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 20987). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p046 LEFT — 34 lignes

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1 BRHADDESI page_header
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2 74 page_number
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3 इति विप्रकर्षेण प्रवेशनम् ७५। main
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4 -धेन annotation_inline
parent ligne 3
via heuristic_height
5 मार्ववेन यथा- तस्यैव षड्जस्य निषादापेक्षया उत्तरीभूतस्य मार्दवं main
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6 66नाय annotation_inline
parent ligne 5
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7 शिथिलीकरणं निषादापादनम् इति द्विविधं प्रवेशनम्। main
via surya_layout
8 ्द ब्दाः <sup>67</sup>यावत्। इति द्विविधः प्रवेशः main
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9 [ अनु॰ ४९ ] editorial_bracket
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10 <b>७</b> निग्रहस्त्वनन्तरस्वरपरित्यागोऽसंस्पर्शनम्। main
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11 ०रः स्वपरित्यागास्पदं दर्शनम् main
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12 प्रयोगस्तु यथा—सा सा ग रि, पा पा मा रि। main
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13 तथा चाह भरतः - annotation_inline
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14 69 द्विविधा तानक्रिया तन्त्र्यां प्रवेशनं निग्रहस्तथा। तत्र प्रवेशनमधर- main
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15 .याः annotation_inline
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16 स्वरप्रकर्षादुत्तरस्वरमार्दवाद्वा। निग्रहश्चासंस्पर्शः।" main
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17 •श्चाह ∙स annotation_inline
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18 दत्तिलेनाप्युक्तम् - main
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19 "तानक्रिया द्विधा तन्त्र्या प्रवेशान्निग्रहात्तथा। main
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20 प्रवेशो ध्वनिसादृश्यमसंस्पर्शस्तु निग्रहः।" main
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21 70तत्र प्रध्यन्येक्यमः [दत्तिलम् ३६] editorial_bracket
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22 [ अनु₀ ५0 ] editorial_bracket
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23 ननु त्रिषु स्थानेषु स्वरप्रयोग इत्युक्तं काकुविधाने। तत्र कतमं स्वर— main
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24 71。代 保。 annotation_inline
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25 सप्तकमवलम्ब्य मूर्छना कार्येति ये संशेरते तान् प्रत्याह - मध्यम- main
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26 72。红石。 annotation_inline
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27 सप्तकेन मूर्जनानिर्देशो भवति मन्द्रतारसंसिद्ध्यर्थम्। कुतः ? मध्यम- main
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28 ∘शः <sup>73</sup>कार्यो annotation_inline
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29 74साव ( ? ) annotation_inline
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30 सप्तकस्याविनाशित्वादित्यर्थः। भरतेनाप्युक्तम् - main
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31 75"मध्यमस्वरेण [ वैणेन ] मूर्छना-निर्देशो भवत्यविनाशित्वान्मध्यमस्य editorial_bracket
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32 CANADA STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, S unknown
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33 निग्रहे पर्यग्रहे वा।" main
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34 ंदि annotation_inline
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vol_I_p032 RIGHT — 46 lignes

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1 47 page_number
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2 TRANSLATION page_header
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3 The third (letter) of the eighth (group viz. 's') combined with the Hari-bija main
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4 <math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out main
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5 with all effort. annotation_inline
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6 (63) main
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7 The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja main
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8 (viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna main
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9 (64) annotation_inline
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10 (brahmagranthi). main
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11 The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja, main
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12 (viz. 'a'), one should always draw out (this) svara which is attractive among the main
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13 (65) annotation_inline
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14 various svaras. main
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15 The last (letter) of the sixth group, (viz. 'm') combined with the initial one main
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16 (viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras. main
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17 (66) annotation_inline
parent ligne 16
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18 The first one of the same (sixth group, viz. 'p') combined with the first one main
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19 (viz. 'a'), know that as the beautiful svara, associated with the number (five) of main
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20 (67) annotation_inline
parent ligne 19
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21 vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup> main
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22 The fourth (letter) of the fifth group (viz. 'dh') combined with the initial main
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23 one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68) main
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24 The last (letter) of the fifth group (viz. 'n') differentiated by the end that is main
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25 other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture) main
