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 21259). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p051 LEFT — 38 lignes

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1 BRHADDEŚI page_header
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2 84 page_number
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3 मपधनिसरिगमपधनिस । अश्वक्रान्ता ६ main
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4 पधनिसरिगमपधनिसरि । अभिरुद्गता [ ७ ] editorial_bracket
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5 ॥ इति षड्जग्रामे ॥ editorial_bracket
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6 [ अनु₀ ६३ ] editorial_bracket
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7 'मध्यमग्रामेऽप्येवमेव मपधनिसरिगाद्या मूर्छना निसरिगमपधाद्या main
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8 <math>[:]^{95}</math>रागकाले द्वादशस्वरमूर्छना अवगन्तव्याः । ताश्च षड्जग्रामे <math>[:]^{95}</math> editorial_bracket
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9 मूर्छनासु अन्तर्गता ज्ञेयाः । तद्यथा— main
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10 निसरिगमपधनिसरिगम। सौवीरी [१] editorial_bracket
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11 सरिगमपधनिसरिगमप। हरिणाश्वा [२] editorial_bracket
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12 रिगमपधनिसरिगमपध। कलोपनता [३] editorial_bracket
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13 [8] editorial_bracket
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14 गमपधनिसरिगमपधनि। शुद्धमध्या main
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15 मपधनिसरिगमपधनिस। मार्गी main
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16 [4] editorial_bracket
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17 [६] editorial_bracket
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18 पधनिसरिगमपधनिसरि। पौरवी main
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19 [ ૭ ] editorial_bracket
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20 धनिसरिगमपधनिसरिग। हृष्यका main
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21 ॥ इति मध्यमग्रामे ॥ editorial_bracket
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22 [ इति ग्राममूर्छनाप्रकरणम् ] editorial_bracket
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23 VI [ वर्णालंकारप्रकरणम् ] editorial_bracket
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24 [ तत्र वर्णाः ] editorial_bracket
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25 अतः परं प्रदर्श्यन्ते वर्णाश्चत्वार एव हि। main
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26 स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।। main
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27 [ अनु₀ ६४ ]. editorial_bracket
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28 वर्णशब्देन किमुच्यते ? वर्णशब्देन गानमभिधीयते। यत्र समाः main
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29 नन् annotation_inline
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30 स्वरा अनुपहतरूपास्तिष्ठन्ति तेभ्यो यद्गीतं वर्णाभिव्यक्तिकृद् यत्र पदे main
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31 त् annotation_inline
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32 स वर्णः स्थायीत्युच्यते। यथा— main
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33 षाङ्ज्यां सासासासा, मध्यमायां तु मामामामा इति। main
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34 सारीसासारीसा annotation_inline
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35 षज्जा annotation_inline
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36 <sup>1</sup>षड्जात annotation_inline
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37 <b>य्यत्र गीते संचरिन्त स्वराः परस्परमन्त्यसहिताः।</b> main
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38 एकैकशो [ द्विशो ] वा स संचारी वर्ण उच्यते।। ११९ ॥ editorial_bracket
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vol_II_p094 RIGHT — 30 lignes

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1 171 page_number
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2 TRANSLATION page_header
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3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
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vol_I_p099 RIGHT — 45 lignes

