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 21488). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 BRHADDEŚĪ page_header
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2 160 page_number
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3 यापापाधापासासापाधापमगामामा page_header
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4 उदाहरणम् - सापापाधामामा पागामगापधाधापागमा main
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5 गामसासासागागामागामामा । षड्ज[मध्यमा]।[४] editorial_bracket
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6 मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु । main
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7 ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ main
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8 भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ main
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9 प्रेक्षके मधुकरी annotation_inline
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10 मापानिसासारिरोगमगारीसासा main
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11 उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा main
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12 निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५] editorial_bracket
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13 मधु(क)री annotation_inline
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14 ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ editorial_bracket
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15 [५.अथ पञ्चमे] ७४ editorial_bracket
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16 पञ्चमांशा तदन्ता च निषादबहुला सदा। main
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17 परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥ main
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18 <sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । main
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19 आभौरी annotation_inline
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20 पूर्ण annotation_inline
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21 एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ main
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22 उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि- main
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23 मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास - main
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24 रिमाधारिमपापा । आभीरी। [१] editorial_bracket
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25 भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । main
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26 मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ main
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27 मध्यम् annotation_inline
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28 भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥ main
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29 उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा editorial_bracket
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30 मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२] editorial_bracket
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vol_I_p065 RIGHT — 43 lignes

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1 113 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
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18 another sthana (register). annotation_inline
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
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43 alankāras, they should not be used without varņa.118 main
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1 53 page_number
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2 <b>TRANSLATION</b> page_header
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3 This has been said— annotation_inline
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4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
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5 (Anu. 33) annotation_inline
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6 But why are there only two grāmas? It is being answered; here two grāmas main
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7 have been formulated on account of (musical) performance being rooted in main
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8 the usage of two svaras.11 main
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9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
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10 (Anu. 34) annotation_inline
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11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
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12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
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13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
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14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
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15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
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16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
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17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
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18 rāga occurs. annotation_inline
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19 [ Thus ends the treatment of grāma ]. editorial_bracket
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20 [ The treatment of Mürchanā ] section_header
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21 (Anu. 35) annotation_inline
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22 Now the murchanas that befit the occasion or context are being spoken of. main
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23 But what is the etymology of the word murchana and what is its lakşana main
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24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
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25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
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26 and samucchrāya 19 (increase, growth). main
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27 That through which raga 20 (colour, delightfulness) grows or increases, is main
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28 (90) annotation_inline
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29 called mūrchanā. annotation_inline
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1 TRANSLATION page_header
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2 13 page_number
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3 [2. The definition of amsa] section_header
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4 [Anu. 120] editorial_bracket
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5 After this amsa is being spoken of; that is known as tenfold according to main
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6 the division of its angas (lit. limbs, here functions). Anisa is that which leads main
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7 to the manifestation of raga (delight) in the course of its operation; this is its main
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8 first (function). And the second anisa (in its functioning) is that with which main
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9 gīta (melodic organisation and performance) begins and proceeds, which is main
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10 vikalpita (alternatively arranged) as graha, this is its second (function). That main
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11 amsa is third (in its functioning) which is the cause of the manifestation of main
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12 tāra (high) and mandra (low). The ascent up to the fifth svara is (the range main
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13 of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just main
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14 as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). main
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15 Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator main
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16 . annotation_inline
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17 ofmandra is also amsa on account of descent in seven svaras. Just as in the main
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18 ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā main
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19 <math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela main
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20 amśa which is used profusely; this is the fourth (function). That svara is also main
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21 amsa which stands as the object (here content) of raga; this is the fifth main
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22 (function). That is also amsa which is perceptible in (the operation of) main
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23 graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, main
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24 eighth, ninth and tenth (function).<sup>16</sup> main
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25 [The definition of apanyasa forming part of that of amsa section_header
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26 [Anu. 121] section_header
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27 • annotation_inline
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28 That is apanyāsa, where gīta (melodic rendering) is supposed or appears main
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29 to be ending; this occurs in the middle of all vidārīs (sub-sections). That main
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30 vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and main
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31 pada-vidārī 18 (splitting of the melodic- cum-textual units). main
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32 (Contention) What is signified by the word vidārī (?) It is the splitting or main
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33 separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma main
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34 (melodic structure) could be (understood) as such. main
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35 [The definition of samnyāsa forming part of that of amśa] section_header
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36 [Anu. 122] section_header
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37 Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when main
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1 ¶ Visi annotation_inline
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
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9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
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10 and gändhära. main
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11 [Anu. 163] section_header
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12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
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13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
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15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
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16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
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29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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180 lignes a valider — change uniquement les roles incorrects.