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26 is combined with 'high' sound. main
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27 (69) annotation_inline
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28 Thus, this much has been shown as the svaroddhāra (analysis of svara-names) main
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29 (70 ab) annotation_inline
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30 contained in agama.79 main
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31 [ Assignment of community, colour and the like to svaras ] section_header
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32 Now I shall speak of the assignment of community, colour and the like (to main
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33 <math>(70 \text{ cd})</math> main
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34 svaras). main
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35 (i) Kula-Vamśa. section_header
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36 Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods, main
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37 this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa). main
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38 (71) unknown
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39 The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda main
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40 (72) annotation_inline
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41 born in the community of demons, is called 'ni'. main
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42 (ii) Colours. section_header
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43 Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot, main
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44 gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi- main
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45 (73) annotation_inline
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46 florum). main
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vol_II_p052 LEFT — 33 lignes

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1 86 page_number
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2 BRHADDEŚĪ page_header
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3 षाडव: पञ्चमश्चैव तथा कैशिकमध्यम:। main
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4 चोक्षसाधारितश्चैव चोक्षकैशिक इत्यपि ॥ main
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5 एते चोक्षास्तु विज्ञेया, भिन्नकान् साम्प्रतं शृणु ॥२९३॥ main
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6 भित्रषड्जश्च तानश्च भित्रकैशिकमध्यम:। main
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7 भित्रपञ्चमसंज्ञश्च पञ्चमो भित्रकैशिक: ॥२९४॥ main
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8 भिन्नपञ्चम इत्युक्तस्त्रयो गौडा: annotation_inline
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9 प्रकीर्तिताः annotation_inline
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10 गौडपञ्चम इत्येको गौडकैशिक इत्यपि । main
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11 गौडकैशिकमध्यमस्त्रयो गौडा: प्रकीर्तिता: ॥२९५॥ main
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12 टकरागश्च सौवीरस्तथा मालवपञ्चम:। main
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13 टङ्क annotation_inline
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14 षाडवो बोट्टरागश्च तथा हिन्दोलक: पर: ॥२९६॥ main
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15 ट[क]ककैशिक इत्युक्तस्तथा मालवकैशिक:। editorial_bracket
parent ligne 14
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16 एते रागाः समाख्याता नामतो मुनिपुङ्गवैः ॥२९७॥ main
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17 नर्तः शकाख्यः ककुभस्तथा भम्माणपञ्चमः । main
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18 (नर्तः) annotation_inline
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19 हमीण annotation_inline
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20 रूपसाधारितश्चैव तथा गान्धारपञ्चम: । main
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21 षड्जकैशिकसंज्ञश्च सप्त साधारणा: स्मृता: ॥२९८॥ main
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22 [॥ इति रागसङ्ख्या, उद्देशश्च ॥] editorial_bracket
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23 [रागाणां विशेषलक्षणानि] section_header
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24 [क. तत्र शुद्धरागाः] section_header
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25 इदानीं शुद्धानां लक्षणमाह - main
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26 <sup>३५</sup>अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका: । main
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27 <sup>३६</sup>स्वजा(?) main
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28 निरपेक्षा॰ annotation_inline
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29 स्वजात्यन्यतमाश्चेव ते शुद्धाः परिकीर्तिताः ॥२९९॥ main
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30 [१.शुद्धषाडव:] section_header
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31 [अनु॰ १६४] section_header
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32 तत्र षाडव इति कस्मात्३७ ? किं षड्भि: स्वरैगीयत इति षाडव:, यद् वा षट्सु रागेषु main
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33 (vide) annotation_inline
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vol_II_p028 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
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2 38 page_number
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3 योजनीया इत्यर्थः। चतसृणां जातीनां नित्यसम्पूर्णानां नवांशाः पातनीयाः त्रिषष्टिमध्ये। main
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4 <sup>९४</sup>नित्यपूर्णानां main
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5 तद्यथा- पसगप रिपधनिप । एषु नवांशेषु पातितेषु चतुष्पञ्चाशदंशा अवशिष्यन्ते । तत्रापि main
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6 रिपधनिपसग । पध annotation_inline
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7 ९५षड्जमध्यमा - षड्जोदीच्यवा -       कैशिकी-गान्धारी-रक्तगान्धारी - षाड्जीत्यासां main
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8 धैवती आसां annotation_inline
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9 षङ्जातीनां सप्तांशाः पातनीयाः। तेषु सप्तांशेषु पातितेषु सप्तचत्वारिंशदंशा भवन्ति। तद्यथा- main
