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 20845). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p105 RIGHT — 31 lignes

page vol_II_p105 RIGHT
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1 <b>TRANSLATION</b> page_header
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2 193 page_number
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3 Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. main
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4 Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī main
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5 [v] editorial_bracket
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6 Gāndhārī has gāndhāra as amśa (and) pancama as the concluding note, is main
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7 complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) main
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8 ascending the top of a mountain. 16 annotation_inline
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9 (19) annotation_inline
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10 Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. main
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11 Sāgāsānidhāpāpā. Gāndhārī [vi] editorial_bracket
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12 Thus end the bhāṣās in mālavapañcama according to main
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13 the opinion of Sārdūla. annotation_inline
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14 [4. Now in bhinnaṣaḍja] section_header
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15 Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, main
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16 gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and main
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17 śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). main
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18 <math>(20-21)</math> annotation_inline
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19 Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and main
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20 is with sparse <i>şadja</i>. main
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21 (22) annotation_inline
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22 Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini main
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23 dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā main
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24 nidhāmāmadhā niniridhādhā. Trāvaņī [i] editorial_bracket
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25 Combined with dhaivata as the initial and concluding note, having sparse main
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26 sa (ṣadja), ṣadja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the main
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27 worship of deities.<sup>18</sup> annotation_inline
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28 (23) annotation_inline
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29 Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. main
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30 Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. main
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31 Ṣaḍjabhāṣā [ii] editorial_bracket
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vol_I_p062 RIGHT — 34 lignes

page vol_I_p062 RIGHT
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1 107 page_number
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2 TRANSLATION page_header
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3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
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4 (129) annotation_inline
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5 should be known in the avarohin (varna). main
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6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
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7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
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8 (130, 131) annotation_inline
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9 alankāras are said to be based on all the varnas. main
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10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
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11 (132) annotation_inline
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12 are said to belong to all the varnas. main
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13 These alankaras should be known by the wise to be subsistent in the seven main
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14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
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16 excessive 'stretching' of syllables (of the text). main
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17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
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18 whichever others are (involved with stretching and) counter-stretching, they main
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19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
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21 their own measure (of extension). main
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22 135ab) annotation_inline
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23 In the performance of dhruvās, ascending svaras should be used. main
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24 (135cd) main
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25 t annotation_inline
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26 Because dhruvā that is formed in accordance with the (desired) meaning, main
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27 has to be made the communicator of meaning, in dhruvās the adequate main
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28 sparseness or thinness of varnas (patterns of melodic movement) should again main
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29 be brought about (lit. made). main
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30 (136) annotation_inline
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
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32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
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34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
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vol_I_p040 RIGHT — 35 lignes

page vol_I_p040 RIGHT
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1 TRANSLATION annotation_inline
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2 63 page_number
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3 sa X ga ma pa dha ni main
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4 ni sa X ga ma pa dha main
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5 dha ni sa X ga ma pa main
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6 pa dha ni sa X ga ma main
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7 ma pa dha ni sa X ga main
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8 ga ma pa dha ni sa X main
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9 X ga ma pa dha ni sa main
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10 (Tānas) devoid of rṣabha. main
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11 sa ri ga ma X dha ni main
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12 ni sa ri ga ma X dha main
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13 dha ni sa ri ga ma X main
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14 X dha ni sa ri ga ma main
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15 ma X dha ni sa ri ga main
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16 ga ma X dha ni sa ri main
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17 ri ga ma X dha ni sa main
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18 (Tānas) devoid of pañcama. main
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19 sa ri ga ma pa dha X main
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20 X sa ri ga ma pa dha main
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21 dha X sa ri ga ma pa main
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22 pa dha X sa ri ga ma main
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23 ma pa dha X sa ri ga main
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24 ga ma pa dha X sa ri main
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25 ri ga ma pa dha X sa main
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26 (Tānas) devoid of niṣāda. main
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27 Thus end the sadava [ tanas ]. editorial_bracket
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28 X ri ga ma X dha ni main
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29 ni X ri ga ma X dha annotation_inline
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30 dha ni X ri ga ma X main
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31 X dha ni X ri ga ma annotation_inline
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32 ma X dha ni X ri ga main
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33 ga ma X dha ni X ri annotation_inline
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34 ni ga ma X dha ni X main
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35 (Tānas) devoid of sa-pa. main
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vol_I_p006 RIGHT — 36 lignes

