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 20714). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p102 RIGHT — 28 lignes

page vol_II_p102 RIGHT
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1 TRANSLATION page_header
via surya_layout
2 187 page_number
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3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
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4 māgāmā annotation_inline
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5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
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6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
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9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
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10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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vol_II_p124 LEFT — 29 lignes

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1 (vide) unknown
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2 BRHADDEŚĪ page_header
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3 230 page_number
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4 [४.मालती] section_header
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5 एला गुरुलघुरचिता मधुरध्वनिशोभिता तथा सरला । main
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6 (वि)रचिता annotation_inline
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7 बहुगमकालङ्कारा रमणीया मालती भवति ॥४५२॥ main
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8 <sup>४२</sup>बहुग(य?)म(का) main
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9 [५. ललिता] section_header
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10 गातव्या गन्धर्वैर्ललिता ललितेन वर्णनियमेन । main
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11 प्रथमिव चरणयुगलं <sup>४३</sup>सगमकमथ बिन्दुमूर्छनायुक्तम् ॥ ४५३॥ main
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12 सयमकमथ annotation_inline
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13 1 page_number
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14 [६.हेमवती ?] section_header
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15 लिलतपदं बिरुदान्तं तथा च यतिसंस्थितगमकम्। main
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16 बिरुतां कथं(?) annotation_inline
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17 oतं annotation_inline
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18 चरणयुगक्रममेवं नाम ततो भवति वर्णनीयस्य ॥ ४५४॥ main
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19 °त्रयः annotation_inline
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20 [७.कुसुमवती ?] section_header
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21 लघुवर्णपदनिबद्धं तत् पुनरिप गीयते, गीत्वा । main
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22 गातृजननामधेयं वीरविलासादिवर्णनापूर्वम् ॥४५५॥ main
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23 यस्यां वर्णेला सा कथिता क्रमतो मतङ्गेन । main
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24 प्रतापोत्साहधैर्यादिवर्णनागुणगौरवम् ॥ ४५६॥ main
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25 क्रमशो दृश्यते यस्यां वर्णेला सा प्रकीर्तिता । main
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26 मण्ठद्वितीयकङ्कालै: प्रतितालेन गीयते ॥४५७॥ main
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27 मद्रद्वितीयं(कं)काल॰ annotation_inline
parent ligne 26
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28 प्रकारेणैकेन कथिता येनाधुना स्फुटम् । main
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29 कथ्यते तु समरसेन वर्णेलासप्तकं पुन: ॥४५८॥ main
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vol_I_p070 RIGHT — 34 lignes

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1 1 page_number
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2 123 page_number
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3 <b>TRANSLATION</b> page_header
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4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
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5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
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6 performer), and vartini is moved downwards, visarjitā is moved outwards main
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7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
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8 (179, 180) annotation_inline
parent ligne 7
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9 upwards, (and) patită reaches (touches) the ground. main
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10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
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11 two viz. kṛṣṇā and padmini27 are also (used). main
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12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
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13 (181) annotation_inline
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14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
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16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
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17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
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18 having the predominance of both is vitti vitti, (and) having the predominance main
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19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
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22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
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25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
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26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
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27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
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28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
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29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
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30 (Anu. 110) annotation_inline
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31 The vādya (presentation on instruments) should be done with sama, atīta main
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32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
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33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
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34 110 page_number
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vol_II_p021 RIGHT — 40 lignes

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1 ٠. annotation_inline
parent ligne 4
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2 25 page_number
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3 TRANSLATION page_header
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4 Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita main
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5 (forms) come into being by the omission of sadja and (sadja) pañcama main
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6 respectively. annotation_inline
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7 (213) main
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8 In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. main
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9 These two alongwith madhyama are apanyāsas and the two(ṣāḍava and main
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10 auduvita) are, as spoken of before, (in ārṣabhī) through the respective main
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11 omission of (ṣadja and ṣadja-pañcama). main
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12 (214) annotation_inline
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13 In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, main
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14 niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa main
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15 is the svara (niṣāda) from which this jāti derives its name. main
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16 (215) annotation_inline
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17 In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves main
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18 are the apanyāsas, adding niṣāda and omitting gāndhāra. main
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19 (216) annotation_inline
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20 Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this main
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21 (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. main
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22 there is no omission). main
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23 (217) annotation_inline
parent ligne 22
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24 Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as main
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25 amśas, sadja and dhaivata should be known as two apanyāsas. main
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26 (218) annotation_inline
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27 It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid main
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28 also of pañcama. There is the abundance of mandra gandhara and madhyama main
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29 is the <i>nyāsa</i>. main
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30 (219) annotation_inline
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31 Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras main
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32 from which it derives its name (viz. şadja and madhyama). Nişāda and main
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33 gāndhāra are the two svaras that bring about hīnatva (the state of being bereft main
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34 i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, main
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35 gāndhāra, its audava form). main
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36 (220) annotation_inline
parent ligne 35
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37 The sañcara (to and fro movement of svaras) is left to one's will, it has to main
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38 be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the main
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39 remaining (eleven) are the jātis of madhyama (grāma). main
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40 (221) main
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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
parent ligne 4
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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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167 lignes a valider — change uniquement les roles incorrects.