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 20825). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p050 RIGHT — 44 lignes

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1 83 page_number
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2 <b>TRANSLATION</b> page_header
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3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
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42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
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43 Matsarikṛtā (5) annotation_inline
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44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
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vol_I_p043 RIGHT — 30 lignes

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1 69 page_number
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2 TRANSLATION page_header
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3 mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha- main
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4 śloka).37 How is that (the difference)? The group of svaras that is arranged in main
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5 the ascending and descending order is spoken of as murchana, whereas tana is main
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6 with the ascending order, this is the distinction.58 main
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7 [The Yajña-names of Tānas] section_header
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8 Now the yajña-names 59 of tanas are being spoken of— main
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9 Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and main
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10 (104) annotation_inline
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11 rājasūya is the seventh one. main
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12 Thus are the names of sadava tanas devoid of sadja. main
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13 Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as main
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14 (105) annotation_inline
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15 ртājāpatya. annotation_inline
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16 Thus end the names of şāḍava tānas devoid of ṛṣabha. main
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17 Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit main
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18 (106) annotation_inline
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19 (and) nāgayajāa. annotation_inline
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20 Thus end the names of şādava tānas devoid of pañcama. main
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21 Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi, main
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22 <math display="block">(107)</math> annotation_inline
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23 citra and the seventh one is udbhidyaga. main
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24 Thus end the names of şādava tānas devoid of niṣāda. main
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25 ١ page_number
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26 Thus end the names of twenty-eight şādava tānas in şadjagrāma. main
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27 Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement) editorial_bracket
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28 of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana editorial_bracket
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29 (108) main
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30 of kaunapas (demons) is the seventh one. main
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vol_II_p093 LEFT — 32 lignes

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1 BRHADDEŚĨ page_header
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2 168 page_number
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3 उदाहरणम् - धाधासासागधरिगारिसागनिरीसासाधासानीनीनी धाधाधानिधापापामाधासाधा main
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4 निनिधाधापागागाधारिधामामाधा निनिधाधा । दाक्षिणात्या । [२] editorial_bracket
parent ligne 3
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5 धैवताद्यन्तसंयुक्ता गान्धारस्वरभूषिता । main
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6 गन्धारधैवतस्यात्र गमनं दृश्यते घनम् ॥ main
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7 गान्धारो annotation_inline
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8 •क्षेति annotation_inline
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9 भाषा ह्येषा तु सङ्कीर्णा गान्धारी समुदाहता ॥ १०७॥ main
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10 हा + annotation_inline
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11 उदाहरणम् – धाधागागागिरिगमगामाधा रिरिरिरगामापामा मापामापामापासगारिरिगागागाधापाधागागा main
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12 रीसासासानिसासानिगामापासासानीगारीमागमागामा मामामानिनिनिन। मधाधाधाधा। गान्धारी । [३] editorial_bracket
parent ligne 11
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13 धैवताद्यन्तसंयुक्ता षाडवा पञ्चमोज्झिता । main
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14 ॰माहिता annotation_inline
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15 मध्यमर्षभसंवादो द्विश्रुतीनां च गीयते ॥ main
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16 १८विभाषा चैव श्रीकण्ठी प्रयोगे ललितास्तुते ॥ १०८॥ main
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17 ॰कण्ठे annotation_inline
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18 उदाहरणम् -धानिमागागाधा रिमागागाधा रिमागरिगारिरिगारिरिगामागारिगाधा रिरिरीनिसा- main
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19 निनिधाधा। श्रीकण्ठी । [४] editorial_bracket
parent ligne 18
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20 ९९मध्यमांशा धैवतान्ता ऋषभेण तु दुर्बला । main
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21 (तु) annotation_inline
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22 मध्यमर्षभपञ्चमानां गमनं दृश्यते घनम् ॥१०९॥ main
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23 दुश्यतेन्धनम् annotation_inline
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24 •पञ्चमगमनं annotation_inline
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25 एषा विभाषा पौराली रम्या चातिमनोहरा । main
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26 चा(नि?ति) annotation_inline
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27 गीयते नागलोकेन गमकैर्मधुरस्वरा ॥ ११०॥ main
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28 गधकै annotation_inline
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29 उदाहरणम् - [मा]पापाधा निनिसासामानिधा पाधाधाधाधा निसारिरिमागारिसारिमागासारिसारि- editorial_bracket
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30 मामारिगारिमा सासासासानिनिनिनीधाधा मापामापापापानिनिरिरिसानिधा पाधाधानिनिधा निनिरि- main
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31 <b>₹</b> annotation_inline
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32 रिनिरि रिमागारिसा निरिसानिसासानिनिधाधा गमापाधानिनिसानिसानिधाधा। पौराली । [५] editorial_bracket
parent ligne 30
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vol_II_p113 LEFT — 42 lignes

