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 20829). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p122 RIGHT — 28 lignes

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1 227 page_number
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2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
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5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
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7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_II_p026 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 35 page_number
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3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
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4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
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6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
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7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
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8 be done in the text of vardhamāna<sup>51</sup> main
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9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
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11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
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19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
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21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
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25 (252) main
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26 [ Anu. 135 ] section_header
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27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
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36 amśa and şadjodicyavā should be known not to be şādava (through the main
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37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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vol_II_p066 RIGHT — 39 lignes

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1 1.50 4 1 annotation_inline
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2 TRANSLATION page_header
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3 115 page_number
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4 [Anu. 198] editorial_bracket
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5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
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6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
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7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
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8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [7. Ţakkakaiśika] section_header
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13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
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14 and concluding note and is weak in the svaras comprised of two śrutis each main
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15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
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17 [Anu. 199] editorial_bracket
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
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22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
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24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
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25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
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26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
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27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
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28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
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29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
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30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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32 obtains in songs comprised of svara and pada. main
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33 [8. Mālavakaisika] section_header
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34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
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35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
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37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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vol_II_p125 LEFT — 28 lignes

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1 L annotation_inline
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2 · - 1 1 1 annotation_inline
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3 232 page_number
via heuristic_pagenum
4 BRHADDESĪ page_header
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5 [घ. पुनर्वर्णेला-सप्तकम्] section_header
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6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
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7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
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8 [१. रमणी] section_header
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9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
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10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
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11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
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12 ॰द्यो॰ annotation_inline
parent ligne 11
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13 [२.चन्द्रिका] section_header
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14 स्रोतोगता समा चैव यत्र पादद्वये भवेत्। main
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15 बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥ main
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16 [३.लक्ष्मी] section_header
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17 गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च । main
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18 मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥ main
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19 [४.पद्मिनी] section_header
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20 आद्ये पादे द्वितीये च तृतीये च चतुर्थके । main
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21 वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥ main
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22 [५.रञ्जिनी] section_header
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23 प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके । main
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24 स्रोता annotation_inline
parent ligne 23
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25 गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥ main
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26 [६. मालती] section_header
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27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
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28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
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vol_II_p097 RIGHT — 27 lignes

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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
parent ligne 21
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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
parent ligne 24
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26 [10. Bhāṣās in mālavapañcama] table
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27 .....[Bhāvinī] table
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160 lignes a valider — change uniquement les roles incorrects.