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 20593). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p038 RIGHT — 40 lignes

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1 59 page_number
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2 <b>TRANSLATION</b> page_header
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3 [ Anu . 39 ] editorial_bracket
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4 Thus have been spoken of the fourteen complete murchanas of both the main
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5 grāmas. Now their names are being mentioned. main
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6 In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in main
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7 dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93) main
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8 Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in main
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9 gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one. main
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10 (94) annotation_inline
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11 Thus are to be known the seven mūrchanās subsisting in şadja-grāma. main
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12 Hereafter I shall speak of the murchanas of madhyama-grama. main
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13 (95) annotation_inline
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14 Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and main
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15 (96) annotation_inline
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16 kalopanatā would be the mūrchanā with ṛṣabha itself. main
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17 Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is) main
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18 mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama. main
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19 ł annotation_inline
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20 (97) main
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21 Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I main
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22 shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas. main
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23 (98) annotation_inline
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24 Şāḍava is to be known as having six svaras and auḍavā is to be known with main
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25 five svaras; and the etymology of sadavas and auduvitas is being spoken of. main
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26 (99) annotation_inline
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27 (Anu. 40) annotation_inline
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28 Those six svaras that protect (the performance) are (known as) sadava main
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29 svaras; their use (in performance) is (called) sādava. Falling under the tāraka main
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30 gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’ main
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31 is formed). annotation_inline
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32 (Anu. 41) annotation_inline
parent ligne 30
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33 The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as main
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34 auduva. By that (the word auduva) the number five is indicated. (<math>\bar{A}k\bar{a}\dot{s}a</math>) is the main
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35 fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa) main
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36 exists. annotation_inline
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37 Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and main
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38 it is to be known as being numbered forty-nine,52 by the knowledgeable ones in main
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39 (100) annotation_inline
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40 gīta (lit. song i.e. music). main
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vol_II_p048 LEFT — 27 lignes

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1 BRHADDEŠĪ page_header
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2 78 page_number
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3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
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4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
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5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
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6 यापि वाचकः annotation_inline
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7 मन्थवत् annotation_inline
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8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
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9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
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10 [गीति-भेदाः] section_header
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11 [तत्र मतङ्गमतम् ] section_header
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12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
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13 (त ? ती) annotation_inline
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14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
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15 (त ? ति:) annotation_inline
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16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
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17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
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18 (त ?ति) annotation_inline
parent ligne 17
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19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
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20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
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21 सप्तगीत्यो मया annotation_inline
parent ligne 20
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22 [॥ इति मतङ्गमतम्॥] editorial_bracket
parent ligne 20
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23 [दुर्गशक्तिमतम्] section_header
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24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
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25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
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26 याष्ट्रिकेन महात्मना annotation_inline
parent ligne 25
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27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
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vol_I_p065 LEFT — 40 lignes

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1 <b>BRHADDESI</b> page_header
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2 112 page_number
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3 आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः । main
via surya_layout
4 स्त्रिस्वरः annotation_inline
parent ligne 3
via heuristic_height
5 एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥ main
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6 द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम् main
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7 ₀हो₀ ₀तततोऽप<b>₀</b> annotation_inline
parent ligne 6
via heuristic_markers
8 समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥ main
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9 समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि । main
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10 ₀द्यपरश्चतुःपरो (?) वापि annotation_inline
parent ligne 9
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11 आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥ main
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12 स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः । main
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13 ₀कद्वयश्च annotation_inline
parent ligne 12
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14 क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥ main
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15 .मनो. annotation_inline
parent ligne 14
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16 (?) main
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17 आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः । editorial_bracket
parent ligne 16
via heuristic_brackets
18 यः annotation_inline
parent ligne 16
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19 समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥ main
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20 •ला annotation_inline
parent ligne 19
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21 <b>.</b>Ų. main
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22 आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र । main
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23 बादा++वरोही annotation_inline
parent ligne 22
via heuristic_short
24 प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥ main
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25 <b>ब्न्स्याकार</b>ु (२) main
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26 हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः । main
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27 म्, annotation_inline
parent ligne 26
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28 द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥ main
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29 च ,मती(?)चतस्य annotation_inline
parent ligne 28
via heuristic_short
30 वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् । main
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31 आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥ main
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32 गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः । editorial_bracket
parent ligne 31
via heuristic_brackets
33 ,णां annotation_inline
parent ligne 31
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34 एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥ main
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35 .नीमा, annotation_inline
parent ligne 34
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36 स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् । main
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37 द् गाम्युरसि किचित् उदावेध ।। main
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38 ₀र annotation_inline
parent ligne 37
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39 बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥ editorial_bracket
parent ligne 37
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40 ,नाः page_footer
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vol_II_p011 RIGHT — 38 lignes

