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 20817). 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 BRHADDESI page_header
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2 82 page_number
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3 तस्माद् यत्किञ्चिद् गीयते तन्मध्यमध्वनिविशेषैः main
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4 कण्ठध्वनिभिर्मन्द्रतारव्यवस्थासिद्ध्यर्थमेव। main
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5 चतुर्विधा मया प्रोक्ता मूर्छनाः सप्तस्वरात्मिकाः। main
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6 द्वादशस्वरमूर्छनाः annotation_inline
parent ligne 5
via heuristic_short
7 इदानी तु प्रवक्ष्यामि द्वादशस्वरमूर्छनाः ॥११७॥ main
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8 90H annotation_inline
parent ligne 7
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9 <sup>91</sup>ुनाम् main
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10 [ अनु॰ ६१ ] section_header
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11 तत्र मूर्छनानिर्देशः स्थानित्रतयप्राप्त्यर्थमिति वचनात्, main
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12 मन्द्रतारसिद्ध्यर्थमिति वचनाच्च द्वादशस्वरसम्पन्ना मूर्छना main
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13 द्रष्टव्याः annotation_inline
parent ligne 12
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14 प्रयोगकाले। तथा चाह कोहलः -- main
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15 "योजनीयो बुधैर्नित्यं क्रमो लक्ष्यानुसारतः। main
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16 संस्थाप्य मूर्छना जातिरागभाषादिसिद्धये" ।।१२ main
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17 ुना annotation_inline
parent ligne 16
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18 नान्दकश्वरणाप्युक्तम्- main
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19 “द्वादशस्वरसम्पन्ना ज्ञातव्या मूर्छना बुधैः। main
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20 जातिभाषादिसिद्ध्यर्थं तारमन्द्रादिसिद्धये।" main
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21 [ अनु₀ ६२ ] section_header
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22 यद्यप्याचार्यैः अप्तस्वरमूर्छनाः प्रतिपादिताः, स्थानत्रितयप्राप्त्यर्थं main
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23 ुदा annotation_inline
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24 द्वादशस्वरैरेव मूर्छनाः प्रयुक्ताः। अन्यथा चोक्षषाडवे रिमा इति प्रयोगो main
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25 सा annotation_inline
parent ligne 24
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26 न स्यात्। एवं च १५सति स रागः सिद्धो न स्यात्। main
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27 ग सिध्यान्त (२) annotation_inline
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28 षाङ्जीजातौ रिगमधनि प्रयोगस्तारमन्द्रको न main
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29 पर्ज, annotation_inline
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30 स्यात्। अन्येषामपि रागाणां नाशंकरः प्रयोगः स्यात्। तेन सरिगम [प] editorial_bracket
parent ligne 28
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31 धन्याद्या मूर्छना धनि [ सरि ] गमपाद्याः। तद्यथा— editorial_bracket
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32 नि अन्या annotation_inline
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33 धनिसरिगमपधनिसरिग । उत्तरमन्द्रा main
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34 [ <sup>8</sup> ] editorial_bracket
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35 निसरिगमपधनिसरिगम । रजनी main
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36 ि ३ ो annotation_inline
parent ligne 35
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37 सरिगमपधनिसरिगमप । उत्तरायता main
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38 रिगमपधनिसरिगमपध । शुद्धषड्जा [ ४ ] editorial_bracket
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39 गमपधनिसरिगमपधनि । मत्सरीकृता [ ५ editorial_bracket
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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
parent ligne 4
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
parent ligne 10
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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1 TRANSLATION page_header
via surya_layout
2 229 page_number
via heuristic_pagenum
3 [2. Kāmalekhā] section_header
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4 Kāmalekhā is that where there are twenty-two<sup>60</sup> (dviguņita-rudra) mātrās in the main
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5 first (foot) and in the foot bearing an even number (second) the same (number main
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6 of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). main
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7 (445) main
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8 [3. Bāṇalekhā] section_header
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9 If in all the three feet, in a uniform manner there are double the number main
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10 of mātrās (obtaining in kāmalekhā) (and) where they are composed in main
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11 bāṇagaṇas,61 that is bāṇalekhā. main
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12 (446) main
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13 [4. Candralekhā] section_header
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14 Where there are three above forty (forty-three) mātrās in a couple of feet main
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15 i.e. the first two feet (and where) the number of mātrās is less by one (forty- main
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16 two) in the foot bearing an odd number (third foot), that is candralekhā. main
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17 (447) main
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18 Thus ends the fourfold mātrailā. section_header
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19 [C. The varieties of <i>Varnailā</i>] section_header
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20 There is no regulation of <i>tāla</i> here, none of <i>msa</i> and none of <i>rāga</i>; there is only main
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21 the regulation of syllables <math>^{62}</math> (in their number); hence it is called <i>varyailā</i>. main
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22 (448) annotation_inline
parent ligne 21
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23 Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) main
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24 kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). main
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25 (449) annotation_inline
parent ligne 24
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26 Beginning with eleven syllables and ending with seventeen (syllables in main
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27 each foot), these seven are sung in sequence, by the gandharvas with main
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28 beautiful padas (textual units) (and) good sounds. main
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29 (450) main
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30 [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] section_header
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31 That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all main
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32 long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always main
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33 profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). main
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34 (451) main
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vol_II_p082 RIGHT — 26 lignes

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1 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
parent ligne 12
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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1 33 page_number
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2 TRANSLATION page_header
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3 Kaiśikī is (the only one) with six aniśa svaras - sa, ga, ma, pa, dha, ni. main
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4 Ṣaḍja - madhyamā is (the only one) with seven amśa svaras - sa, ri, ga, ma, main
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5 pa, dha, ni. main
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6 1 page_number
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7 Thus sixty-three amsas have been explained. main
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8 Madhyamodīcyavā and similarly gāndhārapañcamī and nandayantī, these main
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9 three are known to be with one anisa viz. pancama. main
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10 (241) annotation_inline
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11 Dhaivatī and pañcamī, these two should be known with two amśa (svaras) main
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12 each viz. dhari and ripa. Gāndhārodīcyavā is with two (amśa svaras) viz. main
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13 madhyama and şadja. annotation_inline
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14 (242) main
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15 In ārṣabhī niridha, in naiṣādī the three niriga (and) in ṣaḍjakaiśikī sagapa are main
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16 amsa (svaras); (these) three are said to be with three amsas each. main
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17 (243) annotation_inline
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18 Şadjodīcyavatī is known to be with four amśasviz. samanidha, kārmāravī is main
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19 with ripanidha, andhrī also with garinipa. main
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20 (244) annotation_inline
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21 Ṣāḍjī is with sagamapadha (as amśas), madhyamā is also with five amśas viz. main
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22 sarimapadha, gāndhārī is with sagamanipa and similarly is raktagāndhārī with main
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23 the same five amśas. Kaiśikī is the one (jāti) that is known to have six amśas main
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24 viz. sagamapanidha. annotation_inline
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25 <math>(245-246)</math> main
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26 Ṣadjamadhyā is with seven amsas and thus those amsas are sixty-three (in main
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27 total). main
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28 [7. Prescription regarding the performance of jātis] section_header
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29 Jātis are those that give rise to grāma-rāgas through their amśas.43 main
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30 (247) annotation_inline
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31 During their performance the prescription (regarding temporal main
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32 organisation) is based on yugma<sup>44</sup> (lit.even) and ayugma<sup>45</sup> (lit.odd). They main
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33 are to be performed with three 46 mārgas viz. citra, vārtika and dakṣiṇa. main
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34 (248) main
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170 lignes a valider — change uniquement les roles incorrects.