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 20604). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p139 LEFT — 59 lignes

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1 grantening to the property of the annotation_inline
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2 262 page_number
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3 260 page_number
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4 BRHADDEŚĪ page_header
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5 शुद्धपङ् main
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6 line of verse 305 also appears in p. t. within this portion, but it has been main
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7 omitted in order to avoid unnecessary repetition. Reconstruction based on main
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8 Kalā on SR. II.2.23-26, p.25. main
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9 54. c.r. in ibid. annotation_inline
parent ligne 8
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10 55. cf.c.r. in ibid. विवादी चानुवादी च गृहीत: स्यादित्यनुपङ्ग: । शुद्धपाडवापेक्षया main
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11 भित्रपड्जभित्रपञ्चमयोः स्वरप्रयोगभेदात् स्वरभित्रम् । main
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12 C. r. in ibid. annotation_inline
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13 56. P.t. repeats ' şadjaḥ (?) '. main
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14 57. Reconstruction attempted in the closest possible approximation main
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15 to the confused reading of p.t. main
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16 भित्रपड्जो मानदैन्ये चैकान्ताजीवितस्य च । main
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17 58. cf. main
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18 मन्यन्ते र unknown
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19 C.r. in Abhi. Bhā .XXIX. 9, p. 69. main
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20 ग्राममूर्छन unknown
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21 59. cf. main
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22 प्रसन्नान्तविभूषित: । main
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23 SR 11.2.80b. annotation_inline
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24 60. cf.(i) main
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25 चतुःश्रुतिस्वरं यत्र भिनक्ति (ति)त्रिश्रुतिस्वराः (रः)। main
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26 तथाहि तैः annotation_inline
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27 अधिष्ठानं स एव स्याच्छुतिभिन्न: स मन्यते ॥ main
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28 SamSi Bhā Ka, p. 33. main
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29 एवायामार annotation_inline
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30 चतुःश्रुतिः स्वरो यत्र भिन्नो द्विश्रुतिको भवेत् । main
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31 (ii) annotation_inline
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32 <b>द्विश्रुति</b>प्यां main
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33 गान्धारो द्विश्वतिश्चैव श्रुतिभिन्न: स उच्यते ॥ main
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34 इत्याचार्यद्व unknown
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35 इति भित्रतानरागे हि पङ्जस्य श्रुतिद्वयं गृह्मति निषादः । श्रुतिपूर्वन्यायेन पङ्जोऽपि चतुःश्रुतिरित्युच्यते, गान्धारस्तु main
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36 श्रुतिभिन्नत्वम् । annotation_inline
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37 8 page_number
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38 C.r. in Kalā on SR II.2.23-26, p.26. main
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39 61. cf. (i) annotation_inline
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40 मध्यमापञ्चमीजातः पञ्चमांशग्रहोऽल्परिः॥ main
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41 8 page_number
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42 रिहीनो वा मध्यमान्तो मध्यमाल्प: सकाकली । main
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43 SR II. 2.35 c-36 b. annotation_inline
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44 विहीन ऋषभेणाधो ऋषभाल्पतया युत:। main
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45 (ii) annotation_inline
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46 मध्यमस्वरविश्राम: स्वल्पमध्यमकोऽथवा ॥ main
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47 निषाददुर्वल: प्रोक्तो भवानीपतिदैवत: ॥ main
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48 अत्र यद्गदितं तज्ज्ञैर्दुर्वलत्वं निषादिन: । main
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49 तद्धेतुजातिजं चिन्त्यं रिदीर्बस्यं पुनर्व्धै:॥ main
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50 तथाहि तैरा annotation_inline
parent ligne 49
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51 S Rāj II.2.I.280, 282 cd, 283. main
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52 62. Verse 313 in our text mentions rṣabha and niṣāda as sparse, main
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53 whereas here in the prose portion madhyama and niṣāda are so mentioned. main
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54 SR mentions ṛṣabha and madhyama and S.Rāj mentions ṛṣabha, madhyama and main
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55 1 page_number
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56 niṣāda. (See extracts in note 60). main
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57 63. cf. annotation_inline
parent ligne 56
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58 धैवतीपड्जमध्याभूः स्वल्पपञ्चमसप्तमः । main
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59 (vide) annotation_inline
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vol_I_p032 LEFT — 32 lignes

