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 21725). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p147 RIGHT — 43 lignes

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1 277 page_number
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2 PĂTHAVIMARŚA page_header
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3 पांशग्रहान्ता सम्पूर्णा भाषा मालवपञ्चमे । main
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4 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै:॥ main
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5 विभावनीति तामेवाचष्ट याष्टिकसत्तमः॥ main
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6 122. The name of this bhāṣā is read as mālavā at the end of the main
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7 illustration and so it is in S Rāj II.2.1.905. main
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8 123,124. cf. सञ्चार: सधयोर्यस्यां रिधयोधैव दृश्यते । main
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9 Kalā (appendix) on SR II, p. 137. main
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10 125. In spite of this adjective indicating the completeness of this main
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11 bhāṣā, the illustration omits ṣaḍja. main
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12 126. SR II. 1. 30 cd reads this name as bhinnavalitā and so does S Rāj main
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13 II.2.1.131 c; ibid 88a reads bhinnalalitā and ibid 907c reads bhinnavallikā. main
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14 Our text seems to change bhinnavalikā to bhinnavālikā in verse 34 c in order main
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15 to meet the demand of metre, the sixth syllable being required to be long. main
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16 At this point of our text the change to bhinnalālikā or bhinnalālitā seems to main
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17 involve an error of deciphering or copying. main
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18 127. Kalā (appendix) on SR II, p.137 reads 'magrahāmśā' describing main
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19 madhyama as graha and aṁśa. main
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20 128. cf. पञ्चमांशग्रहा धान्ता पूर्णा मध्यमभूयसी । main
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21 मध्यमग्रामगा भाषा धनिसङ्गतिराजिता ॥ main
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22 द्राविडी देशनाम्रेयं विख्याता याष्ट्रिकोदिता ॥ main
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23 S Rāj II.2.1.912. annotation_inline
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24 The illustration in our text is not in accordance with any of the three main
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25 divergent descriptions viz. those in our text, Kalā and S Rāj. main
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26 129. The dual number of the instrumental case has been changed to main
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27 the same number of the genitive case, because the instrumental case would main
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28 require reference to some other svara with which the two svaras composed main
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29 of two śrutis each are supposed to have to and fro movement. Kalā (appen- main
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30 dix) on SRII, p. 141 reads 'nigayo rigayoryuktā'. main
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31 ्सम्पूर्णा, यं विना बाह्मपाडवा कैधिदिप्यते । main
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32 130. cf. annotation_inline
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33 S Rāj II.2.1.107 cf. main
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34 131. Corresponding to this, S Rāj II.2.1.1081 gives a bhāṣā named main
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35 națță, which is described as being complete. main
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36 पञ्चमांशान्तिमा ताना भिन्नताने रिवर्जिता । main
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37 132. cf. annotation_inline
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38 सकाकलिका शृङ्गारे विनियुक्ता पुरातनै: ॥ main
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39 ताना भाषैकिका भिन्नताने याष्ट्रिकसम्मता ॥ main
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40 S Rāj 11.2.1.1097,1099. main
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41 The illustration of this bhāṣā is not available in our text; the illustration main
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42 contained in p.t. at this point as follows seems to be out of place, since rşabha main
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43 -------------------------------------- annotation_inline
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vol_I_p060 LEFT — 52 lignes

