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 21605). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p103 RIGHT — 32 lignes

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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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vol_II_p168 RIGHT — 42 lignes

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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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vol_I_p047 RIGHT — 37 lignes

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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_II_p049 RIGHT — 29 lignes

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1 81 page_number
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2 TRANSLATION page_header
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3 [The opinion of Bharata] section_header
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4 "The first one should be known as māgadhī and the second one as main
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5 ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā." main
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6 (NŚ Chau. XXIX. 77) main
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7 [Thus ends the opinion of Bharata] section_header
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8 [The opinion of Yāṣṭika] section_header
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9 Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by main
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10 the noble Yāstika. annotation_inline
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11 (272) main
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12 Thus ends the opinion of Yāṣṭika. section_header
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13 [ The opinion of Kasyapa and Śārdūla] section_header
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14 Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly, main
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15 bhāṣāgīti alone is accepted in the opinion of Śārdūla. main
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16 (273) main
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17 [ The description of gītis] section_header
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18 Now I shall speak of the proper definition of giti. main
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19 (274) main
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20 [1. Šuddhā gīti] section_header
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21 The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra main
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22 (low), amandra (not low, medium), tāra (high)straight, attractive, equal main
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23 svaras and śrutis. annotation_inline
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24 (275) main
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25 [2. Bhinnāgīti] section_header
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26 Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved, main
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27 ullāsita (made to shine upwards), prasārita (spread out), attractive, high and main
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28 low (svaras). annotation_inline
parent ligne 27
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29 (276) main
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vol_II_p102 RIGHT — 28 lignes

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1 TRANSLATION page_header
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2 187 page_number
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3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
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4 māgāmā annotation_inline
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5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
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6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
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9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
parent ligne 7
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10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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168 lignes a valider — change uniquement les roles incorrects.