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 20725). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p058 RIGHT — 35 lignes

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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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vol_I_p101 RIGHT — 49 lignes

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1 185 page_number
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2 <b>VIMARŠA</b> page_header
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3 45. In the absence of any notational sign, all the three viz. kampita, kuharita main
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4 and recita are identically illustrated. main
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5 46. Here kalā stands not only for a phrase, but for a component unit of a main
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6 phrase, if sani risa these two are taken to complete a phrase. main
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7 47. The word 'amsa' means the initial note of a phrase and this is a limited list_item
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8 meaning because amsa stands for the fundamental svara of a jāti or rāga which list_item
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9 is a much bigger and much more complex structure. list_item
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10 48. The name tāra-mandra-prasanna is interesting because it uses both mandra list_item
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11 and prasanna which individually stand for 'low'. unknown
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12 49. The sa belongs to the tāra-sthāna. list_item
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13 50. The second sa here belongs to the tāra-sthāna. list_item
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14 51. The sthāyin varņa spoken of here could be understood only in the sense list_item
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15 that the phrase begins and ends at the same svara all throughout. list_item
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16 52. The sa at the end of the preceding phrase and at the beginning of the list_item
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17 succeeding one belongs to tāra-sthāna. list_item
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18 53. The ascent operates upto nisa and descent starts with sani. list_item
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19 54. Identical with note 52 above. list_item
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20 55. The word sthāyin is used here as a synonym of amsa. BrD is the first list_item
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21 extant text to introduce this word. S R (III, 191, 193) uses it in the decription list_item
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22 of Rāgālapti. list_item
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23 56. Different names for identical forms are also found in abundance in desi list_item
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24 tālas. (cf. deśī-tāla section of SRV) list_item
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25 57. Identical with note 52 above. list_item
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26 58. The word kalā is used here both as a time-unit and a phrase-unit. list_item
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27 59. sa in the beginning of the three phrase-units belongs to tāra-sthāna. list_item
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28 60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would list_item
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29 mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a list_item
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30 mālrā. list_item
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31 61. The sa belongs to tāra-sthāna. list_item
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32 62. Here kalā stands both for a time-unit and phrase because there are eight list_item
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33 phrases and each phrase is of the duration of one kalā (two-mātrā-unit). list_item
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34 63. Identical with note 52 above. list_item
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35 64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of list_item
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36 rāga. That is a kind of gamaka, but here in the description of the alankāra there list_item
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37 is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī list_item
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38 comes in which is hard to comprehend; at the most it could be understood to list_item
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39 ¥ unknown
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40 indicate special voice-production similar to ohāţī, which could be identified with list_item
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41 1 page_number
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42 the hudaka of present-day oral tradition of dhrupad which also is associated with list_item
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43 the 'ha' sound (cf. DA I, p. 46). list_item
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44 (vide) unknown
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45 65,66. Identical with note 52 above. list_item
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46 7 page_number
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47 67. There are twelve phrases in this alankara. From the way they are notated, list_item
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48 the duration of each of them could be taken to be either a kalā composed of list_item
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49 two mātrās or four mātrās, as follows- list_item
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vol_II_p054 RIGHT — 34 lignes

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1 91 page_number
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2 TRANSLATION page_header
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3 [Anu. 167] section_header
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4 This means – śuddhasādhārita rāga is related to ṣaḍjagrāma on account of main
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5 being born of şadjamadhyamā jāti. Tāra (high) şadja is the graha and amśa main
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6 and madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. main
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7 It is complete (with all the svaras). Its application is prescribed in the garbha- main
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8 sandhi. 39 Vīra, raudra and the like (perhaps adbhuta also) are the rasas. The main
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9 mūrchanā beginning with ṣaḍja obtains. Avarohin (descending) is the varṇa main
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10 and prasannānta the alarikāra. The kalā is formed in the dakṣiṇa (mārga), the main
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11 kalā obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). In the main
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12 song comprised of svaras and padas a tāla like caccatpuṭa obtains. main
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13 [4. Śuddhakaiśikamadhyama] section_header
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14 Suddhakaisikamadhyama is born of kaisikī and şadjamadhyamā. Şadja is its main
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15 amśa, madhyama the nyāsa and ṛṣabha – pañcama are omitted. main
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16 (302) annotation_inline
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17 [Anu. 168] section_header
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18 This means—the <i>rāga śuddhakaiśikamadhyama</i> is related to <i>ṣaḍjagrāma</i> on main
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19 account of being born of kaiśikī and şadjamadhyamā jātis. (Contention) Kaiśikī main
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20 ŧ annotation_inline
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21 is related to madhyamagrāma and ṣadjamadhyamā to ṣadjagrāma, hence this main
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22 (<math>r\bar{a}ga</math>) is related to both the <math>gr\bar{a}mas^{40}</math>. This is the implication. On account main
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23 of being devoid of ṛṣabha-pañcama, this is related only to ṣaḍjagrāma. In main
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24 madhyamagrāma, the omission of ṛṣabha-pañcama does not take place; this is main
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25 the implication. Tāra (high) ṣaḍja is its graha and aniśa. Madhyama is the main
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26 nyāsa. There is the weakness of niṣāda and gāndhāra. The omission of main
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27 pañcama and ṛṣabha obtains. Niṣāda is kākalī here. It is pentatonic. It is used main
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28 in the <i>nirvahaṇa (sandhi</i>).<sup>41</sup> The <i>mūrchanā</i> beginning with <i>ṣaḍja</i> obtains. main
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29 Raudra, vīra and the like is the rasa. Prasannānta is the alankāra. main
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30 .................. annotation_inline
parent ligne 29
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31 [5. Šuddhakaisika] section_header
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32 Kaišika has ṣaḍja as its amśa and pañcama as its nyāsa, is born of kaišikī jāti main
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33 and kārmāravī jāti and is with complete svaras. main
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34 (303) annotation_inline
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vol_II_p104 LEFT — 34 lignes

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1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
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3 190 page_number
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4 BRHADDEŠĪ page_header
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5 [३. अथ मालवपञ्चमे] section_header
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6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
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7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
parent ligne 12
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
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19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
parent ligne 22
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
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25 पञ्चमार्ध तु annotation_inline
parent ligne 24
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
parent ligne 30
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
parent ligne 32
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vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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185 lignes a valider — change uniquement les roles incorrects.