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 20969). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p034 RIGHT — 35 lignes

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1 51 page_number
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2 <b>TRANSLATION</b> page_header
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3 V (the Section on Grāma-mūrchanā) section_header
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4 [The treatment of grama] section_header
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5 (Anu. 30) annotation_inline
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6 Then, what is spoken of by the word grāma? How many grāmas are there? main
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7 From where is grāma born? And what is its objective? main
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8 (84) annotation_inline
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9 It is being answered. annotation_inline
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10 The two grāmas stand for a group! composed of svara, śruti and the like. main
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11 (85) annotation_inline
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12 Just as all members of families live together, (similarly) grāma? is known as main
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13 (86) annotation_inline
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14 that by all the people where there is an abiding settlement. main
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15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
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16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
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17 (87) annotation_inline
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18 ٠ page_number
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19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
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20 known to be two5 characterised by (the names) şadja and madhyama. main
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21 (88) annotation_inline
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22 (Anu. 31) annotation_inline
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23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
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24 (and) rāga is indeed the objective. main
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25 (Anu. 32) annotation_inline
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26 But why are the gramas named after the svaras sadja and madhyama? It is main
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27 being answered. Because of (their) uncommonness the grāmas are named after main
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28 them. And the uncommonness is on account of their being born of devakula? main
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29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
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33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
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vol_II_p079 RIGHT — 24 lignes

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1 TRANSLATION page_header
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2 141 page_number
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3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
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4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
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5 nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] editorial_bracket
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6 Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there main
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7 being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā main
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8 should be known as hexatonic. Mālavesarī bears the name mūlā. main
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9 (44) annotation_inline
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10 Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. main
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11 Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] editorial_bracket
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12 Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is main
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13 immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding main
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14 notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly main
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15 pañcama-ṛṣabha should be known there. annotation_inline
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16 (45) annotation_inline
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17 Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. main
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18 Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] editorial_bracket
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19 This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its main
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20 amsa, sadja as its concluding note, is always complete and is sung by people. main
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21 (46) annotation_inline
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22 Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini main
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23 ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. main
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24 Saurāstrī [vii] editorial_bracket
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vol_II_p067 RIGHT — 34 lignes

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1 117 page_number
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2 TRANSLATION page_header
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3 [Anu. 200] editorial_bracket
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4 This means - Mālavakaišika is related to madhyamagrāma on account of main
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5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
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6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
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7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
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8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama 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 [The assignment of gramas to vesararagas] section_header
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13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
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14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
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15 one (grāma) called sadja. annotation_inline
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16 (329) annotation_inline
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17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
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18 of madhyamagrāma. annotation_inline
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19 (330) annotation_inline
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20 Thus have all the vesara(rāgas) been spoken of with their definitive main
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21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
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22 seen in them. annotation_inline
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23 (331) annotation_inline
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24 [ E. Sādhāraņa rāgas] section_header
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25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
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26 of. Now I will speak of the seven sādhāraņa ones. main
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27 (332) annotation_inline
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28 [Anu. 201] editorial_bracket
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29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
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30 come about? It is being answered. On account of being born of the gitis main
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31 pertaining to all the ragas that have been spoken of heretofore, there is their main
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32 sādhāraņatva (commonness); this comes about on account of their being sung in main
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33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
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34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
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vol_II_p103 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 189 page_number
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3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p105 RIGHT — 31 lignes

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1 <b>TRANSLATION</b> page_header
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2 193 page_number
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3 Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. main
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4 Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī main
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5 [v] editorial_bracket
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6 Gāndhārī has gāndhāra as amśa (and) pancama as the concluding note, is main
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7 complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) main
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8 ascending the top of a mountain. 16 annotation_inline
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9 (19) annotation_inline
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10 Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. main
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11 Sāgāsānidhāpāpā. Gāndhārī [vi] editorial_bracket
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12 Thus end the bhāṣās in mālavapañcama according to main
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13 the opinion of Sārdūla. annotation_inline
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14 [4. Now in bhinnaṣaḍja] section_header
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15 Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, main
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16 gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and main
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17 śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). main
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18 <math>(20-21)</math> annotation_inline
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19 Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and main
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20 is with sparse <i>şadja</i>. main
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21 (22) annotation_inline
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22 Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini main
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23 dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā main
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24 nidhāmāmadhā niniridhādhā. Trāvaņī [i] editorial_bracket
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25 Combined with dhaivata as the initial and concluding note, having sparse main
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26 sa (ṣadja), ṣadja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the main
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27 worship of deities.<sup>18</sup> annotation_inline
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28 (23) annotation_inline
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29 Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. main
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30 Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. main
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31 Ṣaḍjabhāṣā [ii] editorial_bracket
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156 lignes a valider — change uniquement les roles incorrects.