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 20713). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p089 RIGHT — 31 lignes

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1 TRANSLATION page_header
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2 161 page_number
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3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
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4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
parent ligne 3
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5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
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7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
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8 synonym of hindolaka). main
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9 (88) annotation_inline
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
parent ligne 12
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
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16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
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18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
parent ligne 23
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
parent ligne 27
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29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
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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_II_p033 LEFT — 35 lignes

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1 BRHADDEŚĪ page_header
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2 48 page_number
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3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
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5 (वं ? वा) main
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6 [३. धैवती] section_header
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7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
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11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
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14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
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23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
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24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
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35 नामः annotation_inline
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1 BRHADDEŚĪ page_header
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2 106 page_number
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3 [अनु॰ १८८] editorial_bracket
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4 अस्यार्थ: - गौडकैशिको रागो मध्यमग्रामसम्बन्ध: कैशिकोषड्जमध्यमाभ्यां जात: main
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5 रा(मो?गो) annotation_inline
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6 षड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यास:। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति<sup>६४</sup>। main
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7 त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि main
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8 ग्रामद्वयजातौ जात:, तथापि मध्यमोऽस्य ग्राम:, न षड्ज:<sup>६५</sup> । तथा दर्शनात् । करुणे चास्य main
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9 पद्जी annotation_inline
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10 मध्यम: annotation_inline
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11 विनियोगः । वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला, main
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12 वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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13 [३.गौडकैशिकमध्यम:] section_header
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14 <sup>६६</sup>षड्जांशो मध्यमन्यास: षड्जमध्यमया कृत: । main
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15 ॰मध्यम(वा?या) annotation_inline
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16 परिपूर्णस्वर: प्रोक्तो गौडकैशिकमध्यम: ॥ ३१८॥ main
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17 [अन्॰ १८९] section_header
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18 अस्यार्थ: - गौडकैशिकमध्यम: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
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19 प(इज)मध्यमाजाते(त?)र्जातत्वात् main
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20 ग्रहोंऽशश्च । मध्यमो न्यास: । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोग: । main
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21 वीरादिको रस:। षड्जादिमूर्छना। आरोही वर्ण:। प्रसन्नमध्योऽलङ्कार:। दक्षिणे कला, वार्तिके main
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22 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । unknown
via fallback
23 [गौडरागाणां ग्रामविभाग:] section_header
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24 इदानीं गौडानां ग्रामविभागमाह - main
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25 गौडपञ्चमक: षड्जे गौडकैशिकमध्यम:। main
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26 ॰पञ्चं(ग?क): annotation_inline
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27 गौडकैशिकरागस्तु मध्यमग्रामसंश्रय:॥ main
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28 त्रयो गौडा: समाख्याता रागान् वक्ष्याम्यत: परम् ॥ ३१९॥ main
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29 (vide) annotation_inline
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vol_II_p039 RIGHT — 48 lignes

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1 1 page_number
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2 61 page_number
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3 TRANSLATION page_header
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4 gā gama pā padha mā dhani pā pā table
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5 <b>(7)</b> table
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6 rī gā sā sadha nī nī dhā dhā table
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7 (8) table
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8 gā riga sā sani gā riga sā sā table
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9 (9) table
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10 sã sã sã mã mani dhani nĩ nĩ table
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11 (10) table
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12 (11) table
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13 mā pā mā pariga gā gā sā sā table
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14 gã sã gã sã mã pã mã pariga table
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15 (12) table
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16 gã gã gã gã gã gã sã table
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17 (13) table
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18 ni ni pā dhā ni gā gā gā table
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19 (14) table
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20 ni ni dhā pā dhā pā mā pā table
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21 (15) table
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22 (16) table
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23 dhã pã mã mã mã mã mã mã table
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24 Thus ends gändhärodīcyavatī. section_header
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25 [3. Raktagāndhārī] section_header
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26 Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The main
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27 proximity and combination of șadja and gāndhāra is brought about by main
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28 leaping over rşabha. main
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29 (7) annotation_inline
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30 The hexatonic and pentatonic forms are said to come into being with the main
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31 omission of rşabha and rşabha-dhaivata respectively. There is the abundance main
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32 of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. main
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33 (8) annotation_inline
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34 Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. main
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35 Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as main
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36 in şādjī. The mūrchanā beginning with rṣabha obtains. main
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37 (9) annotation_inline
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38 The application is (prescribed) in the dhruvā pertaining to the third main
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39 act. annotation_inline
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40 (10) main
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41 Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra main
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42 is thus – main
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43 pā nī sā sā gā sā pā nī table
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44 (1) table
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45 sã sã pã pã mã mã gã gã table
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46 (2) table
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47 mã pã dhã pã mã pã dhapa maga table
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48 (3) table
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185 lignes a valider — change uniquement les roles incorrects.