page vol_I_p006 RIGHT
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1 xiii page_header
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2 INTRODUCTION page_header
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3 A word about the translation. It has been my attempt to bring the original to main
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4 the reader with its flavour and nuances; if in this attempt the idiom of the main
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5 English language has been violated, I owe an apology. My only submission main
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6 would be that this is not a transcreation of creative literature, this is a main
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7 presentation of 'scientific' literature in a different language. Hence the criteria main
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8 of judgement should be different from those applied to translation of creative main
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9 literature. annotation_inline
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10 Technical terms have not been translated because that is virtually impossible; main
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11 rough equivalents have generally been given in paranthesis and if an equivalent main
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12 has been found adequate, the original word has been given in paranthesis in main
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13 order to help the reader in indentifying the equivalence. main
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14 The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira main
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15 KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the main
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16 title page. Once again, I acknowledge with affection his labour and patience main
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17 with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a main
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18 deep debt of gratitude for her constant inspiration and encouragement. My main
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19 sincere apologies are due to her for the delay in completing this work, caused main
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20 by both personal and professional reasons. To Dr. Bettina Bäumer, Hony. main
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21 Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt main
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22 gratitude for her constant support, both moral and material. My younger sister main
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23 Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I main
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24 express my loving gratitude to her. My affectionate thanks go to Dr. N. main
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25 Ramanathan, Reader, Department of Music, Madras University, my former main
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26 student, for going through the first half of the press-copy (upto the section on main
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27 grāma-mūrchanā) in 1988, while I was at Khairagarh. main
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28 I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt. main
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29 Editor, for seeing the book through the Press. main
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30 Prem Lata Sharma. annotation_inline
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31 Vasanta Pañcami annotation_inline
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32 'Āmnāya', Karaundi, annotation_inline
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33 Magha Sukla 5, V.S. 2048 annotation_inline
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34 Varanasi-221 005 annotation_inline
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35 <b>Feburary 8, 1992</b> annotation_inline
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36 The second of the second of the second of the second of the second of the second of the second of the second of the seco annotation_inline
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vol_II_p071 RIGHT — 36 lignes

page vol_II_p071 RIGHT
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1 125 page_number
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2 TRANSLATION page_header
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3 [Anu. 210] editorial_bracket
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4 Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha main
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5 and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it main
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6 sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete. main
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7 Its application is prescribed in the passionate performance of cārīs, maṇḍalas and main
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8 (situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning main
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9 with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the main
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10 dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in main
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11 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and main
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12 pada annotation_inline
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13 [9. Revagupta] section_header
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14 Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as main
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15 its amsa and madhyama as its concluding note and is with complete svaras. main
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16 (340) annotation_inline
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17 [Anu. 211] editorial_bracket
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18 Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born main
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19 of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of main
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20 pañcama being comprised of four śrutis. Rṣabha is its graha and amśa, main
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21 <math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he main
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22 svaras. Its application is prescribed in the passionate performance of cārīs, main
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23 mandalas and (situations of) combat. Vira and the like is the rasa. The main
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24 mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is main
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25 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
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26 the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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27 caccatputa obtains in the songs comprised of svara and pada. main
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28 [10. Takkasaindhava] section_header
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29 The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is main
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30 combined with sadja as amsa and nyāsa and is weak in pancama. main
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31 (341) annotation_inline
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32 [Anu. 212] editorial_bracket
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33 Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on main
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34 account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and main
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35 nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of main
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36 pañcama and this (rāga) is complete in svaras. Its application is prescribed main
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172 lignes a valider — change uniquement les roles incorrects.