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 21364). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_II_p040 RIGHT — 42 lignes

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1 63 page_number
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2 TRANSLATION page_header
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3 mā mā mā mā mā mā mā mā table
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4 (4) table
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5 dhā nī pā mapa dhā nī pā pā table
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6 (5) table
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7 (6) table
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8 mā pā mā dhani pā pā pā pā table
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9 (7) table
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10 rî gā mā pā pā pā mā pā table
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11 (8) table
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12 rī gā mā pā pā pā mā pā table
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13 (9) table
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14 pā pā pā pā pā pā pā pā table
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15 (10) table
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16 rī gā sā sā rī gā gā gā table
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17 (11) table
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18 gã gã pã dhama dhã nidha pã pã table
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19 (12) table
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20 mā pā mā pariga gā gā gā gā table
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21 Thus ends raktagāndhārī. section_header
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22 [4. Kaiśikī] section_header
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23 In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the main
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24 amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis main
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25 (gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know main
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26 niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas. main
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27 (11) annotation_inline
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28 The hexatonic and pentatonic forms are known to come into being with main
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29 the omission of <i>rṣabha</i> and <i>rṣabha-dhaivata</i>. <i>Rṣabha</i> is sparse, there is the main
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30 abundance of niṣāda and pañcama. The amsas have mutual concert. main
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31 (12) annotation_inline
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32 Pañcama and dhaivata are averse to the hexatonic and pentatonic forms main
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33 respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā main
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34 beginning with gāndhāra obtains. main
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35 (13) annotation_inline
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36 The application is (prescribed) in the dhruvā pertaining to the fifth act. main
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37 Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting main
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38 rṣabha or seven svaras are apanyāsas. The prastāra is thus - main
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39 (1) table
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40 pā dhani pā dhani gā gā gā gā table
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41 pā pā mā nidha nidha pā pā pā table
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42 (2) table
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vol_II_p123 RIGHT — 34 lignes

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1 TRANSLATION page_header
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2 229 page_number
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3 [2. Kāmalekhā] section_header
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4 Kāmalekhā is that where there are twenty-two<sup>60</sup> (dviguņita-rudra) mātrās in the main
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5 first (foot) and in the foot bearing an even number (second) the same (number main
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6 of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). main
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7 (445) main
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8 [3. Bāṇalekhā] section_header
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9 If in all the three feet, in a uniform manner there are double the number main
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10 of mātrās (obtaining in kāmalekhā) (and) where they are composed in main
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11 bāṇagaṇas,61 that is bāṇalekhā. main
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12 (446) main
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13 [4. Candralekhā] section_header
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14 Where there are three above forty (forty-three) mātrās in a couple of feet main
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15 i.e. the first two feet (and where) the number of mātrās is less by one (forty- main
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16 two) in the foot bearing an odd number (third foot), that is candralekhā. main
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17 (447) main
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18 Thus ends the fourfold mātrailā. section_header
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19 [C. The varieties of <i>Varnailā</i>] section_header
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20 There is no regulation of <i>tāla</i> here, none of <i>msa</i> and none of <i>rāga</i>; there is only main
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21 the regulation of syllables <math>^{62}</math> (in their number); hence it is called <i>varyailā</i>. main
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22 (448) annotation_inline
parent ligne 21
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23 Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) main
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24 kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). main
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25 (449) annotation_inline
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26 Beginning with eleven syllables and ending with seventeen (syllables in main
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27 each foot), these seven are sung in sequence, by the gandharvas with main
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28 beautiful padas (textual units) (and) good sounds. main
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29 (450) main
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30 [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] section_header
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31 That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all main
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32 long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always main
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33 profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). main
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34 (451) main
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vol_I_p024 RIGHT — 35 lignes

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1 31 page_number
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2 TRANSLATION page_header
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3 It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the main
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4 undifferentiated state there is one svara; in the form of sadja and the like svara is main
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5 many. annotation_inline
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6 Similarly also said Kohala - annotation_inline
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7 "Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā main
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8 etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and main
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9 is to be combined with alankāra10 and (used in) rasas." 11 main
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10 (It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained main
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11 in or permeating everything). annotation_inline
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12 Similarly said Kohala - annotation_inline
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13 "By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all main
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14 'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka main
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15 (pervasive) (and) para (beyond).15 main
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16 (Anu. 17) annotation_inline
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17 But how is the svaratva 16 of (svara-names) şadja and the like, on account of main
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18 their being consonants? If the svaratva of consonants is spoken of, then there main
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19 should be the svaratva of (consonants) beginning with ka? main
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20 Here it is being said (answered) that there is the svaratva of only şadja and main
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21 the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of main
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22 (consonants) beginning with ka. main
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23 But why (or how) is the uncommon or special nature of sadja and the like? main
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24 (Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones) main
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25 the asadharanatva (uncommonness, special nature) of svaras is there. main
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26 So did say Maheśvara<sup>19</sup> in Kohala — main
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27 "The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks main
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28 gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time main
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29 (common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy main
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30 season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same main
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31 way, the elephant always speaks niṣāda." main
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32 Or, only sadja and the like have uncommonness or special nature because of main
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33 their movement in upward sound, or şadja and the like are not svaras, only main
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34 (vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the main
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35 pronunciation of (vowels) beginning with ākāra, so (it is said). main
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vol_II_p016 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 15 page_number
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3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
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4 becomes samnyāsa if it is used in the end of the first vidārī. main
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5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
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8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
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173 lignes a valider — change uniquement les roles incorrects.