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 21346). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 89 page_number
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2 <b>TRANSLATION</b> page_header
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3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
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4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
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5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
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6 (bodily) svaras (in the verse of NS quoted above). main
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7 So has been said - annotation_inline
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8 These four varnas should be known as the constructors23 of melodic main
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9 (NŚ XXIX, 19ab) annotation_inline
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10 rendering. annotation_inline
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11 [Thus end the varnas] editorial_bracket
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12 [The Alankaras] section_header
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13 (Anu. 68) annotation_inline
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14 Now the well-known thirty-three 24 alankāras are being described by name main
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15 and application. What is spoken of through the word alankara and what is its main
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16 etymology? It is being answered. Ornament25 is being spoken of by the word main
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17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
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18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
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19 that subsists in varņas (and is) adorned by these alankāras (known as) main
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20 prasannādi and the like, becomes delightful to the performers and listeners. main
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21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
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22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
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23 (derived thereby) means that which makes something sufficient or adequate. main
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24 This word alankara has the end-suffix ghan. main
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25 (Anu. 69) annotation_inline
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26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
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27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
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28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
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29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
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30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
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31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
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32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
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33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
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34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
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35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
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36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
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37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
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38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
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39 i annotation_inline
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40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
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41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
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42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
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1 BRHADDEŚĪ page_header
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2 54 page_number
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3 [८. गान्धारी] section_header
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4 तत्र गान्धार्या गान्धारषड्जमध्यमपञ्चमनिषादा <sup>१५७</sup>ग्रहा: , त एवांशा:। पञ्चस्वरपरस्तारो main
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5 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम्,ऋषभधैवतहीनमौडुवितम्। main
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6 पूर्णावस्थायामृषभधैवतयोरल्पत्वम्, शेषाणां बहुत्वम्। स्वरजातित्वाद् गान्धारो न्यासः, main
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7 १५८षड्जपञ्चमावपन्यासौ, धैवतर्षभयो: सङ्गति:। तद्यथा - गान्धारी यदा सम्पूर्णा गीयते तदा main
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8 ॰मध्यमा॰ annotation_inline
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9 माधारिगा<sup>९५९</sup> इति प्रयोग: स्यात् । यदा ऋषभहीना गीयते [तदाऽ]धरस्वरप्रवेशने माधाधागा इति editorial_bracket
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10 <b>ण्नं(?)</b> annotation_inline
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11 (गि?गः) annotation_inline
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12 (甲) annotation_inline
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13 प्रयोग: स्यात् । यदा औडुविता गीयते तदा <sup>१६०</sup>उत्तर-स्वर-प्रवेशे मागागा इति प्रयोग: स्यात्, main
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14 <b>॰यन्ते</b> annotation_inline
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15 मापरिध इति प्रयोगः कदाचिदपि न स्यात् । main
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16 [अनु॰ १६१] section_header
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17 [ एका- ]दशविधत्वमस्या:। एकादशांशका:-शुद्ध:,विकृता: पूर्णा: पञ्च,चत्वार:षाडवा: , editorial_bracket
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18 ॰द्धा annotation_inline
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19 औडुवित एक: । मूर्छना धैवतादि: । चच्चत्पुटस्ताल: एककलविधौ चित्रमार्गे मागधी, द्विकले main
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20 ·ध: annotation_inline
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21 वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला। रसः 'करुणः'र६१। ध्रुवागाने तृतीयप्रेक्षणके main
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22 विनियोग:।। main
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23 [९. रक्तगान्धारी] section_header
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24 [अनु॰ १६२] section_header
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25 रक्तगान्धार्याः षड्जमध्यमपञ्चमगान्धारनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः , main
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26 <b>गान्धा(यंप्य ? यांप्य)</b> main
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27 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम् ऋषभधैवतहीनमौडुवितम्। main
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28 पूर्णावस्थायामृषभधैवतयोरल्पत्वम् , शेषाणां बाहुल्यम् । निषादस्यांशत्वाद् बहुत्वे प्राप्ते main
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29 οζ page_footer
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1 BRHADDEŚĪ page_header
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2 56 page_number
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3 वचनादबहुत्वम् , धैवतस्यानंशत्वादल्पत्वे वचनाद् बाहुल्यम् । षाडवे धैवतस्याबाहुल्यम् , main
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4 (7) annotation_inline
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5 ऋषभस्य न कदाचिदिप। औडुविते सर्वेषामंशत्वात्र कस्याप्यल्पत्वम्। उक्तभङ्ग्या[ ऽ ]शेषाणां editorial_bracket
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6 तस्याल्प (श ?)त्वम् annotation_inline
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7 बाहुत्यम् । न्यासो गान्धार एव च । अपन्यासस्तु मध्यम एव । षड्जगान्धारयोस्त् सञ्चार: । main
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8 [अनु॰ १६३] section_header
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9 दशविधत्वमस्या: । दशांशका: - पूर्णा: पञ्च, चत्वार: षाडवा:, पञ्चमेंऽशेऽपवादात् main
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10 द्वादशांशक्रम: annotation_inline
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11 पञ्चप्यंशेऽपवादः(?) main
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12 [औडुवित एक:।] ऋषभादिमूर्छना । करुणो रस: । ताल: पञ्चपाणि: । editorial_bracket
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13 एककले चित्रे main