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1 BRHADDESI page_header
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2 102 page_number
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3 निधपा, मपधा धपमा, गमपा पमगा, रिगमा मगरी, सरिगा गरिसा। main
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4 सनिधा. annotation_inline
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5 पधनी main
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6 मगरिस, रिगमप पमगरि, गमपध धपमग, मपधनि निधपम, पधनिस main
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7 अथवा— सरिगम annotation_inline
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8 सनिधप, मपधनि निधपम, गमपध धपमग, रिगमप पमगरि, सरिगम मगरिस main
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9 इति annotation_inline
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10 [ २९ ] editorial_bracket
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11 अष्टादशकलो हुङ्कारः। main
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12 अनु₀ ९९ section_header
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13 तारात् सप्तमं स्वरं गत्वा पुनस्तत्रैवागत्यावरोहक्रमेण स्वरद्वयोच्चारणेन main
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14 .वमा. annotation_inline
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15 कलाचतुष्टयकरणात् सन्धिप्रच्छादनः। main
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16 कारणनात् ( ? ) annotation_inline
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17 यथा - ] सनि सनि सनि सनि, निध निध निध निध, धप धप धप धप, पम पम पम editorial_bracket
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18 पम, मग मग मग मग, गरि गरि गरि गरि, रिस रिस रिस रिस। main
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19 रिस रिस रिस रिस, गरि गरि गरि गरि, main
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20 सरि सरि सरि annotation_inline
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21 सरि main
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22 रिंग रिंग रिंग रिंग annotation_inline
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23 मग मग मग, पम पम पम पम, main
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24 मग annotation_inline
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25 गम annotation_inline
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26 गम गम, main
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27 मप मप मप मप annotation_inline
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28 धप धप धप धप, निध निध निध निध, main
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29 धनि annotation_inline
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30 धनि main
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31 धनि धनि annotation_inline
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32 सनि सनि सनि सनि [ इति सन्धिप्रच्छादनः। ] editorial_bracket
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33 [ 30 ] editorial_bracket
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34 निस main
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35 निस annotation_inline
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36 निस निस main
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37 [ अनुः १०० ] editorial_bracket
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38 अंशस्वरं चतुरुच्चार्य तदनन्तरस्वरद्वयस्य द्वृतोच्चारणादनेनैव क्रमेणारोहणादेककलो main
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39 विधुतः। [ यथा - ] स स स स रिग, रि रि रि रि गम, editorial_bracket
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40 री री री री main
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41 सा सा सा सा annotation_inline
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42 ग ग ग ग मप, म म म म पध, प प प प धनि, ध ध ध ध निस main
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43 गा गा गा गा annotation_inline
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44 मामामा पापापा main
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45 धाधाधाधारि annotation_inline
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46 [ इति ] विधुतः। editorial_bracket
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47 [ ३१ ] editorial_bracket
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48 [ अनुः १०१ ] editorial_bracket
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49 तारादेकान्तरस्वरावरोहात् क्रमेणोद्गीतः । [ यथा - ] सध निप धम पग मरि गस editorial_bracket
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50 .तिः main
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51 [ इति ] उद्गीतः। editorial_bracket
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52 [ ३२ ] editorial_bracket
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vol_II_p062 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 107 page_number
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3 [Anu. 188] editorial_bracket
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4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
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5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
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6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
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7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
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8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
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9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
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10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
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11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
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12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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14 like caccatputa obtains in the songs comprised of svara and pada. main
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15 [3. Gaudakaisikamadhyama] section_header
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16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
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17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
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18 (318) annotation_inline
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19 [Anu. 189] editorial_bracket
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20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
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21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
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22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
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23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
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24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
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25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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27 obtains in the songs comprised of svara and pada. main
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28 [The assignment of gaudaragas to gramas] section_header
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29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
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30 grāmas- annotation_inline
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31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
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32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
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33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
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34 to vesarā gīti). annotation_inline
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35 (319) main
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36 (vide) annotation_inline
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vol_I_p055 RIGHT — 36 lignes

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1 93 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 75) annotation_inline
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4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
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5 șadja and the like, having touched the octave36 (tara) of that like fire and main
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6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
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7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
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8 <b>(6)</b> annotation_inline
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9 (Anu. 76) annotation_inline
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10 Having touched (a svara) for the interval of one kalā (time-unit), on main
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11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
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12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
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13 <b>(7)</b> annotation_inline
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14 nivṛttapravṛtta. annotation_inline
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15 (Anu. 77) annotation_inline
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16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
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17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
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18 (8) annotation_inline
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19 (Anu 78) annotation_inline
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20 On account of the shake of (svara having) three srutis in the lower heptad, main
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21 kampita (is formed), that is composed of three kalās (time-units). As - main
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22 <b>(9)</b> annotation_inline
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23 sarigamapadhanisa,42 thus is (ends) kampita. main
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24 (Anu. 79) annotation_inline
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25 On account of the shake of (svara having) three śrutis 43 in the middle main
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26 heptad kuharita (is formed), that is composed of three kalās. As - main
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27 (10) annotation_inline
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28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
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29 (Anu. 80) annotation_inline
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30 On account of the shake of (svara having) three śrutis in the higher main
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31 heptad, recita (is formed), that is composed of three kalās. As - main
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32 (11) annotation_inline
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33 sarigamapadhanisa 45 Thus is (ends) recita. main
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34 (Anu. 81) annotation_inline
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35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
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36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
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1 TRANSLATION page_header
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2 177 page_number
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3 Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā main
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4 pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga main
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5 risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- main
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6 dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] editorial_bracket
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7 Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is main
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8 charming. This is complete in svaras and has to and fro movement between main
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9 sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup> main
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10 (130) annotation_inline
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11 Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā main
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12 māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- main
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13 nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- main
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14 hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. main
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15 Sāsāmadhāpādhānidhā. Viśālā [iv] editorial_bracket
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16 These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. main
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17 [9. Now in Bottaraga] section_header
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18 Having pañcama as amsa, madhyama as the concluding note, being complete main
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19 and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and main
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20 fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all main
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21 auspicious occasions. Since it is auspicious and commendable, it is known main
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22 as mangalā. annotation_inline
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23 <math>(131-132)</math> annotation_inline
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24 Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- main
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25 pāmā. Maṅgalā [i] editorial_bracket
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26 [10. Bhāṣās in mālavapañcama] table
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27 .....[Bhāvinī] table
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194 lignes a valider — change uniquement les roles incorrects.