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 21326). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p045 RIGHT — 54 lignes

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1 73 page_number
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2 TRANSLATION page_header
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3 (11) table
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4 ni ni ni ni ri ri ri ri table
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5 (12) table
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6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
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7 (13) table
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8 pā pā mā gari gā gā gā gā table
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9 (14) table
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10 rī rī mā sama mā mā pā pā table
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11 (15) table
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12 mā mā nī nī sā rī gā pā table
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13 riga gã gã gã gã gã gã gã table
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14 (16) table
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15 Thus ends andhri. section_header
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16 [9. Nandayanti] section_header
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17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
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18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
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19 gīta (melody). annotation_inline
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20 (23) main
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21 There is the abundance of the lower rṣabha. The hexatonic form comes main
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22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
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23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
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25 (24) main
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26 The application is (prescribed) in the singing of dhruvās in the first act. main
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27 (25) annotation_inline
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28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
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29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
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35 pā pā pā pā pā pā pā pā ` table
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36 (4) table
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37 dhā nī mā pā gā gā gā gā table
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38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
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40 (6) table
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41 mã mã pã pã dhã nidha pã pã table
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42 (7) table
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43 dhã nĩ mã pã gã gã gã gã table
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44 (8) table
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45 gama pā pā pā mā mā gā gā table
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46 (9) table
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47 dhā nī mā pā gā gā gā gā table
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48 (10) table
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49 mā mā mā mā mā mā mā mā table
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50 (11) table
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51 rī gā mā pā pama pā pā nī table
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52 (12) table
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53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
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vol_II_p021 RIGHT — 40 lignes

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1 ٠. annotation_inline
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2 25 page_number
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3 TRANSLATION page_header
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4 Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita main
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5 (forms) come into being by the omission of sadja and (sadja) pañcama main
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6 respectively. annotation_inline
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7 (213) main
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8 In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. main
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9 These two alongwith madhyama are apanyāsas and the two(ṣāḍava and main
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10 auduvita) are, as spoken of before, (in ārṣabhī) through the respective main
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11 omission of (ṣadja and ṣadja-pañcama). main
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12 (214) annotation_inline
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13 In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, main
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14 niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa main
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15 is the svara (niṣāda) from which this jāti derives its name. main
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16 (215) annotation_inline
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17 In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves main
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18 are the apanyāsas, adding niṣāda and omitting gāndhāra. main
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19 (216) annotation_inline
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20 Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this main
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21 (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. main
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22 there is no omission). main
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23 (217) annotation_inline
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24 Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as main
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25 amśas, sadja and dhaivata should be known as two apanyāsas. main
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26 (218) annotation_inline
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27 It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid main
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28 also of pañcama. There is the abundance of mandra gandhara and madhyama main
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29 is the <i>nyāsa</i>. main
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30 (219) annotation_inline
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31 Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras main
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32 from which it derives its name (viz. şadja and madhyama). Nişāda and main
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33 gāndhāra are the two svaras that bring about hīnatva (the state of being bereft main
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34 i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, main
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35 gāndhāra, its audava form). main
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36 (220) annotation_inline
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37 The sañcara (to and fro movement of svaras) is left to one's will, it has to main
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38 be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the main
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39 remaining (eleven) are the jātis of madhyama (grāma). main
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40 (221) main
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vol_II_p012 LEFT — 32 lignes

