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 20722). 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 99 page_number
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2 TRANSLATION page_header
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3 [Jāti-bhinna] section_header
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4 Now he (the author) has spoken of the description of jāti-bhinna - main
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5 The amśa of jātis should be established and so should be the sparse and the main
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6 abundant. Sparseness and abundance come about on account of sparse and main
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7 abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma main
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8 (short and very short in time) and curved (phrases).<sup>50</sup> main
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9 (308) annotation_inline
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10 [Anu. 178] section_header
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11 This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. main
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12 Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being main
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13 born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up main
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14 of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short main
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15 in time) phrases, this is the import. Its description is thus - main
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16 [3. Bhinnakaisikamadhyama] section_header
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17 Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa, main
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18 <math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52} main
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19 (309) annotation_inline
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20 [Anu. 179] editorial_bracket
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21 This means-bhinnakaisikamadhyama is related to şadjagrāma on account main
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22 of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama main
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23 is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) main
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24 is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 main
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25 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja main
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26 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed main
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27 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
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28 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [Śuddhabhinna] section_header
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31 Now he (the author) has spoken of the definition of śuddhabhinna- main
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32 (The rāga) that bedecks itself with its own jāti (from which it is born) and main
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33 kula (family), leaving the other jāti and taking up (the qualities of) its own main
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34 family, is called <i>śuddhabhinna</i>. main
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35 (310) annotation_inline
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1 TRANSLATION page_header
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2 141 page_number
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3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
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4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
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5 nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] editorial_bracket
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6 Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there main
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7 being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā main
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8 should be known as hexatonic. Mālavesarī bears the name mūlā. main
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9 (44) annotation_inline
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10 Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. main
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11 Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] editorial_bracket
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12 Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is main
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13 immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding main
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14 notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly main
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15 pañcama-ṛṣabha should be known there. annotation_inline
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16 (45) annotation_inline
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17 Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. main
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18 Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] editorial_bracket
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19 This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its main
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20 amsa, sadja as its concluding note, is always complete and is sung by people. main
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21 (46) annotation_inline
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22 Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini main
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23 ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. main
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24 Saurāstrī [vii] editorial_bracket
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1 142 page_number
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2 BRHADDESI page_header
