ++++++ annotation_inline
parent ligne 17
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19 बाह्यषाडवनादाख्ये जाते वेसरषाडवे । main
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20 •पाडनदाख्या annotation_inline
parent ligne 19
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21 तानोद्भवा तु विज्ञेया भित्रताने व्यवस्थिता ॥३५॥ main
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22 गान्धारपञ्चमे ह्येका भाषा गान्धारिका मता । main
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23 गान्धारी <sup>१८</sup>बहुगान्धारा पञ्च[मे?]लोकरञ्जिका ॥ editorial_bracket
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24 +++++ annotation_inline
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25 १९रेवगुप्ते शकाख्यैका प्रोक्ता पञ्चमषाडवे ॥३६॥ main
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26 इत्येता: प्रकटा भाषा: प्रजायन्ते ह्यनेकश: । main
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27 सोदाहरणमेतासां लक्षणं चाधुना शृणु ॥३७॥ main
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28 [भाषाणां लक्षणानि] editorial_bracket
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29 [१.अथ टकरागे] editorial_bracket
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30 मध्यमांशा तु षड्जा[न]ता पञ्चमेन विवर्जिता । editorial_bracket
parent ligne 27
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31 धैवतस्य निषादस्य <sup>२०</sup>षड्जधैवतयोस्तथा ॥३८॥ main
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32 <del>व्</del>तरेश page_footer
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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_p156 RIGHT — 41 lignes

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1 VIMARŚA page_header
via surya_layout
2 295 page_number
via heuristic_pagenum
3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
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4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
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5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
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6 has been used in isolation, the compound utsarga-vidhi being implicit. main
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7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
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8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
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9 anuvādin svaras. annotation_inline
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10 14. This phrase or piece of notation does not occur in SR in the list_item
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11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
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12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
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13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
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14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
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15 this word in a different meaning, which could, perhaps, be graha. list_item
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16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
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17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
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18 in intervallic and melodic organisation. list_item
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19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
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20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
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21 rendering with or without text and 'pada' could stand for self-contained list_item
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22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
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23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
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24 pause between one vidārī and another. list_item
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25 19. 'Pāda', literally meaning foot is used both in the context of list_item
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26 textual metre and musical composition. list_item
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27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
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28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
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29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
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30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
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31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
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32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
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33 much earlier than our text. list_item
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34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
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35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
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36 of Bharata does not occur in the introduction to the citation. list_item
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37 22. The octave of the amsa is implied here; that is the beginning of list_item
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38 tāra (high). list_item
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39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
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40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
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41 indicating their tara position. list_item
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vol_II_p086 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 155 page_number
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3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
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4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
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6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
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7 complete in svaras, (and) there is the concert of sadja-dhaivata and similarly main
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8 pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first main
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9 one born of kakubha. annotation_inline
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10 (72) main
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11 Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā. main
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12 Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i] editorial_bracket
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13 Having madhyama as amśa and dhaivata as the concluding note, main
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14 madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful main
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15 one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual main
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16 concert. annotation_inline
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17 (73) annotation_inline
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18 ٨. annotation_inline
parent ligne 15
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19 Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā. main
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20 Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā main
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21 dhadhadha. Madhyamagrāmikā [ii] editorial_bracket
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22 <math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma main
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23 concluding note. Madhyama and ṛṣabha are seen to be in mutual concert. main
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24 Some people desire the seventh (niṣāda) to be profuse and others (desire) main
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25 the same to be weak. annotation_inline
parent ligne 24
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
parent ligne 26
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28 marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni. main
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29 Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri main
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30 māpāpāmāsānidhādhā. Sātavāhinī [iii] editorial_bracket
parent ligne 29
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31 Having madhyama as amśa, niṣāda as the concluding note, being weak in main
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32 ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in main
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33 kakubha, where there is concert between the two svaras comprised of two main
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34 śrutis<sup>30</sup> each and pañcama. main
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35 <b>(75)</b> annotation_inline
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36 Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani. editorial_bracket
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
parent ligne 37
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vol_II_p033 RIGHT — 32 lignes

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1 1400 page_number
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2 TRANSLATION page_header
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3 49 page_number
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4 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika main
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5 (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa main
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6 (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its main
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7 application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup> main
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8 (associated with exit) dhruvā in the first scene (or act). main
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9 [3. Dhaivati] section_header
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10 [Anu. 150] section_header
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11 In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā main
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12 state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and main
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13 madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is main
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14 devoid of pañcama and the auduva formation is devoid of pañcama, șadja. main
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15 The same two svaras, viz. şadja and pañcama should be made weak and should main
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16 sometimes be leapt over. The tara is upto five svaras. The mandra is upto the main
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17 nyāsa<sup>66</sup> or upto the svara next to nyāsa. main
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18 [Anu. 151] section_header
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19 It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās main
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20 in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā main
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21 beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), main
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22 citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and main
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23 sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā main
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24 (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in main
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25 the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, main
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26 bhayānaka are the rasas. Its application is (prescribed) in the singing of main
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27 dhruvā in the first scene (or act). main
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28 [4. Naisādī] section_header
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29 [Anu. 152] section_header
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30 In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. main
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31 Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava main
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32 formation is devoid of pañcama and the auduvita formation is devoid of main
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189 lignes a valider — change uniquement les roles incorrects.