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 20785). 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 <b>BRHADDESI</b> page_header
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2 108 page_number
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3 क्रमशो दीप्यते यस्तु प्रसन्नादिः स कथ्यते। main
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4 व्यस्तोच्चारित एवैष प्रसन्नान्तोऽभिधीयते ॥ १३८ ॥ main
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5 (मे?ए) annotation_inline
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6 आद्यन्तयोः प्रसन्नत्वात् प्रसन्नाद्यन्त इष्यते। main
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7 (मि?इ) annotation_inline
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8 प्रसन्नमध्यो मध्ये तु प्रसन्नत्वादुदाहृतः॥१३९॥ main
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9 सर्वसाम्यात् समो ज्ञेयः स्थितश्चैकस्वरेऽपि हि। main
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10 ,₀मा ७या annotation_inline
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11 oमाo annotation_inline
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12 बिन्दुरेककलं तारं स्पृष्ट्वा तु पुनरागतः॥१४०॥ main
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13 स्याद्रिवृत्तप्रवृत्तश्च मन्द्रं गत्वा समागतः। main
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14 ৽ন্ম annotation_inline
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15 ₀त्तः annotation_inline
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16 आक्रीडितलयो यस्तु स च वेणुः प्रकीर्तितः॥१४१॥ main
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17 <b>.इनी.</b> (?) annotation_inline
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18 उरोगतः कम्पितः स्यात् कम्पनाच्च कलात्रयम्। main
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19 ₀यः annotation_inline
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20 कण्ठे निरुद्धपवनः कुहरो नाम जायते॥१४२॥ main
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21 ्दः ₀नो रु annotation_inline
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22 त्रिकला [त्] कम्पना [त्] तद्वद्रेचिताख्यः शिरोगतः। editorial_bracket
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23 ( ? ) হৈ ৹বা৹ main
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24 गतागतप्रवृत्तो यः स प्रेङ्क्षोलित उच्यते॥१४३॥ main
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25 ( मु?उ ) annotation_inline
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26 48 यस्तु कण्ठस्वरोऽधस्तात् स तु तारः प्रकीर्तितः। main
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27 उरोगतस्तथा मन्द्रो मूर्ध्नि तारतरः स्मृतः॥१४४॥] editorial_bracket
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28 क्रमागतस्तु यस्तारश्चतुर्थः पञ्चमोऽपि वा। main
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29 श्चेत् ततः पञ्चतु₀ annotation_inline
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30 तारमन्द्रप्रसन्नस्तु ज्ञेयो मन्द्रगतो बुधैः ॥१४५॥ main
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31 ৹রা৯ annotation_inline
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32 लङ्घयित्वा परान् मन्द्रात् क्रमात् तारगति गतः। main
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33 ॳ (द?द)) annotation_inline
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34 मन्द्रतारप्रसन्नस्तु ज्ञेयो ह्यारोहणाद् बुधैः ॥१४६॥ main
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35 विज्ञेयारोहणा annotation_inline
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36 एकस्वराधिरूढः क्रमशः प्रस्तारसंज्ञको ज्ञेयः। main
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37 ( जि? ज ) annotation_inline
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38 49[ प्रस्तारस्तु निवृत्तः शनैः प्रसन्नः प्रसादः स्यात्।।१४७॥] editorial_bracket
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39 <b>०स्वा</b>७ annotation_inline
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1 27 page_number
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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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1 . ..... ... ... ....................... annotation_inline
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2 r . annotation_inline
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3 TRANSLATION page_header
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4 109 page_number
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5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
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6 [Anu. 190] editorial_bracket
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7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
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8 account of the statement by the authorities. Similarly has said Kaśyapa - main
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9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
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13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
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15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
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17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
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18 being gratifying to Laksmi.65 That is thus - main
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19 [1. Takkarāga] section_header
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20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
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21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
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22 (320) main
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23 [Anu. 192] section_header
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24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
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25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
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26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
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27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
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28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
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29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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31 caccatputa obtains in the songs comprised of svara and pada. main
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32 [2. Sauvīra] section_header
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33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
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34 and niṣāda also is weak. main
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35 (321) main
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1 <b>BRHADDES!</b> page_header
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2 38 page_number
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3 [ अनु. २५ ] editorial_bracket
parent ligne 4
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4 इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते main
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5 द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः main
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6 स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम main
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7 विवादित्वम्। विवादिमण्डलं यथा— main
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8 स annotation_inline
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9 नि annotation_inline
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10 रि annotation_inline
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11 ध annotation_inline
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12 4 page_number
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13 Ŧ annotation_inline
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14 ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ editorial_bracket
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15 ` annotation_inline
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16 [ अनु. २६ ] editorial_bracket
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17 विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान main
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18 25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः main
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19 प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो editorial_bracket
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20 भवेत् ॥ इति षड्जग्रामे ॥ editorial_bracket
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21 [ अनु. २७ ] editorial_bracket
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22 इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च editorial_bracket
parent ligne 18
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23 तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः main
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24 प्रदश्यते । annotation_inline
parent ligne 23
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25 संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ main
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26 विवादिनौ । annotation_inline
parent ligne 25
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27 ___ •नादनुः ____ main
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1 105 page_number
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2 TRANSLATION page_header
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3 (Anu. 102) annotation_inline
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4 Like hunkāra one should ascend (with) three solfa syllables without a gap main
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5 (and) in a combined80 (manner), thence two lower svaras (forming two phrase- main
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6 units each) should be made (pronounced) with shake81 and verily in main
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7 combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, main
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8 because of the combination or formulation of ekakala 83 svaras (forming main
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9 temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani main
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10 dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, main
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11 (33) annotation_inline
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12 sariga riri sasa. Thus is (ends) gatravarna. main
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13 [ The treatment of Alankaras according to Bharata's opinion ] section_header
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14 I shall now speak of the varnas 84 in which the charming alankāras are main
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15 'seated' (formed), according to the prescription of Bharata. main
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16 (121) annotation_inline
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17 Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, main
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18 recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras main
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19 (122, 123) annotation_inline
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20 should be known according to their respective definition. main
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21 After this, please understand (the alankāras) born of the sancārin (varņa), as main
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22 they are again and again being described (lit. glorified). Mandratāraprasanna, main
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23 bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, main
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24 upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of main
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25 <math>(124 - 126)</math> annotation_inline
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26 the sancarin (varna). annotation_inline
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27 Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, main
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28 hrādamāna, sampradāna, sandhipracchādana, prasannādi and main
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29 prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128) main
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157 lignes a valider — change uniquement les roles incorrects.