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 21377). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p072 RIGHT — 34 lignes

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1 127 page_number
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2 <b>TRANSLATION</b> page_header
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3 mā mā sā sā annotation_inline
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4 de - vam - annotation_inline
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5 mā sā sā mā annotation_inline
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6 de vam sa rvam annotation_inline
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7 sasa masa mama nn annotation_inline
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8 devam sarvam vande annotation_inline
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9 (Anu. 112) annotation_inline
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10 Māgadhī is (known as such) because of its origin in the magadha deśa (south main
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11 Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). main
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12 Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 main
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13 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to main
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14 'pada'. In the repetition of half a pada the verbal meaning should not be main
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15 construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or main
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16 acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is main
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17 predominantly musical, the verbal meaning is not cared for in the repetitions. It main
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18 has been said - the word jātavedasam (fire) that is repetitive, here (in the main
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19 context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī, main
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20 on the other hand, is based on the predominance of laghu (short syllables); main
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21 on account of the profusion of the grouping (grāma) of padas (syllabic units) it main
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22 is called pṛthulā (lit. broad or large). main
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23 (Anu. 113) annotation_inline
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24 In the three margas in the prescription about gitis, the use of laya should be main
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25 seen to be ninefold. annotation_inline
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26 He (the author) shows the use of laya as - daksina marga, vartika marga and main
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27 citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina main
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28 mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas main
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29 in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus main
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30 are the three layas in the operation of citra-marga. Thus has been propounded main
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31 in the chapter on gitis. As - in the daksina marga there are four gurus (long main
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32 units) two gurus and one guru. In vārtika mārga there are two gurus, one guru main
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33 and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half main
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34 - mātrā unit). annotation_inline
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1 <b>BRHADDESI</b> main
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2 90 page_number
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3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
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4 आवर्तकः annotation_inline
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5 (२३) main
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6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
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7 (धिन ? धुतः) annotation_inline
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8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
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9 [ अनु₀ ७० ] editorial_bracket
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10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
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11 oसाo annotation_inline
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12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
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13 तारगति annotation_inline
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14 १ page_number
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15 नी सा इति प्रसन्नादिः। main
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16 [ अनु₀ ७१ ] editorial_bracket
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17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
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18 | २ | main
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19 इति प्रसन्नान्तः। annotation_inline
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20 [ अनु॰ ७२ ] editorial_bracket
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21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
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22 सरिगमधन(सा) annotation_inline
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23 [ ३ ] editorial_bracket
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24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
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25 निध प म गरि annotation_inline
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26 अनु₀ ७३ editorial_bracket
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27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
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28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
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29 4 page_number
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30 ग annotation_inline
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31 [ अनु₀ ७४ ] editorial_bracket
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32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
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33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
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34 स्व annotation_inline
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35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
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36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
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37 । ५ । annotation_inline
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38 मध्यमग्रामे annotation_inline
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1 ॥ श्री: ॥ annotation_inline
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2 श्रीमतङ्गमुनिप्रणीता section_header
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3 बृहद्देशी section_header
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4 [द्वितीयोऽध्यायः] editorial_bracket
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5 [ जातयः] editorial_bracket
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6 [१. तासां सङ्ख्या, उद्देश:, भेदाश्च] editorial_bracket
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7 [तत्र सङ्ख्या उद्देशश्च] editorial_bracket
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8 [अनु ॰ ११४] editorial_bracket
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9 इदानीमवसरप्राप्तानां जातीनामुद्देशमाह-तत्र जातयोऽष्टादशैव। एता: सर्वांशभेदेन main
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10 (:) समांश्र annotation_inline
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11 शतं चत्वारिशदधिकं सङ्ख्यया भवन्ति। main
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12 <sup>१</sup> तत्र स्वरे annotation_inline
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13 र[ जातयोऽष्टादशेत्येवं ब्रह्मणाभिहितं पुरा। editorial_bracket
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14 तास्त्वहं वर्तयिष्यामि ग्रहांशादिविभागत: ॥१८५॥ main
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15 [षड्जग्रामाश्रिता जातय:] section_header
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16 षाड्जी चैवार्षभी चैव धैवत्यथ निषादिनी। main
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17 षड्जोदीच्यवती चैव तथा वै षड्जकैशिकी ॥१८६॥ main
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18 षड्जमध्या तथा चैव षड्जग्रामसमाश्रया: ॥१८७॥ main
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19 ॥ इति सप्त षड्जग्रामाश्रयाः॥ editorial_bracket
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20 [मध्यमग्रामाश्रिता जातय:] section_header
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21 अत ऊर्ध्वं प्रवक्ष्यामि मध्यमग्रामसंश्रिता: ॥ १८८॥] editorial_bracket
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22 गान्धारी मध्यमा चैव पञ्चमी च तथैव हि । main
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23 गान्धारोदीच्यवा चैव तथा गान्धारपञ्चमी ॥ १८९॥ main
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24 ततश्च रक्तगान्धारी मध्यमोदीच्यवा तथा। main
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25 ॰ दच्यि • annotation_inline
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vol_II_p152 LEFT — 43 lignes