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10 मध्यमोदीच्यवा पेन तथा गान्धारपञ्चमी । main
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11 ॰सायां वा annotation_inline
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12 कार्मारवी रिपनिधै: सगपै: षड्जकैशिकी ॥२५७॥ main
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13 [अनु॰ १४०] editorial_bracket
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14 [अस्यार्थ: ......] तेषु [सप्त] चत्वारिंशदंशेषूक्तस्वरै: षाडवविधि: कर्तव्य: । editorial_bracket
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15 व्यरे: annotation_inline
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16 इदानीमौडुवितविधौ ये तु अनपवादिन: स्वरास्तान् दर्शयति - main
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17 येषु annotation_inline
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18 तथाऽपवादनिर्मुक्तास्त्रिंशदौडुवितास्तु ते ॥२५८॥ main
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19 न्ते भवेत् annotation_inline
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20 ९६०ते तु ते main
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21 [अनु•१४१] editorial_bracket
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22 अस्यार्थ: - तथा तेन प्रकारेण अपवादिनर्मुक्तास्त्रिंशत्प्रकारा बोद्धव्या: । तद्यथा - main
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23 (व्यं?व्य:) annotation_inline
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24 (रं?रो) annotation_inline
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25 त्रिषष्टिमध्ये नित्यसम्पूर्णानां चतसृणां जातीनां नवांशाः पातनीयाः । तेषु पातितेषु main
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26 चतुष्पञ्चाशदंशास्तत्रावशिष्यन्ते तत्रापि चतुष्पञ्चाशन्मध्ये चतसृणां जातीनां नित्यसम्पूर्णषाडवानां main
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27 (स्त? ने) annotation_inline
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28 द्वादशांशा: पातनीया: । तेषु पातितेषु द्विचत्वारिंशदंशे[षु गान्धारीरक्तगान्धारीषड्जमध्यमा- editorial_bracket
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29 द्वादशसप्तांशा: annotation_inline
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30 कैशिकीपञ्चमीत्यासां पञ्चजातीनामनौडुवितभागिनो द्वादशांशा: पातनीया: । तेषु पातितेषु main
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31 त्रिंशदंशे] षूक्तस्वरैरौडुवितविधिर्भवतीति । तथा चाह भरतः - editorial_bracket
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1 103 page_number
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2 TRANSLATION page_header
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3 [Anu. 183] editorial_bracket
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4 [This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is editorial_bracket
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5 comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because main
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6 pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take main
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7 up two śrutis? It is being answered. It is said to be comprised of four śrutis main
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8 on the analogy of its former position. Just as in bhinnakaiśika rāga, the main
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9 pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking main
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10 recourse to its form comprised of four śrutis, similarly it will happen here also main
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11 and hence there is no fault. And its description is thus - main
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12 . . . . . . . . . . . . . . . . . . . . annotation_inline
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13 [5. Bhinnatāna] section_header
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14 Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh main
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15 (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of main
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16 rsabha. annotation_inline
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17 (313) annotation_inline
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18 [Anu. 184] editorial_bracket
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19 This means-bhinnatāna is related to madhyamagrāma on account of being main
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20 born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa, main
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21 madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. main
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22 Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa main
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23 (rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the main
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24 varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga), main
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25 the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math main
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26 A tāla like caccatpuţa obtains in the songs comprised of svara and pada. main
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27 [The assignment of bhinna-rāgas to grāmas] section_header
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28 [Anu. 185] editorial_bracket
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29 The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That main
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30 is thus - annotation_inline
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31 ٠ page_number
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32 "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. main
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33 (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma." main
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34 Thus bhinnas have been explained, now listen to the gaudas. main
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35 (314) annotation_inline
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179 lignes a valider — change uniquement les roles incorrects.