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 21313). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p089 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 160 page_number
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3 यापापाधापासासापाधापमगामामा page_header
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4 उदाहरणम् - सापापाधामामा पागामगापधाधापागमा main
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5 गामसासासागागामागामामा । षड्ज[मध्यमा]।[४] editorial_bracket
parent ligne 4
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6 मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु । main
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7 ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ main
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8 भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ main
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9 प्रेक्षके मधुकरी annotation_inline
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10 मापानिसासारिरोगमगारीसासा main
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11 उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा main
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12 निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५] editorial_bracket
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13 मधु(क)री annotation_inline
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14 ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ editorial_bracket
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15 [५.अथ पञ्चमे] ७४ editorial_bracket
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16 पञ्चमांशा तदन्ता च निषादबहुला सदा। main
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17 परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥ main
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18 <sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । main
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19 आभौरी annotation_inline
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20 पूर्ण annotation_inline
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21 एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ main
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22 उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि- main
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23 मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास - main
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24 रिमाधारिमपापा । आभीरी। [१] editorial_bracket
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25 भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । main
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26 मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ main
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27 मध्यम् annotation_inline
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28 भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥ main
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29 उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा editorial_bracket
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30 मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२] editorial_bracket
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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_I_p070 RIGHT — 34 lignes

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1 1 page_number
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2 123 page_number
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3 <b>TRANSLATION</b> page_header
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4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
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5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
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6 performer), and vartini is moved downwards, visarjitā is moved outwards main
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7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
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8 (179, 180) annotation_inline
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9 upwards, (and) patită reaches (touches) the ground. main
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10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
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11 two viz. kṛṣṇā and padmini27 are also (used). main
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12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
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13 (181) annotation_inline
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14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
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16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
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17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
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18 having the predominance of both is vitti vitti, (and) having the predominance main
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19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
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22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
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25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
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26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
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27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
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28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
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29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
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30 (Anu. 110) annotation_inline
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31 The vādya (presentation on instruments) should be done with sama, atīta main
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32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
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33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
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34 110 page_number
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vol_I_p080 LEFT — 45 lignes

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1 142 page_number
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2 BRHADDESI page_header
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3 only by implication. It was considered better to mention the 'change of grāma' main
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4 rather than the explicit mention of madhyamagrāma. main
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5 16. Shake on svaras composed of three śrutis each has been spoken of in main
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6 Nātyašāstra and Abhinava Bhāratī cf. NŚ XXX, 7 where rṣabha and dhaivata main
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7 (the two svaras made up of three śrutis each ) have been said to be played with main
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8 shaking fingers. Abhi Bhā on NŚ XXVIII, 21 also speaks of shake on svaras main
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9 composed of three śrutis both in the Vedic and non-Vedic traditions. In the main