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1 BRHADDEŚĪ page_header
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2 208 page_number
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3 प्रबन्धोऽयं स्वरार्थ: स्याद् ज्ञेयोऽसौ गीतवेदिभि: । main
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4 चत्वारिंशत्तमं प्रोक्तं करणं पञ्चभिर्युतम् ॥३७८॥ main
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5 चत्वारिंशद्युत: षड्भिश्चासौ वर्णस्वर: स्मृत:। main
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6 °ता: annotation_inline
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7 चत्वारिंशत्सप्तयुता ज्ञेया मुक्तावलीति या ॥ ३७९॥ main
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8 प्रतापवर्धनश्चाष्ट्रचत्वारिशः प्रकीर्तितः । main
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9 (त?न) annotation_inline
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10 ॰शत् annotation_inline
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11 अष्टौ च मुनिना ख्याताश्चत्वारिंशत् सुसंयुता[:] ॥ ३८०॥ editorial_bracket
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12 पञ्चधा मुनिना main
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13 न्ता चत्वाः annotation_inline
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14 एतेषां लक्षणं विच्य समासाद् विदुषां कृते । main
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15 चच्छि annotation_inline
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16 विदुषात्तमम् main
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17 यथोक्तं चात्र नियमै[:] [पदतालादिसंयुतै:] ॥ editorial_bracket
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18 रागैर्यथावदुक्तैस्तु गातव्या गीतकोविदै: ॥ ३८१॥ main
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19 [प्रबन्धानां लक्षणानि] section_header
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20 [१.कन्द:] section_header
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21 तालशून्यस्तु य: पाटैर्बिरुदेश्च समन्वित:। main
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22 ॰ता: annotation_inline
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23 स कन्द इति कर्णाटभाषादिपदिमश्रित: ॥३८२॥ main
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24 कन्दादिप्रबन्धा लक्ष्यत: प्रसिद्धा एव । main
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25 क(दा?न्दा) main
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26 [२. वृत्त:] section_header
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27 आर्यायां द्विपथे वृत्तो गाथायां दोघके तथा। main
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28 वृते गाधाया जेधके तथा(?) main
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29 ्याः annotation_inline
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30 तोटके[ ऽथ] च तालस्य नियमो नास्ति कदाचन ॥ editorial_bracket
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31 •केन main
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32 मुख्यता तेषु निर्दिष्टा मुनिभिश्छन्दस: स्फुटम्<sup>४</sup>॥ ३८३॥ main
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33 ॰सा annotation_inline
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34 अन्ते च स्वरविन्यास: [स्वरहीनं स्मृतं परै:] । editorial_bracket
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35 अन्त: स्वर + विन्यास: + + + + + main
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36 [वृत्ते छन्दिस यच्चान्ये] वङ्क्ति तदिप सम्मतम् ॥३८४॥ editorial_bracket
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37 . . . . . . . . . annotation_inline
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38 न्तः annotation_inline
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39 NAME OF TAXABLE PARTY. annotation_inline
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40 محفظ ماملا دي ماسي الراكات المار annotation_inline
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41 4 . . . . . . . . . annotation_inline
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42 (vide) annotation_inline
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vol_II_p074 RIGHT — 35 lignes

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1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
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4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
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12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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183 lignes a valider — change uniquement les roles incorrects.