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 21610). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p018 RIGHT — 26 lignes

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1 19 page_number
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2 TRANSLATION page_header
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3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
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4 varieties. The said regulation (number 47) is according to the varieties of main
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5 amśa svara (in fourteen jātis)." annotation_inline
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6 (NŚ XXVIII, p. 49) annotation_inline
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7 [6. The definition of auduva] section_header
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8 ----- annotation_inline
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9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
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10 according to those knowledgeable in prayoga (performance). It is prescribed main
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11 to have thirty varieties and its definition is as has been said before." main
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12 (NŚ XXVIII.76) annotation_inline
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13 [Anu. 127] editorial_bracket
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14 (The structure) beginning with the group of four svaras is deśi,33 not main
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15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
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16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
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17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
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18 understood here. When there is the usage of four svaras, then it is said to be main
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19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
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20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
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21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
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22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
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23 (NŚ XXVIII.77) annotation_inline
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24 By the word 'api' (in the above verse) meaning 'also', the complete main
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25 (structure) should also be understood. Thus should be known the fourfold main
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26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
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vol_II_p038 RIGHT — 51 lignes

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1 1 page_number
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2 59 page_number
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3 TRANSLATION page_header
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4 (3) table
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5 mā gā rī gā mā mā sā sā table
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6 <b>(4)</b> table
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7 [mā magama mā mā nidha padha pama gamama] table
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8 (5) table
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9 dhā padha pari riga maga riga sadhasa sā table
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10 (6) table
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11 nidha sā rī magama mā mā mā mā table
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12 (7) table
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13 mā mā magama madha dhapa padha pama gamaga table
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14 (8) table
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15 dhā padha pari riga maga riga sadhasa sā table
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16 (9) table
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17 mā mā dhani dhasa dhapa mapa pā pā table
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18 (10) table
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19 mā magama mā nidha padha pamaga gā mā table
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20 (11) table
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21 dhā padha pari riga maga riga sadhasa sā table
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22 (12) table
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23 nidha sā rī magama mā mā mā mā table
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24 Thus ends <i>şadjamadhyamā</i>. section_header
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25 [2. Gāndhārodīcyavā] section_header
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26 In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic main
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27 is known to be with the omission of rşabha. In the state of completeness there main
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28 is the sparseness of svaras other than those that are anisas. main
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29 (4) annotation_inline
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30 In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to main
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31 be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known main
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32 and the mūrchanā beginning with dhaivata obtains. main
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33 (5) annotation_inline
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34 The tāla should be known as caccatpuța. Sixteen kalās (time units) are said main
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35 to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā main
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36 in the fourth act. annotation_inline
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37 (6) main
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38 Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The main
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39 prastāra is thus - main
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40 (1) table
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41 sā sā pā mā pā dhapa pā mā table
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42 (2) table
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43 dhā pā mā mā sā sā sā sā table
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44 (3) table
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45 dhã nĩ sã sã mã mã pã pã table
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46 (4) table
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47 ករី ករី ករី ករី ករី ករី ករី ករី table
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48 (5) table
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49 mã mã dhã nisa nĩ nĩ nĩ table
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50 (6) table
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51 mā pā mā pari gā gā sā sā table
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vol_II_p120 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 223 page_number
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3 In the opinion of some, it (elā) is combined with the (name of the) object main
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4 of description (alone). Elā should be made full of charming qualities of main
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5 song, embodying the gaņas (textual units)<sup>31</sup> of metre (and) endowed with main
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6 alankāra and rasa, by the wise. main
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7 (422) annotation_inline
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8 [The types of <i>Elā</i>] editorial_bracket
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9 [A. Out of them the varieties of Gaṇailā] editorial_bracket
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10 First, nādāvatī has been said, then is known hamsāvatī, nandāvatī is the main
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11 third and bhadrāvatī is known as the fourth. main
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12 (423) annotation_inline
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13 Derived out of Rgveda and the like, 'coloured' with variegated sounds, main
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14 thus has elā been said to be fourfold by the wise, in accordance with the main
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15 'path'<math>^{32}</math> (order) of ganas. main
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16 (424) main
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17 [1. Nādāvatī] section_header
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18 The elā (named) nādāvatī is charming, bedecked with varņa (and) main
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19 alankāra, is sung with manthatāla (and) is full of nāda 33 in every foot. There main
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20 takkarāga becomes delightful to all. main
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21 (425) annotation_inline
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22 (Its) colour should be known to be white and śṛṅgāra has been said to be main
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23 the rasa; kaišikī vṛtti<sup>34</sup> has been spoken of (and) pañcālī rīti<sup>35</sup> is accepted. main
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24 (426) annotation_inline
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25 Bhāratī is its devatā (presiding deity) and the lineage of brāhmaņas prevails. main
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26 Where five candraganas 36 combined with one svargana 37 are there, that cla main
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27 is known to be nādāvatī, by the foregoing learned ones. main
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28 (427) main
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29 [2. Hamsāvatī] section_header
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30 Making movement like a swan, with nāda and pada, it is known as main
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31 hamsāvatī, because it proceeds smoothly. Dvitīyaka is the tāla there and (it) main
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32 is sung in <i>hindola (rāga</i>). main
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33 (428) annotation_inline
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34 Red colour has been said to prevail. Caṇḍikā is the devatā (presiding main
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35 deity), ārabhaţī is the vṛtti<sup>38</sup> (and) lāṭīyā rīti<sup>39</sup> is accepted. main
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36 (429) main
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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_II_p160 RIGHT — 42 lignes

