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 20949). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p073 RIGHT — 19 lignes

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1 TRANSLATION page_header
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2 129 page_number
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3 "Sometimes the aniśa, sometimes the nyāsa, sometimes ṣāḍava and auḍuvita main
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4 (becomes obvious). The wise should arrange (the melody) after knowing main
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5 the sparseness and abundance combined with graha and apanyasa and main
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6 similarly low and high (mandra-tāra). The grāma-rāgas should be used in main
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7 daśarūpaka 97 according to the prescribed rules. The gāna that is five-fold as main
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8 praveśa (entry), ākṣepa (sudden change in emotive state), niṣkrāma (exit), main
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9 prāsādika (pacifying) and āntara (filler of gaps) should be performed in main
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10 these rāgas." annotation_inline
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11 [The application of gītis] section_header
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12 In pūrvaraiga, the śuddhā should be there, the bhinnā is based on main
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13 prastāvanā, 98 the vesarā should be 'done ' in the two mukhas (mukha and main
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14 pratimukha sandhi),99 gauḍi is prescribed in the garbha (sandhi) and main
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15 similarly sādhārita should be there in avamarsa sandhi<sup>101</sup> and nirvahana main
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16 (sandhi). annotation_inline
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17 (344) annotation_inline
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18 Thus ends the third chapter entitled "Raga-laksana" in annotation_inline
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19 Bṛhaddeśi composed by Matanga Muni. main
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vol_II_p058 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 98 page_number
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3 [ जातिभिन्न:] section_header
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4 इदानीं जातिभिन्नस्य लक्षणमाह - main
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5 जातीनामंशक: स्थाप्य: स्वल्पकस्तु बहुस्तथा । main
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6 ॰कं स्थाय(?) annotation_inline
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7 अल्पत्वं च बहुत्वं च प्रयोगाल्पबहुत्वतः ॥ main
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8 सूक्ष्मातिसूक्ष्मैर्वक्रैश्च जातिभिन्नः स उच्यते ॥ ३०८॥ main
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9 [अनु॰ १७८] editorial_bracket
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10 अस्यार्थ: - शुद्धकैशिकमध्यमो हि कैशिकीषड्जमध्यमाजात्योर्जात:।भित्रकैशिकमध्य [म]स्तु editorial_bracket
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11 <b>र्जात(य?):</b> annotation_inline
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12 न्मध्यो annotation_inline
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13 पड्जमध्यमाजातेर्जातत्वात् तदंशग्राहित्वेन स्थायिवर्णग्राहित्वेन च सूक्ष्मातिस्क्ष्मै: प्रयोगैश्च main
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14 (ति) annotation_inline
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15 जातिभिन्नो भवेदित्यर्थ:। लक्षणं चास्य यथा - main
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16 (दि) annotation_inline
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17 [३.भिन्नकैशिकमध्यमः] section_header
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18 स्यात् षड्जमध्यमाजातेभित्रकैशिकमध्यमः। main
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19 (तै?ते) main
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20 षङ्जांशो मध्यमन्यासो मन्द्रैस्तु गमकैर्युत: ॥३०९॥ unknown
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21 [अन्॰ १७९] editorial_bracket
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22 [अस्यार्थ:-] भित्रकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेरुत्पन्नत्वात् । editorial_bracket
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23 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । मन्द्रगमकश्च । निषादोऽत्र काकली । पूर्णश्चायम् । दानवीर main
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24 पह्(जॉऽश ? जो)स्य annotation_inline
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25 चास्य प्रयोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । प्रसन्नादिरलङ्कारः । दक्षिणे main
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26 कला, वार्तिके कला, चित्रे कला। [स्वरपदगीते] चच्चत्पुटादिताल:। editorial_bracket
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27 [शुद्धभिनः] section_header
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28 [इदानी]शुद्धभित्रस्य लक्षणमाह - section_header
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29 परित्यजन्नन्यजातिं स्वजातिकुलभूषणः। main
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30 स्वकं कुलं तु संगृह्धन् शुद्धभित्रः प्रकीर्तितः ॥३१०॥ main
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vol_II_p066 RIGHT — 39 lignes

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1 1.50 4 1 annotation_inline
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2 TRANSLATION page_header
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3 115 page_number
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4 [Anu. 198] editorial_bracket
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5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
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6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
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7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
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8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [7. Ţakkakaiśika] section_header
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13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
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14 and concluding note and is weak in the svaras comprised of two śrutis each main
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15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
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17 [Anu. 199] editorial_bracket
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
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22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
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24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
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25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
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26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
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27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
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28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
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29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
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30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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32 obtains in songs comprised of svara and pada. main
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33 [8. Mālavakaisika] section_header
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34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
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35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
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37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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vol_II_p077 RIGHT — 34 lignes

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1 137 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
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4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
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5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
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6 <math>(30c-31)</math> main
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7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
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8 to be born of <i>bhinnapañcama</i>. main
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9 (32) annotation_inline
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10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
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11 bhāvinī, the one that is beautiful for the people. main
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12 (33) annotation_inline
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13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
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14 and drāvidī is the third bhāṣā there that is described with characteristics main
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15 (lakṣaṇas). annotation_inline
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16 (34) main
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17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
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18 Tānodbhavā should be known as being assigned to bhinnatāna. main
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19 (35) annotation_inline
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20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
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21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
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22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
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23 spoken of in <i>pañcamaṣāḍav</i>a. main
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24 (36) annotation_inline
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25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
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26 to their description alongwith illustration for each one. main
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27 (37) main
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28 [The description of bhāṣās] section_header
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29 [1. Bhāṣās in ṭakka-rāga] section_header
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30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
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31 pañcama and there is to be seen here again and again the mutual main
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32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
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33 be known as hexatonic. Travaņā should bear the name mūlā. main
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34 (38-39) annotation_inline
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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149 lignes a valider — change uniquement les roles incorrects.