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1 BRHADDESI page_header
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2 46 page_number
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3 अष्टमस्य तृतीयं तु हरिबीजसमन्वितम्। main
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4 आद्यं स्वरं स्वरज्ञस्तूद्धरेत् उभ्सर्वप्रयत्नतः ।।६३।। main
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5 •स्तु उद्धरेत् तु annotation_inline
parent ligne 4
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6 सप्तमस्य द्वितीयं तु कामबीजसमन्वितम्। main
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7 द्वितीयं तु स्वरं विद्धि ब्रह्मस्थानसमुद्भवात्॥६४॥ main
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8 द्वितीयस्यापि वर्गस्य तृतीयं विष्णुसंयुतम्। main
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9 उद्धरेच्च स्वरं नित्यं स्वरभेदमनोहरम्॥६५॥ main
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10 षष्ठस्यापि हि वर्गस्य अन्तिमं अन्तिमं अन्तिसंयुतम्। main
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11 •मग्चाः annotation_inline
parent ligne 10
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12 अविनष्टं विजानीयान् मध्यमं स्वरसत्तमम्।६६॥ main
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13 <sup>36</sup>₀मुत्तमम् annotation_inline
parent ligne 12
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14 <sup>37</sup>॰सप्तकम् annotation_inline
parent ligne 12
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15 <b>म्बतदादिप्रथमोपेतं स्वरं संविद्धि शोभनम्।</b> main
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16 था annotation_inline
parent ligne 15
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17 व्योमसंख्यासमायुक्तमोष्ठस्थानसमुद्भवम् ॥६७॥ main
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18 पञ्चमस्यापि वर्गस्य चतुर्थं चादिसंयुतम्। main
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19 कोदण्डद्वयसम्भूतमुद्धरेत् स्वरमुत्तमम्।।६८॥ main
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20 अकारान्यान्तसम्भिन्नं पञ्चमान्तं समुद्धरेत्। main
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21 ुन्ताः, annotation_inline
parent ligne 20
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22 ब्रह्मस्थानसमुद्भूतं सुतारध्वनिसंयुतम् ॥६९॥ main
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23 आगमस्थः स्वरोत्द्वार इति तावत् प्रदर्शितः। main
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24 [ स्वराणां कुलवर्णादिनिर्णयः ] editorial_bracket
parent ligne 23
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25 अधुना सम्प्रवक्ष्यामि कुलवर्णादिनिर्णयम्।।७०।। main
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26 <sup>५९</sup>देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
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27 पितृवंशसमुत्पन्नः स्वरोऽसौ पञ्चमः किल।।७१।। main
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28 ऋषिवंशसमुत्पन्नौ स्वरावृषभधेवतौ। main
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29 असुराणां कुले जातो निषादः स निसंज्ञितः ।। ७२ ॥ main
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30 4)पद्मपत्रप्रभः षड्ज ऋषभः शुकवर्णकः। main
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31 कनकाभस्तु गान्धारो मध्यमः कुन्दसन्निभः॥७३॥ main
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32 - . . . . . annotation_inline
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vol_II_p088 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 159 page_number
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3 [4. Bhāṣās in hindolaka] section_header
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4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
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5 is formed with the (profuse) use of gandhara. The to and fro movement main
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6 between şadja and gandhara should be arranged there by the performers. main
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7 (83) unknown
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8 Illustration main
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9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
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10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
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11 Having pancama as amśa, şadja as the concluding note, being devoid of main
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12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
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13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
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14 (84) annotation_inline
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15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
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16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
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17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
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18 thus has been described chevāțī and concert between șadja-madhyama and main
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19 similarly şadja-gāndhāra should always be put up. main
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20 (85) annotation_inline
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21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
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22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
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23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
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24 Having şadja às amśa and madhyama as concluding note, being weak in main
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25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
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26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
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27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
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28 nature. It is sung also by Kinnaras.<sup>33</sup> main
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29 <math>(86-87)</math> main
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vol_II_p074 RIGHT — 35 lignes

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1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
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4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
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12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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vol_I_p043 RIGHT — 30 lignes

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1 69 page_number
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2 TRANSLATION page_header
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3 mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha- main
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4 śloka).37 How is that (the difference)? The group of svaras that is arranged in main
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5 the ascending and descending order is spoken of as murchana, whereas tana is main
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6 with the ascending order, this is the distinction.58 main
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7 [The Yajña-names of Tānas] section_header
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8 Now the yajña-names 59 of tanas are being spoken of— main
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9 Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and main
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10 (104) annotation_inline
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11 rājasūya is the seventh one. main
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12 Thus are the names of sadava tanas devoid of sadja. main
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13 Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as main
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14 (105) annotation_inline
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15 ртājāpatya. annotation_inline
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16 Thus end the names of şāḍava tānas devoid of ṛṣabha. main
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17 Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit main
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18 (106) annotation_inline
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19 (and) nāgayajāa. annotation_inline
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20 Thus end the names of şādava tānas devoid of pañcama. main
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21 Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi, main
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22 <math display="block">(107)</math> annotation_inline
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23 citra and the seventh one is udbhidyaga. main
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24 Thus end the names of şādava tānas devoid of niṣāda. main
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25 ١ page_number
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26 Thus end the names of twenty-eight şādava tānas in şadjagrāma. main
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27 Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement) editorial_bracket
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28 of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana editorial_bracket
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29 (108) main
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30 of kaunapas (demons) is the seventh one. main
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185 lignes a valider — change uniquement les roles incorrects.