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 21728). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p023 RIGHT — 27 lignes

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1 29 page_number
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2 TRANSLATION page_header
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3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
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4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
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5 become their agre-sara 68 (movers in front). main
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6 (52) annotation_inline
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7 Thus I have spoken of the śrutis that are seated in grāma.69 main
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8 Here ends the section on srutis. annotation_inline
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9 IV [The Section on Svaras] section_header
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10 [The laksana of svaras] section_header
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11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
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12 (53) annotation_inline
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13 etymology of the word 'svara' is being spoken about. main
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14 From the root raje, meaning brilliance, to which is prefixed the word sva main
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15 (the word 'svara' is derived); because (the meaning is) that which shines by main
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16 (54) annotation_inline
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17 itself, hence it is known as svara. main
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18 [ Anu. 15 ] editorial_bracket
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19 But what is meant by svara? It is being answered - the dhvani (sound) which main
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20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
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21 Kohala. annotation_inline
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22 "By the will of the atman, the vayu (that is) moving upward from the base of main
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23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
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24 space, is known as svara, the delightful<sup>5</sup> sound." main
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25 (Anu. 16) annotation_inline
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26 But svara in this way is one or many, pervasive or non-pervasive or is it main
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27 eternal or non-eternal? annotation_inline
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vol_II_p155 RIGHT — 36 lignes

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1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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vol_II_p058 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 98 page_number
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3 [ जातिभिन्न:] section_header
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4 इदानीं जातिभिन्नस्य लक्षणमाह - main
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5 जातीनामंशक: स्थाप्य: स्वल्पकस्तु बहुस्तथा । main
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6 ॰कं स्थाय(?) annotation_inline
parent ligne 5
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7 अल्पत्वं च बहुत्वं च प्रयोगाल्पबहुत्वतः ॥ main
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8 सूक्ष्मातिसूक्ष्मैर्वक्रैश्च जातिभिन्नः स उच्यते ॥ ३०८॥ main
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9 [अनु॰ १७८] editorial_bracket
parent ligne 8
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10 अस्यार्थ: - शुद्धकैशिकमध्यमो हि कैशिकीषड्जमध्यमाजात्योर्जात:।भित्रकैशिकमध्य [म]स्तु editorial_bracket
parent ligne 8
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11 <b>र्जात(य?):</b> annotation_inline
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12 न्मध्यो annotation_inline
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13 पड्जमध्यमाजातेर्जातत्वात् तदंशग्राहित्वेन स्थायिवर्णग्राहित्वेन च सूक्ष्मातिस्क्ष्मै: प्रयोगैश्च main
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14 (ति) annotation_inline
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15 जातिभिन्नो भवेदित्यर्थ:। लक्षणं चास्य यथा - main
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16 (दि) annotation_inline
parent ligne 15
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17 [३.भिन्नकैशिकमध्यमः] section_header
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18 स्यात् षड्जमध्यमाजातेभित्रकैशिकमध्यमः। main
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19 (तै?ते) main
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20 षङ्जांशो मध्यमन्यासो मन्द्रैस्तु गमकैर्युत: ॥३०९॥ unknown
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21 [अन्॰ १७९] editorial_bracket
parent ligne 19
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22 [अस्यार्थ:-] भित्रकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेरुत्पन्नत्वात् । editorial_bracket
parent ligne 19
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23 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । मन्द्रगमकश्च । निषादोऽत्र काकली । पूर्णश्चायम् । दानवीर main
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24 पह्(जॉऽश ? जो)स्य annotation_inline
parent ligne 23
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25 चास्य प्रयोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । प्रसन्नादिरलङ्कारः । दक्षिणे main
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26 कला, वार्तिके कला, चित्रे कला। [स्वरपदगीते] चच्चत्पुटादिताल:। editorial_bracket
parent ligne 25
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27 [शुद्धभिनः] section_header
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28 [इदानी]शुद्धभित्रस्य लक्षणमाह - section_header
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29 परित्यजन्नन्यजातिं स्वजातिकुलभूषणः। main
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30 स्वकं कुलं तु संगृह्धन् शुद्धभित्रः प्रकीर्तितः ॥३१०॥ main
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vol_II_p118 RIGHT — 31 lignes

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1 TRANSLATION page_header
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2 219 page_number
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3 [26. Kalahaṁsa] section_header
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4 Where, having sung one foot first, then svaras are sung, that is kalahamsa, main
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5 combined with tālas like jhampā. main
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6 (407) main
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7 [27. <i>Ghața</i>] section_header
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8 Where one-half is full of tenaka, that is ghata, like dvipadī. main
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9 (408) main
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10 [28. Cakravāla] section_header
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11 That which is sung with repetition, taking the last pada (textual-cum- main
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12 melodic unit of the preceding sub-section), being bedecked with the state main
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13 of yamaka, is said to be cakravāla.25 main
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14 (409) main
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15 [29. Tripadī or Şaţpadī] section_header
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16 Performed with any of the tālas and (rendered) exclusively with birudas, main
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17 that which is sung in a two-fold way....? main
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18 (410) main
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19 [30. Bandhakarana] section_header
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20 That which is sung by the gandharvas <math>^{26}</math> in karana tāla, with svaras coupled with main
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21 the akṣaras (syllables) of muraja (drum-variety), isagain, known as bandhakarana?7 main
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22 (411) unknown
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23 [31. Pāṭakaraṇa] section_header
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24 ٠ page_number
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25 The karaṇa (prabandha) named pāṭa is composed of pāṭas (syllables) of the main
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26 hands<sup>28</sup> (on a drum) main
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27 (412) main
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28 [32. <i>Kaivāţa</i>] section_header
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29 That which is sung properly with <i>pāṭas</i> alone, should be known by the main
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30 gandharvas as kaivāṭa, combined with tāla. main
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31 (413) main
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vol_II_p153 LEFT — 47 lignes

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1 BRHADDEŚĪ page_header
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2 288 page_number
via heuristic_pagenum
3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
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4 17. cf.(i) annotation_inline
parent ligne 3
via heuristic_short
5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
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6 Mānaso IV.16.332. annotation_inline
parent ligne 5
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7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
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8 (ii) annotation_inline
parent ligne 7
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9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
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10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
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11 S Rāj II.4.3.111. annotation_inline
parent ligne 10
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12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
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13 (iii) annotation_inline
parent ligne 12
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14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
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15 Ra Kau III.117. annotation_inline
parent ligne 14
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16 18. Reconstruction in the first and second foot based on SR IV. main
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17 212c, 213b. annotation_inline
parent ligne 16
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18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
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19 <b>cf.(i)</b> annotation_inline
parent ligne 18
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20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
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21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
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22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
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23 Mānaso IV.16,333,335. main
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24 आर्यैव यदि गीयेत तालेन गजलीलया । main
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25 (ii) annotation_inline
parent ligne 24
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26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
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27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
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28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
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29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
parent ligne 28
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30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
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31 S Rāj 11.4.3.108-110. main
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32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
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33 19. cf. annotation_inline
parent ligne 32
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34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
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35 SR IV.279,280. annotation_inline
parent ligne 34
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36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
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37 20. cf. annotation_inline
parent ligne 36
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38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
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39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
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40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
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41 Mānaso IV.16.336 -338. main
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42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
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43 21. cf. annotation_inline
parent ligne 42
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44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
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45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
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46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
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47 SR IV.283,284. main
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171 lignes a valider — change uniquement les roles incorrects.