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 20936). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p038 RIGHT — 51 lignes

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1 1 page_number
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2 59 page_number
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3 TRANSLATION page_header
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4 (3) table
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5 mā gā rī gā mā mā sā sā table
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6 <b>(4)</b> table
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7 [mā magama mā mā nidha padha pama gamama] table
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8 (5) table
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9 dhā padha pari riga maga riga sadhasa sā table
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10 (6) table
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11 nidha sā rī magama mā mā mā mā table
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12 (7) table
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13 mā mā magama madha dhapa padha pama gamaga table
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14 (8) table
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15 dhā padha pari riga maga riga sadhasa sā table
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16 (9) table
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17 mā mā dhani dhasa dhapa mapa pā pā table
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18 (10) table
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19 mā magama mā nidha padha pamaga gā mā table
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20 (11) table
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21 dhā padha pari riga maga riga sadhasa sā table
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22 (12) table
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23 nidha sā rī magama mā mā mā mā table
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24 Thus ends <i>şadjamadhyamā</i>. section_header
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25 [2. Gāndhārodīcyavā] section_header
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26 In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic main
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27 is known to be with the omission of rşabha. In the state of completeness there main
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28 is the sparseness of svaras other than those that are anisas. main
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29 (4) annotation_inline
parent ligne 28
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30 In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to main
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31 be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known main
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32 and the mūrchanā beginning with dhaivata obtains. main
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33 (5) annotation_inline
parent ligne 32
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34 The tāla should be known as caccatpuța. Sixteen kalās (time units) are said main
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35 to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā main
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36 in the fourth act. annotation_inline
parent ligne 35
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37 (6) main
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38 Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The main
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39 prastāra is thus - main
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40 (1) table
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41 sā sā pā mā pā dhapa pā mā table
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42 (2) table
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43 dhā pā mā mā sā sā sā sā table
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44 (3) table
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45 dhã nĩ sã sã mã mã pã pã table
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46 (4) table
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47 ករី ករី ករី ករី ករី ករី ករី ករី table
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48 (5) table
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49 mã mã dhã nisa nĩ nĩ nĩ table
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50 (6) table
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51 mā pā mā pari gā gā sā sā table
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vol_II_p064 RIGHT — 42 lignes

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1 14.00 annotation_inline
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2 TRANSLATION page_header
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3 111 page_number
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4 [Anu. 193] section_header
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5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
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6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
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7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
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8 the context of entry and the like in the behaviour of those who perform domestic main
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9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
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10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
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11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
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12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
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13 in the songs comprised of svara and pada. main
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14 [3. Mālavapañcama] section_header
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15 Mālavapancamashould be known to have pancamaasits anistand concluding main
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16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
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17 are comprised of two śrutis (gāndhāra and niṣāda). main
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18 (322) main
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19 [Anu. 194] section_header
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20 This means-Mālavapañcamais related to madhyamagrāma on account of main
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21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
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22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
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23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
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24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
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25 female apartments). The mūrchanā beginning with pañcama obtains. main
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26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
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27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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29 like caccatputa obtains in the songs comprised of svara and pada. main
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30 [4. Vesarașādava] section_header
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31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
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32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
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33 (323) main
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34 [Anu. 195] section_header
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35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
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36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
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37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
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38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
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39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
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40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
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41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
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42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
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vol_II_p041 LEFT — 48 lignes

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1 BRHADDEŚĪ page_header
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2 64 page_number
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3 धा नी सां सा रीं रीं रीं रीं table
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4 (३) table
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5 सां सां सां री गा मा मा मा table
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6 (8) table
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7 मां धां नीं धां मां धां मां पां table
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8 (4) table
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9 गारी साधित रीरीरीरी table
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10 (६) table
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11 गां रीं सां सां पा धा मा मा table
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12 (v) table
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13 गा गा गा मा पा निधनि नी नी table
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14 (८) table
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15 गा गा नी नी गा गा गा गा table
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16 (९) table
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17 गा गा नी नी निध पा पा पा table
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18 (१०) table
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19 मां पो मो पो पो मो मो table
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20 (११) table
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21 सा मा गा निध नी नी गा गा table
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22 (१२) table
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23 ॥ [इति] कैशिकी ॥ table
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24 1 म ॥ annotation_inline
parent ligne 25
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25 [५. मध्यमोदीच्यवा] section_header
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26 पञ्चमांशा सदा पूर्णा, मध्यमोदीच्यवा मता ॥१४॥ main
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27 ंपञ्च(मा: ? मां) annotation_inline
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28 [मता] editorial_bracket
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29 लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् । main
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30 (म्) annotation_inline
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31 मध्यमादिर्मूर्छना स्यात् तालश्चचत्पुटो मत: ॥१५॥ main
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32 ॰(मंरीन ? मूर्छना) annotation_inline
parent ligne 31
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33 चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् । main
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34 ্ক annotation_inline
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35 <sup>१७६</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । <sup>१७७</sup>प्रस्तार:- main
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36 अस्या annotation_inline
parent ligne 35
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37 पा धनि नी नी मा मा नी पा table
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38 (१) table
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39 री री री गा सा रिग गा गा table
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40 (२) table
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41 नी नी नी नी नी नी नी table
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42 (3) table
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43 नी नी धप मा निध निध पा पा table
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44 (8) table
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45 पांपारी री री री री री table
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46 (4) table
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47 मा रिग सा सधं नीं नीं नीं नीं table
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48 <b>(६)</b> table
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vol_I_p061 LEFT — 41 lignes