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1 VIMARŚA page_header
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2 303 page_number
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3 lustre, splendour (Monier Williams). Maitrī Upaniṣad VI. 7 says "bha is so main
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4 called as it illuminates these worlds." It has been used in neuter gender main
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5 because it qualifies 'jyotis'. There is a sāman known as 'bhakāra' wherein all main
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6 the consonants are replaced with bh, keeping the vowels intact. That the main
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7 consonant 'bh' should have been selected for this purpose bears testimony main
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8 to the special importance of this consonant as it stands for light. main
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9 2. 'Hamsa' occurs in several Upanișads; the most relevant occurrence list_item
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10 is in Kathopanişad II.5.2, where hamsa is mentioned as one of the synonyms list_item
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11 of 'ātman'. list_item
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12 3. 'Bharata' here stands for ātman and not the sage Bharata. list_item
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13 4. Bhāratī is another name of Saraswatī and occurs in Rgveda (VIII. list_item
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14 6.9). list_item
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15 The verse containing the above four words is placed in the very main
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16 beginning of the chapter on raga. If it is taken to embody mangalacarana, its main
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17 relevance to rāga is not obvious (See Vol. III). main
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18 5. Here 'Bharata' stands for the sage who is the author of Nāṭyaśāstra. list_item
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19 6,7. 'Dhvani' basically means sound; a 'type of sound' or 'special list_item
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20 sound 'could mean 'a melodic form 'which is called 'dhun' in Hindi. list_item
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21 8,9. The general lakṣaṇa pertains to a category like jāti or rāga and list_item
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22 special lakṣaṇa pertains to the 'individuals' within a category. list_item
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23 10. A rūdha word is that where the etymological meaning is not list_item
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24 relevant; only the conventional meaning operates. list_item
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25 11. Aśvakarņa literally means 'the ear of a horse', but it is used for list_item
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26 a fracture of the bones that resembles the ear of a horse. list_item
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27 12. Yaugika means combinational. Mandapa is a compound list_item
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28 meaning one who drinks 'manda' or the scum of boiled rice or any grain, list_item
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29 stands for an open hall or pavilion. Really speaking, the list_item
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30 but it list_item
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31 combinational meaning does not operate here. list_item
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32 13. Yogarūdha is a type of word where both combination and list_item
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33 convention operate. The classic example is that of pankaja, which means list_item
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34 'that which is born in mud', but is restricted to lotus, although many other list_item
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35 things are born of 'mud'. list_item
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36 14. 'Sūkṣma' literally means small or subtle; here we have interpreted list_item
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37 it as being short in time, because 'small' in a temporal context would list_item
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38 naturally mean 'short in time'. list_item
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39 15. 'Kampa' has been translated here as shake according to English list_item
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40 idiom, although literally it could also be rendered as 'tremor'. list_item
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41 16. ' Pāṇi' means 'hand', but here 'hand' could not be relevant to the list_item
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42 context, not even the figurative usage of 'hand' in tāla as a synonym of list_item
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198 lignes a valider — change uniquement les roles incorrects.