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3 only by implication. It was considered better to mention the 'change of grāma' main
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4 rather than the explicit mention of madhyamagrāma. main
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5 16. Shake on svaras composed of three śrutis each has been spoken of in main
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6 Nātyašāstra and Abhinava Bhāratī cf. NŚ XXX, 7 where rṣabha and dhaivata main
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7 (the two svaras made up of three śrutis each ) have been said to be played with main
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8 shaking fingers. Abhi Bhā on NŚ XXVIII, 21 also speaks of shake on svaras main
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9 composed of three śrutis both in the Vedic and non-Vedic traditions. In the main
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10 description of alankāras NŚ XXIX, 43 speaks of shake for three kalās in the main
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11 kampita alankāra and this description seems also to apply to recita and kuhara main
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12 mentioned in the same verse. Abhinavagupta comments that kalā here, stands main
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13 for 'sruti'. In view of all these postulations the P.t. reading 'dvisruti' has been main
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14 changed to 'triśruti'. In the description of the next two 'alankāras' P.t. also reads main
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15 triśruti'. annotation_inline
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16 17,18,19. P.t. is extremely confused here and hence it has not been noticed. main
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17 20. P.t. reads after 'athava' वेल षड्जग्रामे षड्जाद्याः सप्त मूर्खनाः मध्यमग्रामे मध्यमाण्च सप्त। main
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18 एताष्ट्रचतुर्दम मूर्खनाः। प्रत्येक चतुर्धा भवन्ति। धुद्धा करकलिकलिता सान्तरा तद्द्वयोपेता चेति। एकैकस्या main
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19 मूर्जनायाप्रचतुर्विधत्वात् यत्त्रज पञ्चचत्वारिष्ठायुतानि पञ्चसहस्राणि 'कूटकूटतानानाम् (?)। main
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20 षद्पञ्चाशन्पूर्छनास्ताः पूर्णकृटास्तु योजिताः ॥ main
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21 लक्षड्रय सहस्राणि इचामीतिई मते तथा। main
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22 चत्वारिमञ्च संस्थाता अथापूर्णा ( त् ? न् ) प्रचक्ष्महे ॥ main
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23 एकैकाद्यग्निवरहाद् गमजा घड्जादयः स्वराः । main
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24 एक्स्बरोऽत्र निर्भेदोऽप्युक्तो नष्टोदिसिद्धये ( ७ )॥ main
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25 क्रमादकूटतानत्वे युक्तास्तेषूपयोगिनः । main
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26 सप्तस्थानानि – आधारस्वाधिष्ठानानाहतमणिपूरक ( अनाहत ? ) विशुद्धचाजाब्रह्मरन्ध्रेषु। गमपधनिस। रि। main
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27 सरिगरिगामग । ममपमधपपध निधनिधनिस । प्रस्तारः ॥ annotation_inline
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28 This portion is totally out of context and bears evidence to extreme confusion main
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29 in the MSS. The enumeration of seven sthanas in the last sentence of this main
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30 portion is, however, interesting. main
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31 21,22. P.t. is utterly confused and hence has not been noticed. main
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32 23. P.t. reads -सचरन्तावारोहक्रमेणा (रोहक्रमेणा?) वरोहादुद्वाहितः । main
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33 We have added 'ca' (and) after 'avarohāt' in accordance with Sanskrit main
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34 idiom. annotation_inline
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35 24. P.t. is extremely confused and hence has not been noticed. list_item
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36 25. P.t. reads - list_item
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37 कं (ल ? ला) त्रयकरणात् (प्रा ? हा) दमानः साधासाधासाधा। नीपानीपानीपा। धामाधामाधामा। पागापागापागा। list_item
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38 मारीमारीमारी गासागासागासा। list_item
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39 The illustration has been repeated twice. main
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40 26. We have changed the long solfa-syllables here to short because the list_item
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41 description of this alankara in the text says that three kalas have to be made (in list_item
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42 each phrase). Six short syllables would make three long units (gurus) and one list_item
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43 guru is equal to one kalā as a standard unit. list_item
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44 27. Reading of MS B as noticed by the ed. list_item
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45 28. P.t. Catu (rtha). list_item
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1 BRHADDEŚI page_header
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2 110 page_number
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3 समनन्तरौ स्वरौ द्वौ विचरत्युद्वाहितो द्विकल एव । main
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4 आरोहत्येककलां पुनरेककलां प्रसादयति। ।१४८॥ main
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5 50otto annotation_inline
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6 ++++ annotation_inline
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7 उद्वाहित एव स्यादुपलोलकसंज्ञको द्विरभ्यस्तः । main
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8 एकं द्वौ त्रीन् गच्छन् स्वरान् क्रमेण [ स ] क्रमो ज्ञेयः ॥१४९॥ editorial_bracket
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9 51सह् annotation_inline
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10 (डो १डे) त्रीणि main
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11 ۰₹۵ annotation_inline
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12 एकान्तरमारुह्य प्रत्येकान्तरं स्वरं यस्तु । main