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1 <b>BRHADDESI</b> page_header
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2 104 page_number
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3 [ अनु, १०२ ] editorial_bracket
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4 हुङ्कारवत् सम [ न ] न्तरं संयुक्तं त्रिस्वराक्षरमारोहेत् ततो द्वौ द्वौ स्व [रौ] editorial_bracket
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5 .क्त डि॰ annotation_inline
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6 .तः annotation_inline
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7 म्रो annotation_inline
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8 कम्पनयुक्तौ कलान्तरयोगादेव प्रसन्नौ मन्द्रौ कार्यौ। इत्येककलस्वरयोगाद् गात्रवर्णः। main
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9 [ यथा - ] ३३धनिस निनि धध, पधनि धध पप, मपध पप मम, गमप मम गग, editorial_bracket
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10 रिगम गग रिरि, सरिग रिरि सस इति गात्रवर्णः ३४। main
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11 [ 33 ] editorial_bracket
parent ligne 10
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12 भरतमतेनालङ्कारनिरूपणम् section_header
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13 यस्मिन् वर्णे स्थिता ये च अलङ्कारा मनोहराः। main
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14 तानिदानी प्रवक्ष्यामि भरतोक्तविधानतः ॥१२१॥ main
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15 प्रसन्नादिः प्रसन्नान्तः प्रसन्नाद्यन्त एव च। main
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16 तथा प्रसन्नमध्यस्तु समो रेचित एव च॥१२२॥ main
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17 पुस्तारम्च प्रसादश्च स्थायिवर्णसमाश्रयाः। main
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18 •र्णाः annotation_inline
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19 प्रसाद+ annotation_inline
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20 ज्ञेया ह्येते त्वलङ्कारा अध्यथालक्षणलक्षिताः ॥१२३॥ main
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21 ₀रादमी annotation_inline
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22 ∘धेतद₀ annotation_inline
parent ligne 20
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23 अथ सञ्चारिजान् भूयः कीर्त्यमानाव्निबोधत। main
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24 •णी annotation_inline
parent ligne 23
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25 मन्द्रतारप्रसन्नश्च बिन्दुः प्रेङ्खोलितस्तथा।।१२४।। main
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26 उ६ तारमन्द्रप्रसन्नश्च स्यान्निवृत्तप्रवृत्तकः । ] editorial_bracket
parent ligne 25
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27 .র্ব. annotation_inline
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28 कुहरश्चैव वेणुश्च रिक्षतश्चोपलोलकः ॥१२५॥ main
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29 ₀ला。 annotation_inline
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30 ₹₀ annotation_inline
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31 आवर्तकः परावर्त इति सञ्चारिसम्भवाः। main
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32 अलङ्कारास्तु विज्ञेया अएकादश मनोहराः ॥१२६॥ main
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33 निष्कूजितम्च कुहरो हसितो अबिन्दुरेव च। main
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34 कोरो annotation_inline
parent ligne 33
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35 प्रेह्मोलितस्तथाऽऽक्षिप्तो विधुतोद्वाहितौ तथा।।१२७।। main
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36 .योत्सि. annotation_inline
parent ligne 35
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37 ह्रादमानः सम्प्रदानः सन्धिप्रच्छादनस्तथा। main
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38 (ना ? मा) annotation_inline
parent ligne 37
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39 प्रा annotation_inline
parent ligne 37
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40 प्रसन्नादिः प्रसन्नान्त आरेहिणि त्रयोदश।।१२८।। main
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41 ०णी page_footer
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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
parent ligne 13
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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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216 lignes a valider — change uniquement les roles incorrects.