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1 TRANSLATION page_header
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2 5 page_number
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3 and andhri and nandayanti and karmaravi and then kaisiki, thus should be main
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4 known the eleven (jātis) based on madhyamagrāma. main
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5 <math>(189 - 190)</math> main
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6 [Thus end the eleven jātis based on madhyamagrāma] editorial_bracket
parent ligne 5
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7 [ sādhāraņakṛtā jātis ] section_header
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8 Three jatis should be known by the wise to be sadharanakṛtā (those in main
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9 which the use of sādhāraṇa svaras is prescribed) viz., madhyamā, pañcamī and main
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10 similarly <i>şadjamadhyamā</i>. main
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11 (191) annotation_inline
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12 Thus ends the number and nomenclature of jātis. main
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13 [2. The śuddhā, vikṛtā and samsargajā vikṛtā jātis] section_header
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14 [Anu. 115] section_header
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15 Out of these eighteen jātis the seven bearing the names of (seven) svaras main
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16 are spoken of as being twofold - suddhās and vikṛtās. The suddhās are devoid main
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17 of the omission of notes and have their anisa, graha, nyāsa and apanyāsa on main
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18 their own svara, i.e. the svara from which each of them derives its respective main
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19 name. They assume the name vikṛtā on account of the alteration obtaining main
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20 in them through an alteration in respect of one, two or many lakṣaṇas main
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21 (characteristics) out of the above lakṣaṇas(characteristics of their śuddha main
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22 1002 472 7 unknown
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23 form), excepting nyāsa4 (which is not altered). main
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24 [Anu. 116] section_header
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25 Out of these (lakṣaṇas) he (the author) spoke (speaks) about the main
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26 日本が一次の後の日の行人の行うのできるというますが、まるは、大利の大利の人の自己となりから unknown
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27 prescription of nyāsa. There in the prescription of nyāsa, the nyāsa which is main
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28 the svara from which the respective jāti derives its name, is, as a rule, low main
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29 (mandra) in the jātis that are śuddhā (unaltered). In the vikṛtā (jātis) the main
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30 nyāsa on the note from which the respective jāti derives its name, is either main
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31 tāra (high) or mandra (low); thus there is no rule. main
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32 [Anu. 117] section_header
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33 Thus the śuddhā jātis have a twofold<sup>5</sup> form, viz., the original (unaltered) main
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34 and the altered state. The eleven jātis have only an altered state because they main
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35 are born of the vikṛtā varieties (of śuddhā jātis); they do not have an main
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36 unaltered state. Why is that so? They are born of mutual blending. main
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37 Similarly has said Bharata - main
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38 ر<br>د د د د د د د د د د د د د د د د د د د unknown
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1 . ..... ... ... ....................... annotation_inline
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2 r . annotation_inline
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3 TRANSLATION page_header
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4 109 page_number
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5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
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6 [Anu. 190] editorial_bracket
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7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
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8 account of the statement by the authorities. Similarly has said Kaśyapa - main
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9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
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13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
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15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
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17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
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18 being gratifying to Laksmi.65 That is thus - main
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19 [1. Takkarāga] section_header
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20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
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21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
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22 (320) main
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23 [Anu. 192] section_header
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24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
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25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
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26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
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27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
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28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
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29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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31 caccatputa obtains in the songs comprised of svara and pada. main
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32 [2. Sauvīra] section_header
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33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
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34 and niṣāda also is weak. main
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35 (321) main
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180 lignes a valider — change uniquement les roles incorrects.