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 21599). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p022 RIGHT — 27 lignes

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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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vol_II_p121 LEFT — 28 lignes

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1 (vide) annotation_inline
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2 BRHADDEŚĪ page_header
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3 224 page_number
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4 क्षत्रियाणां कुलं चैव रसो रौद्र: प्रकीर्तित: । main
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5 यत्रानलगणाः पञ्च षष्ठो वायुगणस्तथा ॥ main
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6 एला हंसावती हन्त सा स्मृता गीतपारगै: ॥४३०॥ main
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7 [३. नन्दावती] section_header
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8 लघुभिर्गमकैर्युक्ता रागे मालवकैशिके । main
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9 एला नन्दावती नाम प्रतितालेन गीयते ॥४३१॥ main
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10 इन्द्राणी देवता, वृत्ति: सात्त्वती तत्र कीर्तिता । main
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11 गौडीया कथ्यते रीति:, पीतो वर्ण: स्मृतो बुधै: ॥ ४३२॥ main
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12 रसो वीर: समाख्यातो, वैश्यानां कुलसम्भवा। main
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13 व्य: annotation_inline
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14 नादावत्यामिव सर्वं कर्तव्यं रागपूर्वकम् ॥४३३॥ main
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15 (न?ना) annotation_inline
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16 यत्राम्बरगणाः पञ्च मार्तण्डगणसंयुताः । main
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17 मार्ताण्ड॰ annotation_inline
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18 एला नन्दावती सा तु विज्ञेया गीतवेदिभि: ॥४३४॥ main
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19 [४. भद्रावती] section_header
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20 एकैकपदसंयुक्ता मूर्छनाध्वनिसङ्कुला । main
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21 कङ्कालतालसम्बन्धा ककुभेन प्रगीयते ॥४३५॥ main
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22 एला भद्रावती नाम शूद्रजातिसमुद्भवा । main
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23 कृष्णवर्णा च विज्ञेया वैदर्भीरीतिशोभिता ॥४३६॥ main
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24 भारतीवृत्तियुक्ता च बीभत्सरसभूषिता । main
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25 वाराहीदेवतोपेता कथिता गीतकोविदै: ॥४३७॥ main
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26 यत्र भूमिगणाः पञ्च षष्ठो जलगणस्तथा । main
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27 भद्रावतीति विख्याता सा स्मृता मुनिपुङ्गवै: ॥४३८॥ main
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28 पुटपुङ्गवै: (?) annotation_inline
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vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_I_p094 RIGHT — 45 lignes

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1 VIMARŚA annotation_inline
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2 171 page_number
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3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
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4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
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7 does not carry further the argument that vowels and musical tones cannot be list_item
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8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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vol_II_p032 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 46 page_number
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3 यदा षाडवा गीयते तदा ऋषभस्याल्पत्वं कार्यम्, शेषाणां स्वराणां बहुत्वम् । main
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4 (था ? दा) annotation_inline
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5 [अनु॰ १४७] editorial_bracket
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6 अस्याश्च दशांशका: । तद्यथा - शुद्ध:, विकृताश्च पञ्च पूर्णाश्चत्वार: main
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7 <sup>१३५</sup>षाडवा:, main
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8 <sup>१३६</sup>गान्धारेंऽशे षाडवापवादात् । येनांशा: स्फुटयन्ते तेन लिखिता: । main
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9 षड्जांशेन शुद्धत्वं <sup>१३७</sup>षड्जश्चापन्यास:।सम्पूर्णावस्थायामष्टविधलक्षणम्।षाडवावस्थायां main
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10 नवविधत्वम् । शुद्धां परित्यज्य चतुर्विधा षाड्जी विकृता बोद्धव्या । main
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11 न(य ? व) annotation_inline
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12 अस्याश्च धैवतादिमूर्छना । पञ्चपाणिरेककलिश्चत्रे मार्गे मागधी गीति:। पञ्चपाणिर्द्विकलो main
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13 ॰श्चित्रे मार्गे annotation_inline
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14 र्वहकल: annotation_inline
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15 वार्तिकमार्गे सम्भाविता गीतिश्चतुष्कलः पञ्चपाणिर्दक्षिणे मार्गे पृथुला गीतिः । अनेन क्रमेण main
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16 र्णाः •द• annotation_inline
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17 सर्वासां जातीनां बोद्धव्यम्। वीररौद्राद्धतरसा: कार्या:। प्रथमे <sup>१३८</sup>प्रेक्षणके ध्रुवागाने विनियोग। main
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18 [२. आर्षभी] section_header
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19 [अनु॰ १४८] section_header
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20 १३९[आर्षभ्याम्]ऋषभधैवतनिषादा ग्रहा: स्वयमेवांशा:, त एवापन्यासा: पञ्चस्वरपरस्तारो१४० editorial_bracket
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21 ष्र: annotation_inline
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22 निषाद:[?] । ऋषभो न्यास: । न्यासपरस्तत्परो वा मन्द्र: । १४१षड्जधैवतयोर्ऋषभगान्धारयोश्च editorial_bracket
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23 ॰पञ्चम: ऋषभ॰ annotation_inline
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24 सङ्गति: । षड्जहीनं षाडवम्, षड्जपञ्चमहीनम् औडुवितम् । पूर्णावस्थायां main
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25 षङ्जगान्धारपञ्चमानामल्पत्वम् , औडुविते गान्धारमध्यमयोरल्पत्वम् , शेषाणां च बहुत्वम्। main
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26 [अनु॰१४९] section_header
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27 दशविधत्वं चास्याः। दशांशाः शुद्धः, विकृताः पूर्णास्त्रयः, त्रयः षाडवाः, त्रय main
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28 Πannotation_inline
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29 औडुवाश्चेति। पञ्चमादिमूर्छना, चच्चत्पुटस्ताल:। एककलेन चित्रेण मागधी,द्विकलेन वार्तिकेन main
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165 lignes a valider — change uniquement les roles incorrects.