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14 मागधी । द्विकले वार्तिके सम्भाविता<sup>१६२</sup>, [चतुष्कले दक्षिणे पृथुला । editorial_bracket
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15 ध्रवागाने main
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16 तृतीयप्रेक्षणके विनियोग:] editorial_bracket
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17 <sup>१६३</sup>[प्रक्षिसांशे नवजातिलक्षणम् ] section_header
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18 [१. षड्जमध्यमा] section_header
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19 अंशा: सप्तस्वरा: षड्जमध्यमाया: मिथश्च ते । main
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20 (पद् ? अंशा:) annotation_inline
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21 •मायां <i>६६</i>४ annotation_inline
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22 सङ्गच्छन्ते, निरल्पोंऽशाद् गादृते वादितां विना ॥१॥ main
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23 शा(गा ? ङ्गा) हते वा (नि ? दि) तां main
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24 निलोपे निगलोपे च षाडवौड्विते मते। main
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25 <sup>१६५</sup>निलोपनिगलोपाभ्यां annotation_inline
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26 षाडवौडुवयो: स्यातां द्विश्रुती तु विरोधिनौ ॥२॥ main
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27 गीतितालकलादीनि , षाड्जीवन्मूर्छना पुन:। main
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28 मध्यमादिरिह ज्ञेया पूर्ववद् विनियोजनम् ॥३॥ main
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29 पूर्वावद्विरहर्द् annotation_inline
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30 <sup>१६७</sup>अस्यां षड्जमध्यमौ न्यासौ । सप्त स्वरा अपन्यासा: । <sup>१६८</sup>प्रस्तार: - main
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31 मा गा सग पा धप मा निध निम main
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32 (१) annotation_inline
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33 मा मा सा रिंग मंग निध पंध पा main
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34 (२) main
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1 E. annotation_inline
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2 27 page_number
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3 TRANSLATION page_header
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4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
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5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
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6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
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7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
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8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
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9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
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10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
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11 <math>(222-224)</math> annotation_inline
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12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
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13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
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14 (225) annotation_inline
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15 In madhyamā there are five amśas, excepting the two svaras composed of main
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16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
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17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
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18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
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19 madhyama are abundant. main
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20 (226) annotation_inline
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21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
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22 pañcama is amsa in it. main
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23 (227) annotation_inline
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24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
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25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
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26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
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1 85 page_number
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2 <b>TRANSLATION</b> page_header
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3 Aśvākrāntā (6) main
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4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
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5 Abhirudgatā (7) annotation_inline
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6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
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7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
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8 (Anu. 63) annotation_inline
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9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
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10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
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11 svaras). During the performance of raga, murchanas should be known to be main
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12 composed of twelve svaras. They should be known to be included in the main
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13 mūrchanās of şadjagrāma (?).64 main
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14 That is thus - annotation_inline
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15 Sauvīrī (1) annotation_inline
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16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
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17 Hariņāśvā (2) annotation_inline
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18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
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19 Kalopanatā (3) annotation_inline
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20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
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21 Suddhamadhyā (4) annotation_inline
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22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
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23 Mārgī (5) annotation_inline
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24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
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25 Pauravi (6) annotation_inline
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26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
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27 Hṛṣyakā (7) annotation_inline
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28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
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29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
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30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
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31 VI [Section on Varņas and Alankāras] section_header
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32 [The Varnas] section_header
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33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
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34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
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35 (118) annotation_inline
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36 ārohin (ascending) and avarohin (descending). main
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37 (Anu. 64) annotation_inline
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38 (Contention) what is spoken of by the word varna? (Answer) The act of main
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39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
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40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
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41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
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42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
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43 māmāmāmā in the madhyamā (jāti). main
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174 lignes a valider — change uniquement les roles incorrects.