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 20609). 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 TRANSLATION page_header
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2 121 page_number
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3 and hāsya (rasas) and nirvahaṇa (sandhi). Vīra<sup>80</sup> and the like is the rasa. The main
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4 mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa. Prasannamadhya main
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5 is the <i>alankāra. The kalā</i> is formed in the <i>dakṣiṇa (mārga</i>), the <i>kalā</i> obtains main
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6 in the <i>vārtika (mārga</i>) and the <i>kalā</i> prevails in the <i>citra (mārga</i>). A <i>tāla</i> like main
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7 caccatputa obtains in the songs comprised of svara and pada. main
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8 [3. Kakubha] section_header
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9 Kakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama main
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10 as its nyāsa and is formed with dhaivata as the amśa. main
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11 (335) main
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12 [Anu. 206] section_header
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13 Its meaning is thus – Kakubha is related to şadjagrāma. How is it related main
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14 to şadjagrāma alone in spite of being born of madhyamā, pañcamī and main
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15 dhaivatī? On account of pañcama being comprised of four śrutis and main
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16 dhaivata of three śrutis. Dhaivata is its amśa and graha. Pañcama is the nyāsa main
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17 and this (rāga) is complete in svaras. Its application is prescribed in the medium state of karuṇa (rasa). Karuṇa is its main
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18 with dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. main
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19 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika main
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20 (mārga) and the kalā prevails in the citra(mārga). A tāla like caccatupṭa main
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21 obtains in the songs comprised of svara and pada. main
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22 [4. Bhammāṇapañcama] section_header
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23 Bhammāṇapañcama comes of ṣaḍjamadhyamā jāti, has ṣaḍja as its aṅiśa, main
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24 madhyama as nyāsa and treats as sparse the svaras comprised of two śrutis each. main
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25 (336) main
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26 [Anu. 207] section_header
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27 Its meaning is thus – Bhammāṇapañcama is related to madhyamagrāma on main
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28 account of being born of sadja-madhyamā jāti. Şadja is the graha and anisa, main
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29 madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda main
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30 is kākalī here and this (rāga) is complete in svaras. Its application is prescribed main
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31 in (the situation of ) travel on a path in summer, (by those) full of fatigue and main
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32 in (the depiction of) forests. Vīra and the like is the rasa<sup>83</sup>. The mūrchanā main
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33 beginning with ṣadjaobtains. Ārohinisthe varṇa. Prasannamadhya isthe alankāra. main
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34 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) main
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35 and the kalāprevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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36 comprised of svara and pada. main
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37 [5. Rūpasādhārita] section_header
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38 Rūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis). It has ṣadja as main
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39 its <i>amśa, madhyama</i> as <i>nyāsa</i> and is with sparse <i>pañcama</i> and <i>ṛṣabha.</i> main
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40 (337) main
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1 (vide) annotation_inline
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2 <b>ABBREVIATIONS</b> section_header
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3 Abhi main
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4 Abhinavagupta annotation_inline
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5 Abhinava Bhāratī, Abhinavagupta's commentary main
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6 Abhi Bhā annotation_inline
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7 on Nātya-Šāstra G.O.S., Baroda edition main
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8 Anuccheda, comparable to paragraph main
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9 Anu. annotation_inline
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10 Bha Bhā main
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11 Bharata Bhāṣya of Nānyadeva published upto a main
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12 portion of Chapter VII in two volumes by Indira main
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13 Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) main
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14 and photostat of manuscript in the Deptt. of main
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15 Musicology, B.H.U. annotation_inline
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16 Bha Ko main
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17 Bharata Kośa of M.R. Kavi main
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18 BrD annotation_inline
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19 Brhaddeśi of Matanga Muni main
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20 C.r. annotation_inline
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21 Cited reading main
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22 Dattilam of Dattila unknown
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23 Datti unknown
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24 Ed. main
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25 Pt. K. Sāmbaśiva Sāstrī, editor of Bṛhaddeśī, main
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26 published in Anantaśayana Sanskrit Granthāvalī main
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27 No. 94 (Trivandrum Sanskrit Series) in 1928 main
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28 <i>Kalānidhi</i> commentary of Kallinātha on main
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29 Kalā annotation_inline
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30 Sangita-Ratnākara main
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31 Kalli annotation_inline
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32 Kallinātha main
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33 Lit. annotation_inline
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34 Literally main
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35 Mānasollāsa of Someśvara, Vol. III main
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36 Mānaso annotation_inline
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37 NŠ main
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38 Nātya Šāstra, G.O.S., Baroda edition, unless main
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39 otherwise indicated annotation_inline
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40 NŠ Chau. main
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41 Nāṭya Śāstra, Chaukhambha, Varanasi edition main
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42 NŠ Kā Mā annotation_inline
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43 Nāţya Sāstra, Kāvya Mālā edition main
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44 P.t. annotation_inline
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45 Printed text of Bṛhaddeśi, Trivandrum edition main
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46 Ra Kau annotation_inline
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47 Rasakaumudi of Šrikantha main
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48 Rā Vi annotation_inline
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49 Rāga Vibodha of Somanātha main
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50 Sam Sa Sā annotation_inline
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51 Sangīta-Samaya-Sāra of Pārsvadeva main
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52 Sam Ši Bhā Ka annotation_inline
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53 Sangīta Siromaņi of Panditamandalī, main
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54 manuscript in Bharat Kala Bhavan, B.H.U., main
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55 transcript in the Deptt. of Musicology, B.H.U. main
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56 Sam Su P.L. annotation_inline
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57 Sangita Sudhākara, Palm Leaf manuscript, main
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58 Saraswati Mahal Library, Tanjore, transcript in main
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59 the Deptt. of Musicology, B.H.U. main
