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 20973). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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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_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_I_p009 RIGHT — 4 lignes

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1 श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ main
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2 <b>OF</b> annotation_inline
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3 ŚRĪ MATANGA MUNI main
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4 (Volume I) main
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vol_I_p045 RIGHT — 35 lignes

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1 73 page_number
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2 TRANSLATION page_header
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3 Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and main
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4 (114) annotation_inline
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5 vișnuvikrama. annotation_inline
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6 Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama- main
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7 grāma. annotation_inline
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8 Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the main
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9 (115) annotation_inline
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10 seventh is known as mokşada. annotation_inline
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11 [ Thus end the names of auduvita tanas devoid of ni and ga in madhyama- editorial_bracket
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12 grāma.] editorial_bracket
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13 Thus end the fourteen names of auduvita tānas in madhyamagrāma. main
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14 [Thus end the thirty-five names of auduvita tanas seated in the two gramas.] editorial_bracket
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15 (Anu. 46) annotation_inline
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16 The auduvita (tānas) of both the grāmas are thirty-five. The sādava and main
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17 auduva (tānas) of both the grāmas taken together are eithty-four tānas. main
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18 (Anu. 47) annotation_inline
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19 Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said - main
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20 sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that main
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21 begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and main
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22 kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda). main
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23 How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or main
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24 already expressed through 'sādhāraṇa' (the term forming part of the name of main
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25 the fourth type of murchanā viz. sadharaņakṛtā). main
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26 (116) annotation_inline
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27 And thus I have spoken of the fourfold mūrchanās. main
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28 [The performance of tanas] section_header
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29 (Anu. 48) annotation_inline
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30 How should the performance of these tanas be made, if this be asked, it is main
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31 being answered. The performance 41 of tana is twofold viz. with pravesa (lit. main
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32 entering) and nigraha (lit. restraint). main
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33 Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be main
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34 omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the main
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35 pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same main
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148 lignes a valider — change uniquement les roles incorrects.