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 20926). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p025 RIGHT — 34 lignes

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1 33 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 18) annotation_inline
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4 But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22 main
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5 svaras? Truly has this been said. These have been accepted because of their main
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6 uncommonness. Their uncommonness is because of their movement in upward main
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7 sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of. main
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8 But .... this is said to be only a sign 24 (by convention), that is to say, (the names main
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9 of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas main
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10 (teachers). annotation_inline
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11 [The fourfold-ness of svaras according to kinds beginning with vadin ] editorial_bracket
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12 (Anu. 19) section_header
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13 Now I show the fourfold-ness of svaras, that befits the occasion or context. main
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14 That is thus - annotation_inline
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15 Vādin 26 is so because of vadana 27 (speaking), like the master. The main
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16 saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister. main
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17 The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking) main
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18 like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking), main
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19 like the enemy. annotation_inline
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20 (Anu. 20) section_header
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21 But vadana and the like are the nature (dharma) of living beings, how are they main
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22 possible in insentient svaras? Truly has this been said. Vadana is here intended to main
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23 mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana main
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24 and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras main
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25 are only seven. That vādin should be understood as tenfold like the amśa.57 The main
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26 vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni. main
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27 (Anu. 21) section_header
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28 The samvadins should again be understood according to the interval of main
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29 thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the main
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30 two svaras concerned, in terms of number of śrutis). What indeed is that main
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31 samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga main
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32 1 page_number
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33 produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The main
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34 samvādi-mandala is thus — main
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vol_I_p066 RIGHT — 49 lignes

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1 115 page_number
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2 <b>TRANSLATION</b> page_header
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3 Giti (musical rendering) without alankāra is like a night without the moon, main
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4 a river without water, a creeper without flowers (and) a woman without main
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5 (168) annotation_inline
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6 ornaments.119 main
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7 Thus have been described these thirty-three alankāras by me. Those that main
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8 have not been indicated here, they should also be understood. main
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9 (169) annotation_inline
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10 (Anu. 103) main
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11 Thus are the prastaras (notational representations) in (svaras) beginning main
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12 with şadja.120 main
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13 (1) table
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14 sarigamapadhanisa,121 prasannādi table
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15 (2) table
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16 sanidhapamagarisa, 122 prasannānta table
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17 (3) table
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18 sarigamapadhanisa 123 nidhapamagarisa, prasannādyanta table
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19 <b>(4)</b> table
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20 sanidhapamagarisa 124 sarigamapadhanisa, prasannamadhyama table
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21 <b>(5)</b> table
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22 sā rī gā mā pā dhā nī sā,125 sama table
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23 (6) table
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24 sā sā 126 sā, bindu table
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25 <b>(7)</b> table
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26 sā sā sā, 127 nivītta pravītta table
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27 (8) table
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28 sarigamapadhaninidhapamagarisa, veņu table
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29 (9) table
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30 sarigamapadhanisa.<sup>128</sup> kampita table
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31 (10) table
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32 sarigamapadhanisa,129 kuharita table
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33 (11) table
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34 sarigamapadhanisa,150 recita table
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35 sarīrisā rigagarī gamāmagā mapāpamā padhādhapā, dhanīnidhā 151 nisāsani, table
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36 (12) table
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37 prenkholita unknown
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38 mapadhanisama, main
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39 gamapadhaniga annotation_inline
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40 rigamapadhari main
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41 sarigamapasa annotation_inline
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42 (13) main
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43 tāramandraprasanna annotation_inline
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44 masanidhapama, 132 main
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45 ganidhapamaga annotation_inline
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46 ridhapamagari main
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47 sapamagarisa annotation_inline
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48 (14) main
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49 mandratāraprasanna main
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vol_II_p084 RIGHT — 34 lignes

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1 151 page_number
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2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
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13 (65) annotation_inline
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
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vol_I_p054 LEFT — 38 lignes

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1 <b>BRHADDESI</b> main
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2 90 page_number
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3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
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4 आवर्तकः annotation_inline
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5 (२३) main
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6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
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7 (धिन ? धुतः) annotation_inline
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8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
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9 [ अनु₀ ७० ] editorial_bracket
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10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
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11 oसाo annotation_inline
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12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
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13 तारगति annotation_inline
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14 १ page_number
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15 नी सा इति प्रसन्नादिः। main
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16 [ अनु₀ ७१ ] editorial_bracket
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17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
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18 | २ | main
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19 इति प्रसन्नान्तः। annotation_inline
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20 [ अनु॰ ७२ ] editorial_bracket
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21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
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22 सरिगमधन(सा) annotation_inline
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23 [ ३ ] editorial_bracket
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24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
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25 निध प म गरि annotation_inline
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26 अनु₀ ७३ editorial_bracket
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27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
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28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
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29 4 page_number
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30 ग annotation_inline
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31 [ अनु₀ ७४ ] editorial_bracket
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32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
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33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
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34 स्व annotation_inline
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35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
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36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
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37 । ५ । annotation_inline
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38 मध्यमग्रामे annotation_inline
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vol_II_p033 LEFT — 35 lignes

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1 BRHADDEŚĪ page_header
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2 48 page_number
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3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
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5 (वं ? वा) main
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6 [३. धैवती] section_header
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7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
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11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
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14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
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23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
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24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
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35 नामः annotation_inline
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190 lignes a valider — change uniquement les roles incorrects.