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 20989). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p027 RIGHT — 28 lignes

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1 37 page_number
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2 TRANSLATION page_header
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3 (Anu. 23) main
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4 Anuvāditva (the state of being anuvādin) occurs by the state of being one main
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5 śruti less<sup>41</sup> (i.e. pairs of svaras where one of the constituents is less than the other main
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6 by one śruti are anuvādins). But what is that anuvāditva? main
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7 The expositorhood of the ragatva of raga brought about by the samvadin is main
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8 indeed anuvāditva. annotation_inline
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9 The anuvādi-maņdala is thus - main
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10 Sa annotation_inline
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11 Ň annotation_inline
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12 ni annotation_inline
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13 ga annotation_inline
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14 dha annotation_inline
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15 ma annotation_inline
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16 pa annotation_inline
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17 Thus ends the anuvādi-maṇḍala. [in ṣaḍjagrāma] caption
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18 (Anu. 24) main
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19 The use<sup>42</sup> of anuvadins is thus - şadja in the place of ṛṣabha and ṛṣabha in the main
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20 place of şadja, remaining in its own form, does not destroy jāti or rāga. main
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21 Dhaivata, being used in the place of pañcama and pañcama being used in the main
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22 place of dhaivata may not become the destroyer of jāti and rāga. Dhaivata being main
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23 used in the place of şadja and şadja being used in the place of dhaivata does not main
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24 become the destroyer of jāti and rāga. Rṣabha being used in the place of pañcama main
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25 and pañcama being used in the place of rṣabha does not destroy jāti and rāga. main
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26 Rṣabha in the place of madhyama and madhyama in the place of ṛṣabha; main
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27 similarly, madhyama being used in the place of dhaivata and dhaivata in the place main
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28 of madhyama does not destroy jāti and rāga. main
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1 118 page_number
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2 BRHADDESÎ page_header
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3 [अनु॰ २०२] editorial_bracket
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4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
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5 न(क?) र्क annotation_inline
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6 न्दौ annotation_inline
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7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
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8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
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9 [१.नर्तरागः] section_header
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10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
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11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
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14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
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15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
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17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
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22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
parent ligne 21
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23 [२. शक:] section_header
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24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
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25 (जि? ह्जी) annotation_inline
parent ligne 24
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26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
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27 काकल्य:(?) annotation_inline
parent ligne 26
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28 [अनुष् २०५] section_header
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29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
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30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
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31 (पश्चमस्याल्पत्वम्) annotation_inline
parent ligne 30
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vol_II_p087 RIGHT — 29 lignes

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1 <b>TRANSLATION</b> page_header
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2 157 page_number
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3 Madhukarī has pañcama as amśa, is replete with the same, has dha main
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4 (dhaivata) as the concluding note, there is the mutual concert of gandhara main
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5 and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā, main
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6 born of kakubha, is complete and sankīrņā (mixed). main
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7 <math>(76-77)</math> annotation_inline
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8 Illustration-[<i>Pāpā</i>] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā editorial_bracket
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9 dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā. main
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10 Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v] editorial_bracket
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11 Šakamišritā is a bhāṣā having niṣāda as amśa, ṣaḍja as the concluding note, main
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12 combined with niṣāda as graha, should be known to be devoid of ṛṣabha and main
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13 the concert of niṣāda and pañcama with dhaivata is there. The shade or main
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14 reflection (chāyā)31 (?) mixed with śaka is there. main
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15 (78-79) annotation_inline
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16 Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā main
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17 sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā- main
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18 nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi] editorial_bracket
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19 Bhinnapañcamī should be known to have dhaivata as the concluding note main
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20 and madhyama as amśa, miṣāda is kākalī mixed profusely with dhaivata, where main
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21 there is seen the concert of kākalī and dhaivata and where one should put up main
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22 communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā, main
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23 i.e., involves the use of <i>antar</i>a and <i>kākalī</i> and <i>kākalī</i> is frequent. 32 main
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24 <math>(80-81)</math> annotation_inline
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25 Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa main
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26 niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā main
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27 dhādhāsa nidhā. Bhinnapañcamī [vii] editorial_bracket
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28 These seven bhāṣās of kakubha have been indicated. main
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29 (82) page_footer
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vol_II_p093 RIGHT — 29 lignes

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1 169 page_number
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2 TRANSLATION page_header
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3 Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- main
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4 nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. main
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5 Dākşiņātyā [ii] editorial_bracket
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6 Combined with dhaivata as the initial and concluding note, embellished main
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7 with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. main
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8 (Mutual) movement between gändhära and dhaivata is seen here in a dense main
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9 manner. annotation_inline
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10 (107) annotation_inline
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11 Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. main
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12 Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā main
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13 sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] editorial_bracket
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14 Combined with dhaivata as the initial and concluding note, hexatonic, main
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15 devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of main
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16 Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two main
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17 śrutis each is sung. annotation_inline
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18 (108) annotation_inline
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19 Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā main
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20 ririrīnisāninidhādhā. Šrīkaņţhī [iv] editorial_bracket
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21 Having madhyama as amśa, dhaivata as the concluding note, weak in main
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22 ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the main
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23 Nāga<sup>49</sup> people and is made of sweet svaras alongwith gamakas. (Mutual) main
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24 movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. main
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25 <math>(109-110)</math> annotation_inline
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26 Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā editorial_bracket
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27 nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā main
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28 māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā main
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29 nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v] editorial_bracket
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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
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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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151 lignes a valider — change uniquement les roles incorrects.