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60 Simha annotation_inline
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61 Simhabhūpāla main
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62 SR annotation_inline
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63 Sangita Ratnākara of Šārngadeva (Adyar edition) main
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1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 [Anu. 202] editorial_bracket
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4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
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5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
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6 is due to its application in passionate performance of caris, mandalas and main
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7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
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8 sadjakaisika alone is prominent. Why? On account of its falling under the main
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9 order of the state of sādava (rāga).76 That is thus - main
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10 [1. Narta-rāga] section_header
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11 Having pañcama as its amśa and madhyama as its concluding note, being main
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12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
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13 as sparse the svaras comprised of two śrutis each. main
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14 (333) annotation_inline
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15 [Anu. 203] editorial_bracket
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16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
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17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
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18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
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19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
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20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
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21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
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22 [Anu. 204] editorial_bracket
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23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
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24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
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25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
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26 related to şadjagrāma. annotation_inline
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27 [2. Saka] section_header
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28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
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29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
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30 (334) annotation_inline
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31 [Anu. 205] editorial_bracket
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32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
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33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
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34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
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35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
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1 BRHADDESI page_header
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2 20 page_number
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3 नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता। main
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4 ₀गृहीत｡<sup>72</sup> annotation_inline
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5 आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥ main
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6 7 अकेन annotation_inline
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7 यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्। main
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8 श्रुतीना74 annotation_inline
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9 विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥ main
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10 ₀त्वात्<sup>75</sup> annotation_inline
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11 कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्। main
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12 श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।। main
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13 ₀व76 annotation_inline
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14 अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्। main
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15 77ग्रहपूर्वक annotation_inline
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16 सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥ editorial_bracket
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17 सत्यम् । main
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18 कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि। main
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19 तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥ main
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20 ਚ78 annotation_inline
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21 कार्येषु विद्यमानेषु कारणस्योपलम्भनात्। main
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22 घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥ main
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23 79fH annotation_inline
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24 805<del>4</del> main
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25 825<del>0</del>23° annotation_inline
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26 परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः। main
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27 <sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः annotation_inline
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28 <b>65,च्यः      ६६,न्य</b>ि main
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29 इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥ main
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30 [ अनु. १२ ] editorial_bracket
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31 ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां main
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32 चानु [प]लम्भात्। editorial_bracket
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1 BŖHADDEŚĪ page_header
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2 172 page_number
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3 एषा ह्यन्तरभाषा वै पुलिन्देन तु गीयते । main
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4 पुलिन्दिकेति विख्याता पड्ज औडुविता तथा ॥ ११७॥ main
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5 व्केत् annotation_inline
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6 •तास्तथा annotation_inline
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7 उदाहरणम् - [धाधा]सासासाधानिसारिसा धानिधाधाधारिरिसासासा रिरिधाधाधारिसा- editorial_bracket
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8 धानिसासारिसा रिसाधनीपा[सा] । [पुलिन्दी]। [९] editorial_bracket
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9 एता याष्ट्रिकनिर्दिष्टा भाषा वै भिन्नषङ्जके ॥ ११८॥ main
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10 <sup>१०७</sup>याष्ट्रिकेन निर्दिष्टा annotation_inline
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11 भाषा:। annotation_inline
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12 ७. अतः परं सौवीरकभाषाः main
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13 (रीरवीर?सीवीर)के annotation_inline
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14 षड्जाद्यन्तसमायुक्ता मूलभाषा मनोहरा । main
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15 सुसम्पूर्णस्वरा होषा बहुलौ १०८षड्जपञ्चमौ ॥ ११९॥ main
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16 धनिपञ्चमी annotation_inline
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17 षड्जधैवतसंवाद ऋषभधैवतयोस्तथा। main
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18 एषा सौवीरके प्रोक्ता सौवीरी दिव्यरूपिणी १०९ ॥ १२०॥ main
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19 दुछ्य annotation_inline
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20 उदाहरणम्-सागासासा साधानीधापापापारीपा धामागममपापामाधाधासासासानिधानिगारि- main
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21 मामागारिसा साधानिधासासा । [सौवीरी]। [१] editorial_bracket
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22 १९॰मध्यमांशा तु षड्जान्ता सम्पूर्णा मध्यमोज्ज्वला । annotation_inline
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23 १११मध्यमपञ्चमानां तु वेगवत्त्वं च दृश्यते ॥ main
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24 एषा भाषा तु विज्ञेया गीतज्ञैर्वेगमध्यमा ॥ १२१॥ main
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25 उदाहरणम् - [मामा] पामामामधापापापमामानिधासासा निमसानिसानिधानिपापानिनिसा- editorial_bracket
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26 निसासारिगारिसासासा सागासानिपापाधानिनिसासा । वेगमध्यमा । [२] editorial_bracket
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27 षड्जांशा मध्यमन्यासा ज्ञेया साधारिता तु सा<sup>११२</sup>॥ १२२॥ main
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28 साधारि(धा?ता) annotation_inline
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198 lignes a valider — change uniquement les roles incorrects.