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13 ्र भी (?) annotation_inline
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14 निष्कृजितसंज्ञकोऽसौ ज्ञेयः सूरिभिरलङ्कारः ॥१५०॥ main
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15 क्रमयोगेनानेन तु सञ्चार्येकान्तरस्वरो द्विकलः । main
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16 <i>दे</i> (३)। annotation_inline
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17 ्नासी ज्ञेयः main
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18 द्वचवरः षट्पर एवं ह्यारोही हादमानः स्यात् ॥१५१॥ main
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19 ď annotation_inline
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20 त्रिकलत्वपरषड्जमेवमारोहि (?) main
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21 अथ रिक्षतस्तु समनन्तरस्वरे द्वे कले पुनः स्थित्वा । main
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22 अर्धकलामारोही पुनरेव तथावरोही स्यात्52 ॥१५२॥ main
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23 ।हि oतत् oचापको हि annotation_inline
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24 <b>.</b>4. main
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25 आवर्तकश्चतुर्षु स्वरेषु समनन्तरेषु सम्भवति । main
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26 आरोहणावरोहणविधिना चैकान्तरेष्विप वा ॥१५३॥ main
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27 ज्ञेयो निरन्तरकृतस्त्वष्टकलः सान्तरस्तथा कार्यः । main
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28 ,रुध्वंष्ट. unknown
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29 तज्ज्ञैः कलाश्चतसस्त्वावृत्त्या [ ऽऽ ] वर्तको भवति ॥१५४॥ editorial_bracket
parent ligne 27
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30 प्राज्ञेः main
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31 अधिरुह्य च स्वरांस्त्रीन् स्वरान्तरं लङ्घयति च निवृत्तौ । main
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32 53से annotation_inline
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33 पुनरपि च परावृत्त्या परीवर्तकोऽष्टकलो ज्ञेयः ॥१५५॥ main
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34 •र्तेषु 54कलो annotation_inline
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35 यस्य स्वरावतीतौ तथा परं ह्यन्तरस्वरो भवति । main
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36 <b>.</b>पतितौ annotation_inline
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37 परस्त्व, annotation_inline
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38 य: annotation_inline
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39 एककलश्च तथा भवेत् तदुद्घट्टितो नित्यम् ॥१५६॥ main
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40 •द्वाहितो <sup>55</sup>,त्या main
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41 भव annotation_inline
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42 आक्षिप्तकस्त्रिस्वरजः कर्तव्यः षड्विधः कलामानः । main
via surya_layout
43 <b>०रारज प्रथगेककलात्रयकृतश्च (?)</b> main
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44 मा. annotation_inline
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45 एककलस्त्वधरः स्यात् षट्कलिको वापरो ज्ञेयः ॥१५७॥ main
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1 化二溴磺基基 医动物 annotation_inline
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2 20 page_number
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3 BRHADDEŚĪ page_header
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4 [७. अल्पत्व-लक्षणम्] section_header
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5 [अनु॰ १२८] editorial_bracket
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6 इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् main
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7 (ते?त्वे) annotation_inline
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8 बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । main
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9 <sup>५५</sup>अन्तरमार्गस्य main
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10 संन्यासादिगतो भवेत् annotation_inline
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11 ৽হা৽ annotation_inline
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12 लक्षणं यथा जातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्यां गान्धारस्य सर्वस्वरसंगत्या main
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13 अनंशो annotation_inline
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14 विनास्प: annotation_inline
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15 बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- main
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16 ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति main
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17 [ना॰ शा॰ २८.१३६] editorial_bracket
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18 [८. बहुत्वलक्षणम्] section_header
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19 [अनु॰ १२९] editorial_bracket
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20 <sup>५६</sup>अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेष:। कथमित्याह editorial_bracket
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21 बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- main
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22 न्ते annotation_inline
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23 ५७ जातिस्वरैस्तु नित्यं [स्याज्] जात्यल्पत्वं द्विधा च तत्॥ editorial_bracket
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24 (स्यात्) annotation_inline
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25 जात्यस्प(स्व?त्वं)द्वि(विधं?धा) annotation_inline
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26 सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। main
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27 संचा(रस्य/रोंऽश) annotation_inline
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via heuristic_height
28 न्यासश्चान्तरमार्गस्तु जातीनां व्यक्तिकारक:॥'' main
via surya_layout
29 द्विविधान्तर • annotation_inline
parent ligne 28
via heuristic_short
30 • कार(कम्?कः) main
via surya_layout
31 [तुल॰ ना॰ शा॰ २८.७४ गघ, ७५] editorial_bracket
parent ligne 30
via heuristic_brackets
32 [९. न्यासलक्षणम्] section_header
via surya_layout
33 [अनु॰१३०] editorial_bracket
parent ligne 32
via heuristic_brackets
34 इदानीं न्यासमाह - न्यस्यतें त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास main
via surya_layout
35 ॰ स: स annotation_inline
parent ligne 34
via heuristic_markers
184 lignes a valider — change uniquement les roles incorrects.