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1 BRHADDEŚĪ page_header
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2 6 page_number
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3 ‘‘शुद्धा विकृताश्चैव हि समवायाज्जातयस्तु जायन्ते । main
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4 <sup>८</sup>पुनरेवाशुद्धकृता भवन्त्यथैकादश परास्तु ॥’’ main
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5 [ना॰ शा॰ २८.४६] editorial_bracket
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6 <sup>९</sup>तासां यास्तु निर्वृत्ता: स्वरेष्वथांशेषु <sup>१</sup>°हानिषु च । annotation_inline
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7 जातिषु annotation_inline
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8 • व • annotation_inline
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9 जातीस्ता वक्ष्याम: सङ्क्षेपेण क्रमेण चैवात्र ॥ १९२ ॥ main
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10 <sup>११</sup>षड्जाया मध्यमायाश्च संसर्गात् षड्जमध्यमा । main
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11 षड्जायाश्चैव गान्धार्या जायते षड्जकैशिकी॥ १९३ ॥ main
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12 तयोरेव सधैवत्यो: षड्जोदीच्यवती भवेत्। main
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13 आसां समध्यमानां तु गान्धारोदीच्यवा भवेत् ॥ १९४ ॥ main
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14 गान्धार्या मध्यमायाश्च पञ्चम्याश्चेव सङ्करात् । unknown
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15 (मी?म्या) annotation_inline
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16 सधैवतीनामासां तु मध्यमोदीच्यवा भवेत् ॥ १९५ ॥ main
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17 आसां स्याद् रक्तगान्धारी नैषादी चेच्चतुर्थिका । main
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18 आर्षभ्यास्तु भवेदान्ध्री गान्धार्याश्चैव सङ्करात् ॥ १९६ ॥ main
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19 •द्यन्धी annotation_inline
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20 अनयोस्त् सपञ्चम्योर्नन्दयन्ती प्रजायते । main
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21 सनिषादास्त्वगान्धार्याः कुर्युः कार्मारवीमिमाः ॥ १९७ ॥ main
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22 ग्माम् annotation_inline
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23 गान्धारी पञ्चमी चैव ताभ्यां गान्धारपञ्चमी । main
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24 १२तथा annotation_inline
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25 आर्षभी-धैवती-वर्ज्याः कैशिकीमिति सङ्कराः ॥ १९८॥ main
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26 इदानीं विभागमाहु: - section_header
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27 <sup>१३</sup>चतस्रो जातयो नित्यं ज्ञेया: सप्तस्वरा बुधै:। main
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28 चतस्र: षट्स्वराश्चान्या दश पञ्चस्वरा: स्मृता: ॥ १९९ ॥ main
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29 न्द्या annotation_inline
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30 एतदेव स्फुटं भवति - main
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31 मध्यमोदीच्यवा चैव तथा वै षड्जकैशिकी । main
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32 कार्मारवी च सम्पूर्णा तथा गान्धारपञ्चमी ॥ २०० ॥ main
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vol_I_p102 RIGHT — 49 lignes

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1 VIMARŚA annotation_inline
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2 187 page_number
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3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
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4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
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5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
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6 mātrās; there also each kalā of time will be related to each phrase. list_item
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7 76,77. Identical with note 52 above. list_item
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8 78. All the four sa belong to the tāra-sthāna. list_item
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9 79. See note 47 above. list_item
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10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
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11 probably it has been used because the units of phrases here are not equal, they list_item
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12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
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13 81. Here the traditional rule of having a shake only on svaras with three list_item
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14 <i>śrutis</i> seems to have been abandoned. list_item
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15 82. Kalā obviously means phrase-unit here. list_item
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16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
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17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
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18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
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20 perhaps, be taken as the first indication of the advent of desi talas. list_item
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21 84. It is notable that BrD has not classified alankāras into varņas. list_item
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22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
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23 but they have not been described. list_item
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24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
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25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
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29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
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30 outside the above seven, but are very important on account of special tala list_item
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31 patterns and association with dance. All these forms are prescribed in list_item
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32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
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33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
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34 hence the units of text of songs could be stretched by the melody through list_item
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35 alankāras, the comprehension of the meaning of the text of songs being not list_item
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36 important there. list_item
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37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
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38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
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39 listener is very important and hence stretching of the syllables of the text is not list_item
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40 desirable. list_item
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41 88. The implication of this statement is not clear, because alankaras of the list_item
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42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
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48 e le par Alle annotation_inline
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49 and the second annotation_inline
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vol_II_p110 RIGHT — 31 lignes

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1 203 page_number
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2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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206 lignes a valider — change uniquement les roles incorrects.