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10 description of alankāras NŚ XXIX, 43 speaks of shake for three kalās in the main
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11 kampita alankāra and this description seems also to apply to recita and kuhara main
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12 mentioned in the same verse. Abhinavagupta comments that kalā here, stands main
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13 for 'sruti'. In view of all these postulations the P.t. reading 'dvisruti' has been main
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14 changed to 'triśruti'. In the description of the next two 'alankāras' P.t. also reads main
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15 triśruti'. annotation_inline
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16 17,18,19. P.t. is extremely confused here and hence it has not been noticed. main
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17 20. P.t. reads after 'athava' वेल षड्जग्रामे षड्जाद्याः सप्त मूर्खनाः मध्यमग्रामे मध्यमाण्च सप्त। main
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18 एताष्ट्रचतुर्दम मूर्खनाः। प्रत्येक चतुर्धा भवन्ति। धुद्धा करकलिकलिता सान्तरा तद्द्वयोपेता चेति। एकैकस्या main
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19 मूर्जनायाप्रचतुर्विधत्वात् यत्त्रज पञ्चचत्वारिष्ठायुतानि पञ्चसहस्राणि 'कूटकूटतानानाम् (?)। main
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20 षद्पञ्चाशन्पूर्छनास्ताः पूर्णकृटास्तु योजिताः ॥ main
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21 लक्षड्रय सहस्राणि इचामीतिई मते तथा। main
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22 चत्वारिमञ्च संस्थाता अथापूर्णा ( त् ? न् ) प्रचक्ष्महे ॥ main
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23 एकैकाद्यग्निवरहाद् गमजा घड्जादयः स्वराः । main
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24 एक्स्बरोऽत्र निर्भेदोऽप्युक्तो नष्टोदिसिद्धये ( ७ )॥ main
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25 क्रमादकूटतानत्वे युक्तास्तेषूपयोगिनः । main
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26 सप्तस्थानानि – आधारस्वाधिष्ठानानाहतमणिपूरक ( अनाहत ? ) विशुद्धचाजाब्रह्मरन्ध्रेषु। गमपधनिस। रि। main
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27 सरिगरिगामग । ममपमधपपध निधनिधनिस । प्रस्तारः ॥ annotation_inline
parent ligne 26
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28 This portion is totally out of context and bears evidence to extreme confusion main
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29 in the MSS. The enumeration of seven sthanas in the last sentence of this main
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30 portion is, however, interesting. main
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31 21,22. P.t. is utterly confused and hence has not been noticed. main
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32 23. P.t. reads -सचरन्तावारोहक्रमेणा (रोहक्रमेणा?) वरोहादुद्वाहितः । main
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33 We have added 'ca' (and) after 'avarohāt' in accordance with Sanskrit main
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34 idiom. annotation_inline
parent ligne 33
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35 24. P.t. is extremely confused and hence has not been noticed. list_item
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36 25. P.t. reads - list_item
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37 कं (ल ? ला) त्रयकरणात् (प्रा ? हा) दमानः साधासाधासाधा। नीपानीपानीपा। धामाधामाधामा। पागापागापागा। list_item
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38 मारीमारीमारी गासागासागासा। list_item
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39 The illustration has been repeated twice. main
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40 26. We have changed the long solfa-syllables here to short because the list_item
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41 description of this alankara in the text says that three kalas have to be made (in list_item
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42 each phrase). Six short syllables would make three long units (gurus) and one list_item
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43 guru is equal to one kalā as a standard unit. list_item
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44 27. Reading of MS B as noticed by the ed. list_item
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45 28. P.t. Catu (rtha). list_item
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1 , annotation_inline
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2 TRANSLATION page_header
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3 239 page_number
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4 [37. Dhvanikuṭṭanī] section_header
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5 Here there are <i>mātr</i>ās of even number and there is <i>dhvuni</i>, sometimes there is main
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6 a pause after that. If there are two tālas in this, then that is dhvanikuṭṭanī. main
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7 (480) main
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8 [38.<i>Dheńki</i>] section_header
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9 Where <math>n\bar{a}da_{*}^{86}</math> synthesised with syllable is taken up at will without <math>t\bar{a}la</math> and main
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10 then there is tāla, that is said to be <i>dhenkikā</i>. main
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11 (481) main
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12 [39. Ekatālī] section_header
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13 Where there is alliteration without break <math>^{87}</math> (and) where yati is formed in each main
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14 druta<sup>88</sup>(?), that is known to be ekatālikā by those knowledgeable in the essence main
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15 of music. annotation_inline
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16 (482) main
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17 [40. <i>Mātṛkā</i>] section_header
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18 Where the letters of the alphabet are taken up one by one and are sung main
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19 in combination with the desired meaning, that is called mātṛkā.89 main
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20 (483) main
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21 [41. Svarārtha] section_header
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22 Where the song is properly accomplished with the svaras (solfa syllables) main
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23 yielding the desired meaning, that is known as svarārtha among the songs made main
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24 of vastu. annotation_inline
parent ligne 23
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25 (484) main
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26 [42. <i>Karana</i>] section_header
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27 Where two sections are composed of svaras alone without any break, that has main
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28 been said here to be karaṇa, being (endowed) with the yati named karaṇa (?).91 main
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29 (485) main
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166 lignes a valider — change uniquement les roles incorrects.