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1 181 page_number
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2 VIMARŚA page_header
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3 is also used. This is how the distinction brought about by mandra and tara could be main
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4 understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. main
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5 48. 'Sukha' has been translated here as convenience or it could be rendered main
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6 as facility. The facility of the performer and listener is said here to be the main
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7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
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8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
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9 author has tried to distinguish between murchana and tana, we have accepted main
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10 the reading anyatvam which means distinction (see note 78 under textual notes main
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11 on the section ). In NS mūrchanā-tāna is also a compound name for the 84 main
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12 tānas. BṛD does not use this compound and emphasises the distinction between main
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13 the two; viz. mūrchanā and tāna. main
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14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
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15 said that the variety of murchana and tana accords facility to the performer by main
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16 making possible the use of three sthanas (registers) and also the omission of main
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17 svaras (according to a specific system as embodied in the 84 tanas). The main
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18 distinction between murchana and tana brought out in the reading accepted by main
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19 us could be construed to mean that mūrchanā as a complete scale in ascending main
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20 and descending establishes the three sthanas and tana (involving omission) main
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21 establishes a specific pattern in ascent. It is interesting to note that even today main
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22 omission of one or two svaras is very effective in the ascent in all those ragas main
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23 that involve omission in ascent and use the omitted svaras in descent. ( see main
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24 glossary) main
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25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
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26 of this specific omission could be said to be the distinguishing feature between list_item
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27 the jātis and rāgas of one grāma and the other. list_item
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28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
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29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
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30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
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31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
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32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
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33 the first instance the number of tanas (permutation of a given number of list_item
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34 svaras ) is implied and in the second instance the number of svaras constituting list_item
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35 the specific tāna (combination of svaras) is implied. list_item
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36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
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37 remains intact and uthrama is a permutation where the original order is list_item
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38 changed. The method of obtaining the number of kramas and utkramas of a list_item
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39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
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40 number, without leaving any number in-between. For example if the number of list_item
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41 svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and list_item
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42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
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43 kramas and the remainder viz. 714 is the number of utkramas. list_item
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44 57. 'Māna' could stand here for the measure (length, breadth and the like) of the list_item
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45 viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI, list_item
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vol_II_p029 RIGHT — 18 lignes

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1 ş annotation_inline
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2 41 page_number
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3 TRANSLATION page_header
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4 "Şadjamadhyamā is not desired to be with six svaras when the seventh main
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5 (niṣāda) is the amśa, because of the non-omission of the samvādī (of the main
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6 amsa); similarly it is not desired to be so when gandhara (is the amsa). main
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7 In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava main
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8 (non-ṣāḍava) and in ṣaḍjā (jātī) the amśa gāndhāra should be known as such. main
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9 O twice-born ones! when dhaivata is the amśa in ṣadjodīcyā there is no ṣāḍava main
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10 (form) because of the non-omission of the samvādī. These seven (amśas) are main
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11 devoid of the state of making six svara forms. main
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12 In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh main
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13 (niṣāda) should be known to be such as disallowing the formation of main
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14 auduvita. annotation_inline
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15 In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, main
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16 similarly dhaivata in kaiśiki - these twelve should be avoided in making main
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17 pentatonic (forms). These jātis should always be treated as anauduvita (non- main
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18 pentatonic), when based on the above svaras. main
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vol_I_p011 RIGHT — 32 lignes

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1 5 page_number
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2 <b>TRANSLATION</b> page_header
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3 The state of being consonant (vyanjanatva) is common to all the (seven) main
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4 groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the main
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5 state of Siva simply on account of (its) manifestation through Sakti (svara). (8) main
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6 Varņas (letters and syllables) are known as such because they delineate the main
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7 whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18 main
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8 (sentence) and through the conveying of the meaning of sentence. (9) main
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9 This pada 19 is always known by the wise to be preceded by syllable (varna) main
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10 i.e. the former presupposes the latter. The sentence, on the other hand, is a main
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11 combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing main
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12 about the action denoted by a verb) (and) is made up of words. (10) main
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13 From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great main
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14 sentence) and in succession (arise) the Vedas with their angas 23 (anciliary main
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15 disciplines); all those are manifested from dhvani. From there (Vedas) is the main
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16 origin of Gandharva<sup>24</sup> (music). (11) main
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17 Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of main
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18 everything. The whole world of immobile and mobile (beings) is encompassed main
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19 by dhvani. (12) annotation_inline
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20 Dhvani is said to be twofold according to (its) division into manifest and main
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21 unmanifest (states). Being manifest on account of the obtaining of varnas 26 it main
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22 (dhvani) has reached the countenance (beginning) of desi. (13) main
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23 Thus ends the origin of desi. main
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24 [The definition of dest and marga ] section_header
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25 That which is sung by women, children, cowherds and kings<sup>27</sup> out of their main
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26 own will with love (and pleasure) in their own (respective) regions is called desi main
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27 (music). (14) annotation_inline
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28 This mārga 28 (course) (of deśi) is known to be twofold viz. that which is main
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29 nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound, main
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30 relatively less structured). That which is structured through ālāpa (melodic main
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31 elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is main
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32 called desi. (15, 16ab). annotation_inline
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163 lignes a valider — change uniquement les roles incorrects.