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 21515). 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 89 page_number
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2 <b>TRANSLATION</b> page_header
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3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
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4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
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5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
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6 (bodily) svaras (in the verse of NS quoted above). main
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7 So has been said - annotation_inline
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8 These four varnas should be known as the constructors23 of melodic main
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9 (NŚ XXIX, 19ab) annotation_inline
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10 rendering. annotation_inline
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11 [Thus end the varnas] editorial_bracket
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12 [The Alankaras] section_header
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13 (Anu. 68) annotation_inline
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14 Now the well-known thirty-three 24 alankāras are being described by name main
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15 and application. What is spoken of through the word alankara and what is its main
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16 etymology? It is being answered. Ornament25 is being spoken of by the word main
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17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
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18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
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19 that subsists in varņas (and is) adorned by these alankāras (known as) main
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20 prasannādi and the like, becomes delightful to the performers and listeners. main
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21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
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22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
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23 (derived thereby) means that which makes something sufficient or adequate. main
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24 This word alankara has the end-suffix ghan. main
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25 (Anu. 69) annotation_inline
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26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
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27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
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28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
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29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
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30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
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31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
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32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
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33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
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34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
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35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
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36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
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37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
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38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
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39 i annotation_inline
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40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
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41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
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42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
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vol_I_p052 LEFT — 38 lignes

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1 BRHADDESI page_header
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2 86 page_number
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3 [ अनु₀ ६५ ] editorial_bracket
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4 यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन editorial_bracket
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5 निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः । main
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6 [ अनु₀ ६६ ] editorial_bracket
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7 यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते। main
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8 (वं ?) annotation_inline
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9 यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम main
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10 गरि पम annotation_inline
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11 मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा main
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12 इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही। main
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13 अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु। main
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14 स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥ unknown
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15 ब्दे तु annotation_inline
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16 ुन् annotation_inline
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17 पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम main
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18 प्र म्मि annotation_inline
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19 मध्यम annotation_inline
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20 निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर- main
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21 ध्(?) म्र नाद (?) annotation_inline
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22 द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्- main
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23 शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः। main
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24 म् annotation_inline
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25 ुगु annotation_inline
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26 अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5 main
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27 [ ना. शा. २९. १७ ] editorial_bracket
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28 [ अनु₀ ६७ ] editorial_bracket
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29 ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति main
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30 गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य main
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31 निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी main
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32 नी annotation_inline
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33 ्ता धध annotation_inline
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34 oर्णा ? main
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35 ুজা annotation_inline
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36 नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि main
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37 नी पधा annotation_inline
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38 पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः— main
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vol_II_p028 RIGHT — 34 lignes

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1 (vide) annotation_inline
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2 39 page_number
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3 TRANSLATION page_header
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4 applied without any svara forming an exception. Out of sixty-three (anisas), main
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5 nine amsas that pertain to the four jātis which are always complete, should main
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6 be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are main
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7 subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of main
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8 six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī main
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9 (and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there main
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10 are forty-seven anisas. That is thus - main
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11 Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī main
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12 (and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki main
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13 (becomes so) with sa - ga - pa. annotation_inline
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14 (257) annotation_inline
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15 [ Anu. 140] editorial_bracket
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16 This means .....in the forty-seven anisas, the formation of ṣāḍava should main
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17 be carried out with the said svaras. annotation_inline
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18 Now he (the author) shows the svaras that are not exceptional <math>^{53}</math> in the main
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19 formation of auduvita - annotation_inline
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20 In the same way, those that are free from being exceptional are thirty main
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21 (amśa svaras that form) auduvita. main
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22 (258) annotation_inline
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23 [Anu. 141] editorial_bracket
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24 This means - in that way, those devoid of exception should be known to main
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25 be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to main
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26 the four jātis that are always complete (in which omission is not prescribed) main
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27 should be subtracted. After their subtraction, fifty-four amsas remain there. main
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28 There also out of fifty-four, twelve amsas of the four jātis that are always main
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29 complete and ṣāḍava, should be subtracted. After their subtraction, out of main
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30 forty-two (being the remainder), twelve anisas that do not form auduvita in main
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31 five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī, main
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32 should be subtracted. After their subtraction, the formation of auduvita main
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33 takes place with thirty amśa svaras that have been spoken of. Similarly has main
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34 said Bharata- annotation_inline
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1 TRANSLATION page_header
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2 189 page_number
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3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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1 83 page_number
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2 TRANSLATION page_header
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3 [3. Gaudī giti and its component ohāțī] section_header
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4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
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5 to consist of a combination of the sound 'ha' and 'o'. main
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6 (277) annotation_inline
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7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
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8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
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9 svara. annotation_inline
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10 (278) annotation_inline
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11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
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12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
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13 in the three registers. annotation_inline
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14 (279) annotation_inline
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15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
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16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
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17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
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19 (280) annotation_inline
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20 Gaudī gīti is said to subsist without rest in the three registers. main
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21 (281) annotation_inline
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22 [4. Rāga giti] section_header
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23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
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24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
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180 lignes a valider — change uniquement les roles incorrects.