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 21571). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p016 RIGHT — 33 lignes

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1 15 page_number
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2 TRANSLATION page_header
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3 "Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis; main
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4 some (speak of them) as being differentiated into sixty-six. Others propound main
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5 their infinity itself." annotation_inline
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6 (Anu. 7) annotation_inline
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7 But then, what is the measure of śruti? It is being explained. Pañcama is main
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8 known as being seated in the two grāmas.19 The difference of that (pañcama) main
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9 through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through main
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10 mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or main
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11 extended) is the measure of śruti (lit. śruti is of that measure). main
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12 (Anu. 8) annotation_inline
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13 Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis main
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14 is thus (being given). Having made two viņās equal in measure,25 string,26 main
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15 upavādana 27 (the place where the strings are tied up at the lower end of the main
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16 viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should main
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17 be established in şadjagrāma.50 On one of these, having made the śruti main
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18 madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa main
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19 (lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32 main
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20 (belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes main
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21 lowered by (one) śruti, but there is no special gain,34 because of there being main
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22 only the perception of high and low. Again one should lower in the same main
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23 manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.) main
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24 on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification main
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25 (karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra- main
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26 niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha- main
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27 dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is main
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28 lowered in the same manner, will enter the pañcama-şadja on the other (viņā), main
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29 on account of their being 'more's8 (higher) (than the latter) by three śrutis main
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30 (each). Again also, on the (cala) viņā that is lowered in the same way, pañcama, main
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31 madhyama and şadja enter madhyama, gandhara and nişada respectively on the main
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32 other on account of their being 'more'39 (higher) (than the latter) by four main
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33 śrulis. annotation_inline
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vol_II_p022 RIGHT — 26 lignes

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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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vol_II_p087 LEFT — 32 lignes

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1 BRHADDESĨ page_header
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2 156 page_number
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3 पञ्चमांशा तेन बहुला धान्ता मधुकरी शुभा। main
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4 परस्परं तु संवादो गान्धारपञ्चमस्य हि ॥ ७६॥ main
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5 धैवतस्य निषादस्य संयोगो दृश्यते यत:। main
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6 एषा पूर्णा च सङ्कीर्णा भाषा ककुभसम्भवा<sup>६२</sup> ॥ ७७॥ main
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7 उदाहरणम् -[पापा] निनिनिनिपधपा धनिसासनिसनि सपधानिधाधपा धरिसासागरिमगरिस- editorial_bracket
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8 सम । गरिसानिनिधपापासागा । पापामाधा । माधाधामा । नीसासाधाधा । मधुकरी ।[५] editorial_bracket
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9 निषादांशा तु षड्जान्ता[निषादग्रहसंयुता] । editorial_bracket
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10 +++++++ annotation_inline
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11 [भाषा] ऋषभहीना तु विज्ञेया शकमिश्रिता ॥ ७८॥ editorial_bracket
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12 निषादपञ्चमानां तु संवाद: स्यातु धैवते । main
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13 मजुवत्यंशजा[?]छाया छाया शकविमिश्रिता ॥ ७९॥ editorial_bracket
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14 उदाहरणम् - नीसानिगधमागारिरिनि निनिसाधाधानिधागमामामपासा सनिसासाधाधामनी main
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15 धाधामानीधापामाधानीसासासा नीसासासारिगारिसा नीसानीसानिधाधामासानीमागारीरि । main
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16 शकमिश्रिता। ६३ [६] editorial_bracket
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17 धैवतांशा धैवतान्ता विज्ञेया भिन्नपञ्चमी। main
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18 मध्यमांशा annotation_inline
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19 निषाद: काकली भूयो धैवतेन विमिश्रित: ॥ ८०॥ main
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20 संयोगो दृश्यते यत्र काकल्या धैवतस्य च। main
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21 काक(ल्योद्यै?ल्या धै) वतस्य च annotation_inline
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22 पञ्चमर्षभसंवादो यत्रैव सम्प्रयोजयेत्॥ main
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23 साधारणकृता ह्येषा पूर्णा ६४ प्राया च काकली ६५ ॥ ८१॥ main
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24 उदाहरणम् - धनिधाधा निधापापामरिपापापपमाधाधा पासामनिसासनिरिरिसारी । धाधा । main
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25 परिमापापा । पमधाधामानीधापापापरीधा पापापाधाधासनिधा । भित्रपञ्चमी । [७] editorial_bracket
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26 एता भाषा: समुद्दिष्टा: [सप्त वै ककुभस्य च ]॥ ८२॥ editorial_bracket
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27 भा(पा) annotation_inline
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28 the state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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29 . . . annotation_inline
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30 7.4 annotation_inline
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31 From the substitute of the con- annotation_inline
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32 ____ annotation_inline
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vol_I_p053 RIGHT — 42 lignes

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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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vol_II_p049 RIGHT — 29 lignes

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1 81 page_number
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2 TRANSLATION page_header
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3 [The opinion of Bharata] section_header
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4 "The first one should be known as māgadhī and the second one as main
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5 ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā." main
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6 (NŚ Chau. XXIX. 77) main
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7 [Thus ends the opinion of Bharata] section_header
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8 [The opinion of Yāṣṭika] section_header
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9 Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by main
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10 the noble Yāstika. annotation_inline
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11 (272) main
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12 Thus ends the opinion of Yāṣṭika. section_header
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13 [ The opinion of Kasyapa and Śārdūla] section_header
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14 Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly, main
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15 bhāṣāgīti alone is accepted in the opinion of Śārdūla. main
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16 (273) main
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17 [ The description of gītis] section_header
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18 Now I shall speak of the proper definition of giti. main
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19 (274) main
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20 [1. Šuddhā gīti] section_header
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21 The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra main
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22 (low), amandra (not low, medium), tāra (high)straight, attractive, equal main
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23 svaras and śrutis. annotation_inline
parent ligne 22
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24 (275) main
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25 [2. Bhinnāgīti] section_header
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26 Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved, main
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27 ullāsita (made to shine upwards), prasārita (spread out), attractive, high and main
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28 low (svaras). annotation_inline
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29 (276) main
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162 lignes a valider — change uniquement les roles incorrects.