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 21220). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p157 RIGHT — 40 lignes

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1 VIMARŚA annotation_inline
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2 297 page_number
via heuristic_pagenum
3 35. Lack of regulation i.e. scope for free will in rendering is a main
via surya_layout
4 characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, main
via surya_layout
5 stand for 'aural appearance'. main
via surya_layout
6 36. See citation in the name of Nărada under Anu. 28 in chapter one list_item
via surya_layout
7 of our text Vol. I. 'Svarāntara' literally means a different svara; its relation list_item
via surya_layout
8 with the number four of svaras could thus be explained. The first three svaras list_item
via surya_layout
9 are repeated as the last three of a heptad. The fourth known as madhyama list_item
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10 comes in-between these two triads. Hence the fourth adds a 'different or list_item
via surya_layout
11 new svara'. This could be the reason for giving the name svarantara to a list_item
via surya_layout
12 group of four svaras. This name is relevant only for the first triad + the list_item
via surya_layout
13 fourth, but its secondary application could be related to any group of four list_item
via surya_layout
14 svaras. list_item
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15 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, list_item
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16 158 of the supplement (variant reading) to the said chapter. The description list_item
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17 ' (in terms of upohana or introductory portion and metre) is given below - list_item
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18 "Five dhruvās should be performed in Pūrvaranga (preliminaries of main
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19 drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and main
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20 <i>vikşiptă”</i> (p. 251). annotation_inline
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21 "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- main
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22 units) with the syllabic units dingle dingle, two units of four short syllables main
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23 each and jhantum in the end. Each foot of the dhruva is composed of sixteen main
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24 syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru main
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25 (long) and the rest being laghu (short)." The illustration is as follows- main
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26 Varadam saganam tripurāntakam vṛṣabhaketum/ main
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27 Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ main
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28 Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ main
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29 Praṇato'smi bhavantamumāpatim tvasitakantham/ main
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30 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding main
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31 verse 74 and in verse 75). The context is the same as that in our text, viz. main
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32 alpatva-bahutva. The manipulation of sparseness and abundance of svaras main
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33 in jātis on account of which a non-amsa svara also becomes abundant in a main
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34 special context is antara-mārga. main
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35 The literal meaning of this word is 'search for the inner path'. The root main
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36 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search main
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37 of the inner is antara-marga. What is this inner? This has to be understood main
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38 in two ways. The first is in relation to the seven jātis named after svaras, which main
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39 assume a two-fold form viz. śuddha and vikṛta. The second is in the context main
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40 of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above main
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vol_I_p071 LEFT — 45 lignes

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1 124 page_number
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2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
parent ligne 2
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4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
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6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
parent ligne 5
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7 अभिप्रवीं (?) ,प्रयोगः main
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8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
parent ligne 7
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9 सोऽधःपाणिरुच्यते । main
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10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
parent ligne 9
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
parent ligne 12
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
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17 मागधी सम्भाविताः annotation_inline
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18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
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22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
parent ligne 22
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
parent ligne 25
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30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
parent ligne 25
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
parent ligne 31
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
parent ligne 33
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35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
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40 •वयेन (?) unknown
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41 ,प्प, main
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42 .ला unknown
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43 या annotation_inline
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44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
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45 <b>यरदेन</b> unknown
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vol_II_p023 RIGHT — 37 lignes

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1 TRANSLATION page_header
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2 29 page_number
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3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
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4 in madhyamā. annotation_inline
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5 (228-229) main
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6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
parent ligne 15
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17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
parent ligne 18
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
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22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
parent ligne 22
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
parent ligne 26
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28 (235) annotation_inline
parent ligne 26
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
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30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
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33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
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35 (237) main
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36 , ' , annotation_inline
parent ligne 35
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37 . . . annotation_inline
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vol_I_p068 LEFT — 34 lignes

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1 BRHADDESI page_header
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2 118 page_number
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3 सरिमपपमरिस । रिगपधधपगरि । गमधनिनिधमग । main
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4 मपनिससनिपम। सनिपममपनिस। निधमगगमधनि। main
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5 धपगरिरिगपध। पमरिससरिमप। उद्घट्टितः [ २५ ] editorial_bracket
parent ligne 4
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6 सिरिग्। रिग्म। गमप्। मप्ध। पधनि। धनिस। सनिध। निधप। धपम। main
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7 पमग्। मगरि। गरिस। आक्षिप्तकः [ २६ ] editorial_bracket
parent ligne 6
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8 सगमा मरिसा। रिमपा पगरी। गपधा धमगा। main
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9 मधनी निपमा। पनिसा सधपा। धनिसा। सधपा पनिसा। main
via surya_layout
10 निपमा मधनी। धमगा गपधा। पगरी रिमपा। main
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11 मरिसा सगमा। गरिसा। सम्प्रदानमः [ २७ ] editorial_bracket
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12 。नम् annotation_inline
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13 सगम मरिस। रिमप पगरि-- - - - - - - unknown
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14 VII [ पदगीतिप्रकरणम् ] section_header
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15 अलङ्कारा मया प्रोक्ता यथावन्मुनिसत्तम main
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16 1अथ गीतिं प्रवक्ष्यामि छन्दोऽक्षर- [ समन्विताम् ] ॥१७०॥ editorial_bracket
parent ligne 15
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17 प्रथमा मागधी जेया द्वितीया चार्धमागधी । main
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18 सम्भाविता तृतीया च चतुर्थी पृथुला स्मृता ॥१७१॥ main
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19 थित्रिर्निवृत्ता च या गीतिः सा गीतिर्मागधी स्मृता । main
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20 अर्धकालनिवृत्ता च विज्ञेया त्वर्धमागधी ॥१७२॥ main
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21 सम्भाविता च विज्ञेया गुर्वक्षरसमन्विता । main
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22 पृथुलास्या च विज्ञेया लघ्वक्षरसमन्विता ॥१७३॥ main
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23 [ अनु₀ १०४ ] editorial_bracket
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24 दक्षिणे मार्गे पृथुला गीति [:], वार्तिक मार्गे सम्भाविता, चित्रे मार्गे editorial_bracket
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25 र्मा. annotation_inline
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26 <b>,</b>† annotation_inline
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27 र्गा annotation_inline
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28 मागधी । अष्टौ ३ मात्रा [ दक्षिणमार्गे, चतस्रो मात्रा editorial_bracket
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29 .धिः annotation_inline
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30 वार्तिकमार्गे, द्वे मात्रे चित्रमार्गे ] कलाप्रयोगक्रमेण । editorial_bracket
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31 ⁴ताल. annotation_inline
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32 चित्रे चैककले ताले विज्ञेया गीतिर्मागधी । main
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33 वार्तिक द्विकले ज्ञेया गीतिः सम्भाविता बुधैः ॥१७४॥ unknown
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34 .ला annotation_inline
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vol_II_p159 RIGHT — 41 lignes

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1 301 page_number
via heuristic_pagenum
2 VIMARŚA page_header
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3 52. The word 'yatah' in this verse seems to imply that because the main
via surya_layout
4 svaras have to match the angahāras performed in the order of āsārita, the main
via surya_layout
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
via surya_layout
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
parent ligne 37
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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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197 lignes a valider — change uniquement les roles incorrects.