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 21407). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p168 RIGHT — 42 lignes

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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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vol_I_p036 RIGHT — 34 lignes

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1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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vol_I_p049 RIGHT — 37 lignes

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1 81 page_number
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2 TRANSLATION page_header
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3 krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri main
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4 - <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri< editorial_bracket
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5 <math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there main
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6 are six tanas of gandhara (along with the preceding two svaras viz. sa - n). main
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7 Similarly, there is only one krama (original order) of madhyama (added to main
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8 the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas main
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9 beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa - main
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10 ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga main
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11 thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly, main
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12 there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken main
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13 together they are twenty-four. annotation_inline
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14 Similarly, there is only one krama (original order) of pañcama (along with its main
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15 four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa main
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16 (formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni - main
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17 ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has main
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18 twenty-four (varieties beginning with it), taken together they become one main
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19 hundred and twenty. Similarly, dhaivata has one krama (original order along main
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20 with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma - main
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21 ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma - main
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22 ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken editorial_bracket
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23 together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is main
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24 only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga - main
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25 ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each main
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26 one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty main
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27 (through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty. main
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28 (Anu. 59) annotation_inline
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29 Thus the tāna-vidhāna (performance of tānas) of svaras is found on the main
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30 (viṇās having) sixty-six strings or hundred strings. The measurements of these main
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31 two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t main
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32 tānas has not been made on these (viņās) in order to avoid a digression; by this main
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33 order itself, it (the demonstration) should be understood by the wise ones on main
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34 their own. annotation_inline
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35 (Anu. 60) annotation_inline
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36 The objective of these tanas has been said to be for the sake of the main
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37 attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in editorial_bracket
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vol_II_p086 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 154 page_number
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3 एता[हि]याष्टिकप्रोक्ता [भाषा मालवकैशिके] ॥ ७१॥ editorial_bracket
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4 याष्टिकेन प्रयुक्ताः main
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5 [३. अथ ककुभे] section_header
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6 धैवताद्यन्तसंयुक्ता काम्बोजा पूर्णसुस्वरा । main
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7 षड्जधैवतसंवाद: पञ्चमर्षभयोस्तथा ॥ main
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8 एषा भाषा तु देशाख्या प्रथमा ककुभोद्भवा ॥ ७२॥ main
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9 उदाहरणम् - धासागागा । मागारीसासासनिसासा । धापापा । धामासारिगा मागारीसासा main
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10 सनिधाधा पापामधा निरिसनिधाधा ।[काम्बोजा]।[१] editorial_bracket
parent ligne 9
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11 मध्यमांशा धैवतान्ता पूर्णा मध्यमग्रामिका । main
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12 परस्परं तु दृश्येते सहितावृषभधैवतौ ॥ main
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13 दुश्येत annotation_inline
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14 एषा भाषा च सङ्कीर्णा रम्या ककुभसम्भवा<sup>५८</sup>॥ ७३॥ main
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15 उदाहरणम् - मामा । गरिधासारीसामा । निगरिसनिसानिधा । साधासाधनिरिसा । धनिरिरि । main
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16 मापापमागा । रिरिरिरि । गाम । गाम । धाधामापामागारीसासाधा धधध । मध्यमग्रामिका । [२] editorial_bracket
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17 ऋषभांशा धैवतान्ता विज्ञेया <sup>५९</sup>सातवाहिनी । main
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18 परस्परं तु दृश्येते ६०सङ्गतौ मध्यमर्षभौ ॥ main
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19 दुश्यन्ते मध्यमर्पभसङ्गतौ annotation_inline
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20 सप्तमं बहुमिच्छन्ति केचित् तेनैव दुर्बलम् ॥ ७४॥ main
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21 केचिदिच्छन्ति annotation_inline
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22 उदाहरणम् - [रिरि] गधरिरिमा । मामानिमाधाधधाधा पमपममरिममासिर । editorial_bracket
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23 मामपपामपपापा- annotation_inline
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24 पापमरिमरिमामासरि। पापपससानि।धाधारि। सासासासारीमनिधाधाधा पधासाधपाधा main
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25 पमपापामरिमामासारि मापापामासानिधाधा । सातवाहिनी । [३] editorial_bracket
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26 <sup>६१</sup>मध्यमांशा निषादान्ता ऋषभेण तु दुर्बला । main
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27 सङ्गतिर्दृश्यते यत्र द्विश्रुत्यो: पञ्चमस्य च ॥ main
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28 भाषेयं षाडवा ज्ञेया ककुभे भोगवर्धनी ॥ ७५॥ main
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29 उदाहरणम् -[मामा] निनी । गगमा । पामापमा । धाधा । सनिसनि । धपधाधपमापाम । गगगग। editorial_bracket
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30 मपधाधानी । सससस । मागसानिधाधाधा [नी]। भोगवर्धनी ।[४] editorial_bracket
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vol_II_p036 RIGHT — 36 lignes

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1 55 page_number
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2 TRANSLATION page_header
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3 [8. Gändhārī] section_header
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4 Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, main
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5 the same are amsas of gandhari. The tara extends upto five svaras. The mandra main
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6 , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid main
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7 of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete main
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8 state there is sparseness of rṣabha-dhaivata, and abundance of the remaining main
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9 ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara, main
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10 gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is main
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11 sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That main
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12 is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}< main
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13 prayoga (performance). main
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14 Thus is the performance. When it is sung with the omission of rṣabha then main
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15 while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) main
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16 mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic main
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17 form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the main
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18 performance. Mā-pa-ri-dhā is never to be performed. main
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19 [Anu. 161] editorial_bracket
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20 This is eleven-fold. There are eleven ainsas - there is one in the suddhā main
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21 state, five in the vikṛtā complete state, four are hexatonic (and) one is main
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22 pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța main
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23 is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala main
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24 vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there main
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25 is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā main
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26 in the third act of a drama. annotation_inline
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27 [9. Raktagāndhāri] section_header
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28 [Anu. 162] editorial_bracket
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29 Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas main
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30 of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra main
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31 extends up to the nyāsa or the svara next to it. The hexatonic form is devoid main
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32 of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the main
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33 paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) main
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34 have abundance. On account of niṣāda being the amśa, its abundance is main
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35 indicated. Its non-abundance comes about on account of the stated main
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36 prescription. Dhaivata being non-aniśa, its sparseness is indicated, its main
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179 lignes a valider — change uniquement les roles incorrects.