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 20878). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p069 RIGHT — 32 lignes

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1 121 page_number
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2 TRANSLATION page_header
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3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
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4 With this prescription itself the gitis should be sung by the wise. main
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5 (175) annotation_inline
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6 (Anu. 105) annotation_inline
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7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
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8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
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9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
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10 on account of the use of eight-mātrā (units). main
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11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
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12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
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13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
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14 (176) annotation_inline
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15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
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16 (177) annotation_inline
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17 (mārga). main
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18 As - table
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19 Māgadhī [-----] table
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20 Ardhamāgadhī [-----] table
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21 Sambhāvitā [-----] table
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22 Pythulā [-----] table
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23 (Anu. 106) annotation_inline
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24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
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25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
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26 (Anu. 107) annotation_inline
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27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
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28 (are the margas). annotation_inline
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29 The mātrās (to be used in them) are eight, four and two (respectively). As main
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30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
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31 (178) annotation_inline
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32 patitā is known to be the eighth one. main
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1 1 page_number
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2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 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
parent ligne 3
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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_p079 RIGHT — 24 lignes

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1 TRANSLATION page_header
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2 141 page_number
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3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
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4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
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5 nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] editorial_bracket
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6 Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there main
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7 being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā main
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8 should be known as hexatonic. Mālavesarī bears the name mūlā. main
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9 (44) annotation_inline
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10 Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. main
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11 Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] editorial_bracket
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12 Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is main
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13 immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding main
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14 notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly main
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15 pañcama-ṛṣabha should be known there. annotation_inline
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16 (45) annotation_inline
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17 Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. main
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18 Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] editorial_bracket
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19 This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its main
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20 amsa, sadja as its concluding note, is always complete and is sung by people. main
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21 (46) annotation_inline
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22 Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini main
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23 ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. main
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24 Saurāstrī [vii] editorial_bracket
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vol_II_p087 RIGHT — 29 lignes

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1 <b>TRANSLATION</b> page_header
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2 157 page_number
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3 Madhukarī has pañcama as amśa, is replete with the same, has dha main
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4 (dhaivata) as the concluding note, there is the mutual concert of gandhara main
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5 and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā, main
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6 born of kakubha, is complete and sankīrņā (mixed). main
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7 <math>(76-77)</math> annotation_inline
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8 Illustration-[<i>Pāpā</i>] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā editorial_bracket
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9 dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā. main
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10 Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v] editorial_bracket
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11 Šakamišritā is a bhāṣā having niṣāda as amśa, ṣaḍja as the concluding note, main
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12 combined with niṣāda as graha, should be known to be devoid of ṛṣabha and main
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13 the concert of niṣāda and pañcama with dhaivata is there. The shade or main
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14 reflection (chāyā)31 (?) mixed with śaka is there. main
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15 (78-79) annotation_inline
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16 Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā main
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17 sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā- main
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18 nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi] editorial_bracket
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19 Bhinnapañcamī should be known to have dhaivata as the concluding note main
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20 and madhyama as amśa, miṣāda is kākalī mixed profusely with dhaivata, where main
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21 there is seen the concert of kākalī and dhaivata and where one should put up main
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22 communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā, main
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23 i.e., involves the use of <i>antar</i>a and <i>kākalī</i> and <i>kākalī</i> is frequent. 32 main
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24 <math>(80-81)</math> annotation_inline
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25 Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa main
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26 niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā main
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27 dhādhāsa nidhā. Bhinnapañcamī [vii] editorial_bracket
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28 These seven bhāṣās of kakubha have been indicated. main
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29 (82) page_footer
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174 lignes a valider — change uniquement les roles incorrects.