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1 286 page_number
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2 BRHADDEŚĪ page_header
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3 2. Gāthā main
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4 आर्यालक्षणसंयुक्ता गाथा प्राकृतभाषया । main
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5 गीयते पूर्ववद् रम्या छन्दोलक्षणवेदिभि:॥ main
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6 Mānaso IV.16.256. annotation_inline
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7 आर्येव प्राकृते गेया स्यात् पञ्चचरणाश्रया । main
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8 त्रिपदी षट्पदी गाथेत्यपरे सूरयो जगुः॥ main
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9 SR IV.232. annotation_inline
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10 3. Dvipathaka main
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11 गातव्या (व्य:) स्वरसंयुक्तस्तालेन परिवर्जिता: (त:) । main
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12 प्रबन्धो द्विपथाभिज्ञो गीतविद्याविशारदै: ॥ main
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13 Mānaso IV.16.261. annotation_inline
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14 छन्दसा द्विपथेन स्याद् द्विपथ: स्वरमुक्तिक: । main
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15 तालहीन: सतालो वा स च ज्ञेयश्रतुर्विध:॥ main
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16 स्वरैरेकोऽन्य: प्रयोगै: सोभयानुभयौ परौ । main
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17 प्राकृते दोहसंज्ञोऽसौ तस्य भेदा नव त्विमे ॥ main
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18 SR IV.232-34. annotation_inline
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19 8. Reconstruction based on - main
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20 कयापि भाषया क्लृप्ता ...... main
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21 भाषया तु यया कया..... main
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22 Mānaso IV.16.316, 318. main
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23 9. Reconstruction based on S Rāj I.3.3.32 b. list_item
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24 येन केनापि तालेन रागेणाभिमतेन च। list_item
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25 10. cf. (i) list_item
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26 गीयते स्वरसंयुक्ता गीतज्ञैध चतुष्पदी ॥ list_item
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27 Mānaso IV.16.285. main
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28 समे पोडश मात्रा: स्यु: पादे पञ्चदशायुजि । main
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29 (ii) annotation_inline
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30 यस्यां भित्रार्थयमकावधौ सा तु चतुष्पदी ॥ main
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31 स्वरतेनकसंयुक्ता तेनकन्याससंयुता ॥ main
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32 SR IV.271,272. main
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33 11. This line seems to pertain to the description of <i>dodhaka</i>, which is list_item
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34 incomplete due to a break in the text. list_item
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35 12. The description of totaka is missing due to a break in the text. The list_item
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36 following extracts from other texts are relevant for filling the gap- list_item
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37 येन केनापि तालेन रागेणाभीप्सितेन च। list_item
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38 (i) list_item
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39 गातव्यस्ता (स्तो)टको नाम प्रबन्धो गीतवेदिभि:॥ list_item
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40 Mānaso IV.16.267, main
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41 तोटकच्छन्दसा न्यस्तस्वरोऽङ्ग्रयन्ते तु तोटक:। main
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42 (ii) annotation_inline
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43 SR IV. 244. main
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vol_I_p095 RIGHT — 48 lignes

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1 <b>VIMARSA</b> page_header
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2 173 page_number
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3 Madhyama table
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4 Pañcama table
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5 Niṣāda-gāndhāra table
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6 Dhaivata table
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7 Gändhära table
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8 Nişāda table
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9 Şadja-rşabha table
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10 Şadja table
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11 Gāndhāra table
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12 This list does not seem to follow the general statement that all those which main
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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21 respectively and are hence vivadins. main
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22 44. Here again, the application of the concept of vivada in melodic structuring main
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23 is being illustrated. ( see glossary ) main
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24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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36 reciting the pk. The practice of the recitation of gatha is not generally known main
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37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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188 lignes a valider — change uniquement les roles incorrects.