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 21034). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p059 RIGHT — 37 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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vol_II_p041 LEFT — 48 lignes

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1 BRHADDEŚĪ page_header
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2 64 page_number
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3 धा नी सां सा रीं रीं रीं रीं table
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4 (३) table
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5 सां सां सां री गा मा मा मा table
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6 (8) table
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7 मां धां नीं धां मां धां मां पां table
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8 (4) table
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9 गारी साधित रीरीरीरी table
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10 (६) table
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11 गां रीं सां सां पा धा मा मा table
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12 (v) table
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13 गा गा गा मा पा निधनि नी नी table
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14 (८) table
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15 गा गा नी नी गा गा गा गा table
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16 (९) table
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17 गा गा नी नी निध पा पा पा table
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18 (१०) table
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19 मां पो मो पो पो मो मो table
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20 (११) table
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21 सा मा गा निध नी नी गा गा table
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22 (१२) table
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23 ॥ [इति] कैशिकी ॥ table
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24 1 म ॥ annotation_inline
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25 [५. मध्यमोदीच्यवा] section_header
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26 पञ्चमांशा सदा पूर्णा, मध्यमोदीच्यवा मता ॥१४॥ main
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27 ंपञ्च(मा: ? मां) annotation_inline
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28 [मता] editorial_bracket
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29 लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् । main
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30 (म्) annotation_inline
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31 मध्यमादिर्मूर्छना स्यात् तालश्चचत्पुटो मत: ॥१५॥ main
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32 ॰(मंरीन ? मूर्छना) annotation_inline
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33 चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् । main
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34 ্ক annotation_inline
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35 <sup>१७६</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । <sup>१७७</sup>प्रस्तार:- main
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36 अस्या annotation_inline
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37 पा धनि नी नी मा मा नी पा table
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38 (१) table
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39 री री री गा सा रिग गा गा table
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40 (२) table
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41 नी नी नी नी नी नी नी table
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42 (3) table
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43 नी नी धप मा निध निध पा पा table
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44 (8) table
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45 पांपारी री री री री री table
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46 (4) table
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47 मा रिग सा सधं नीं नीं नीं नीं table
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48 <b>(६)</b> table
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vol_II_p121 LEFT — 28 lignes

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1 (vide) annotation_inline
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2 BRHADDEŚĪ page_header
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3 224 page_number
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4 क्षत्रियाणां कुलं चैव रसो रौद्र: प्रकीर्तित: । main
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5 यत्रानलगणाः पञ्च षष्ठो वायुगणस्तथा ॥ main
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6 एला हंसावती हन्त सा स्मृता गीतपारगै: ॥४३०॥ main
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7 [३. नन्दावती] section_header
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8 लघुभिर्गमकैर्युक्ता रागे मालवकैशिके । main
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9 एला नन्दावती नाम प्रतितालेन गीयते ॥४३१॥ main
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10 इन्द्राणी देवता, वृत्ति: सात्त्वती तत्र कीर्तिता । main
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11 गौडीया कथ्यते रीति:, पीतो वर्ण: स्मृतो बुधै: ॥ ४३२॥ main
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12 रसो वीर: समाख्यातो, वैश्यानां कुलसम्भवा। main
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13 व्य: annotation_inline
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14 नादावत्यामिव सर्वं कर्तव्यं रागपूर्वकम् ॥४३३॥ main
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15 (न?ना) annotation_inline
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16 यत्राम्बरगणाः पञ्च मार्तण्डगणसंयुताः । main
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17 मार्ताण्ड॰ annotation_inline
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18 एला नन्दावती सा तु विज्ञेया गीतवेदिभि: ॥४३४॥ main
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19 [४. भद्रावती] section_header
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20 एकैकपदसंयुक्ता मूर्छनाध्वनिसङ्कुला । main
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21 कङ्कालतालसम्बन्धा ककुभेन प्रगीयते ॥४३५॥ main
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22 एला भद्रावती नाम शूद्रजातिसमुद्भवा । main
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23 कृष्णवर्णा च विज्ञेया वैदर्भीरीतिशोभिता ॥४३६॥ main
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24 भारतीवृत्तियुक्ता च बीभत्सरसभूषिता । main
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25 वाराहीदेवतोपेता कथिता गीतकोविदै: ॥४३७॥ main
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26 यत्र भूमिगणाः पञ्च षष्ठो जलगणस्तथा । main
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27 भद्रावतीति विख्याता सा स्मृता मुनिपुङ्गवै: ॥४३८॥ main
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28 पुटपुङ्गवै: (?) annotation_inline
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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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vol_II_p018 RIGHT — 26 lignes

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1 19 page_number
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2 TRANSLATION page_header
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3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
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4 varieties. The said regulation (number 47) is according to the varieties of main
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5 amśa svara (in fourteen jātis)." annotation_inline
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6 (NŚ XXVIII, p. 49) annotation_inline
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7 [6. The definition of auduva] section_header
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8 ----- annotation_inline
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9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
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10 according to those knowledgeable in prayoga (performance). It is prescribed main
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11 to have thirty varieties and its definition is as has been said before." main
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12 (NŚ XXVIII.76) annotation_inline
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13 [Anu. 127] editorial_bracket
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14 (The structure) beginning with the group of four svaras is deśi,33 not main
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15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
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16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
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17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
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18 understood here. When there is the usage of four svaras, then it is said to be main
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19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
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20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
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21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
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22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
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23 (NŚ XXVIII.77) annotation_inline
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24 By the word 'api' (in the above verse) meaning 'also', the complete main
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25 (structure) should also be understood. Thus should be known the fourfold main
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26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
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170 lignes a valider — change uniquement les roles incorrects.