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 21188). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 1400 page_number
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2 TRANSLATION page_header
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3 49 page_number
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4 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika main
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5 (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa main
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6 (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its main
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7 application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup> main
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8 (associated with exit) dhruvā in the first scene (or act). main
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9 [3. Dhaivati] section_header
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10 [Anu. 150] section_header
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11 In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā main
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12 state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and main
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13 madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is main
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14 devoid of pañcama and the auduva formation is devoid of pañcama, șadja. main
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15 The same two svaras, viz. şadja and pañcama should be made weak and should main
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16 sometimes be leapt over. The tara is upto five svaras. The mandra is upto the main
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17 nyāsa<sup>66</sup> or upto the svara next to nyāsa. main
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18 [Anu. 151] section_header
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19 It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās main
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20 in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā main
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21 beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), main
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22 citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and main
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23 sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā main
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24 (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in main
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25 the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, main
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26 bhayānaka are the rasas. Its application is (prescribed) in the singing of main
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27 dhruvā in the first scene (or act). main
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28 [4. Naisādī] section_header
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29 [Anu. 152] section_header
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30 In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. main
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31 Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava main
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32 formation is devoid of pañcama and the auduvita formation is devoid of main
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1 62 page_number
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2 <b>BRHADDESI</b> page_header
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3 स X गमप ध नि main
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4 निस X गमप ध annotation_inline
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5 धनिसxगमप main
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6 प ध नि स 🗶 ग म annotation_inline
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7 म प ध नि स 🗶 ग main
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8 गमपधनिस 🗶 main
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9 . annotation_inline
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10 x गमप ध नि स main
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11 ऋषभहीनाः। annotation_inline
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12 [सरिगम 🗶 धनि editorial_bracket
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13 निसरिगम 🗶 ध main
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14 ध निसरिगम 🗶 annotation_inline
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15 X ध निस रिगम main
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16 म X ध नि स रि ग annotation_inline
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17 गम 🗶 ध निस रि main
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18 रिगम 🗶 ध नि स annotation_inline
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19 पञ्चमहीनाः। main
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20 सरिगमपध 🗶 annotation_inline
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21 <b>X</b> स रिगम प ध main
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22 ध X स रिगमप annotation_inline
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23 पध X स रिगम main
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24 म प ध 🗶 स रि ग annotation_inline
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25 गमपध X सरि main
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26 1 page_number
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27 रिगमपध 🗶 स main
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28 निषादहीनाः । इति षाडवाः। main
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29 . annotation_inline
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30 . annotation_inline
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31 [ X रिगम X ध नि ] editorial_bracket
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32 नि x रिगम x ध main
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33 ध नि X रिगम X annotation_inline
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34 [ Хधनि X रिगम editorial_bracket
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35 म X ध नि X रि ग main
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36 गम X ध नि X रि annotation_inline
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37 रिगम 🗶 ध नि 🗶 main
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38 सपहीनाः। ] editorial_bracket
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vol_I_p101 RIGHT — 49 lignes

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1 185 page_number
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2 <b>VIMARŠA</b> page_header
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3 45. In the absence of any notational sign, all the three viz. kampita, kuharita main
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4 and recita are identically illustrated. main
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5 46. Here kalā stands not only for a phrase, but for a component unit of a main
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6 phrase, if sani risa these two are taken to complete a phrase. main
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7 47. The word 'amsa' means the initial note of a phrase and this is a limited list_item
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8 meaning because amsa stands for the fundamental svara of a jāti or rāga which list_item
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9 is a much bigger and much more complex structure. list_item
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10 48. The name tāra-mandra-prasanna is interesting because it uses both mandra list_item
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11 and prasanna which individually stand for 'low'. unknown
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12 49. The sa belongs to the tāra-sthāna. list_item
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13 50. The second sa here belongs to the tāra-sthāna. list_item
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14 51. The sthāyin varņa spoken of here could be understood only in the sense list_item
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15 that the phrase begins and ends at the same svara all throughout. list_item
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16 52. The sa at the end of the preceding phrase and at the beginning of the list_item
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17 succeeding one belongs to tāra-sthāna. list_item
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18 53. The ascent operates upto nisa and descent starts with sani. list_item
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19 54. Identical with note 52 above. list_item
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20 55. The word sthāyin is used here as a synonym of amsa. BrD is the first list_item
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21 extant text to introduce this word. S R (III, 191, 193) uses it in the decription list_item
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22 of Rāgālapti. list_item
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23 56. Different names for identical forms are also found in abundance in desi list_item
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24 tālas. (cf. deśī-tāla section of SRV) list_item
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25 57. Identical with note 52 above. list_item
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26 58. The word kalā is used here both as a time-unit and a phrase-unit. list_item
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27 59. sa in the beginning of the three phrase-units belongs to tāra-sthāna. list_item
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28 60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would list_item
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29 mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a list_item
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30 mālrā. list_item
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31 61. The sa belongs to tāra-sthāna. list_item
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32 62. Here kalā stands both for a time-unit and phrase because there are eight list_item
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33 phrases and each phrase is of the duration of one kalā (two-mātrā-unit). list_item
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34 63. Identical with note 52 above. list_item
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35 64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of list_item
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36 rāga. That is a kind of gamaka, but here in the description of the alankāra there list_item
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37 is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī list_item
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38 comes in which is hard to comprehend; at the most it could be understood to list_item
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39 ¥ unknown
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40 indicate special voice-production similar to ohāţī, which could be identified with list_item
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41 1 page_number
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42 the hudaka of present-day oral tradition of dhrupad which also is associated with list_item
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43 the 'ha' sound (cf. DA I, p. 46). list_item
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44 (vide) unknown
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45 65,66. Identical with note 52 above. list_item
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46 7 page_number
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47 67. There are twelve phrases in this alankara. From the way they are notated, list_item
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48 the duration of each of them could be taken to be either a kalā composed of list_item
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49 two mātrās or four mātrās, as follows- list_item
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vol_II_p079 LEFT — 43 lignes

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1 <b>网络克里斯</b>亚斯斯斯 unknown
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2 <b>京都的基本的工作</b> unknown
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3 140 page_number
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4 BRHADDEŚĪ page_header
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5 142 page_number
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6 उदाहरणम् – सागागपा । पामपामगामामा रीगसासा सासमागपापा । पाधनीधा । मपापामा- main
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7 बीठ बीठ annotation_inline
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8 पामामामगास सारिधानिसासा सधानीगारीगामापागनिसा नीगारीनिसासा । main
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9 निधापामागा - main
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10 ०धी० annotation_inline
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11 रीगासा । मानीधनीधासा । छेवाटी । [४] editorial_bracket
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12 षड्जन्यासा निषादांशा दुर्बला<sup>२६</sup> पञ्चमेन तु । main
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13 षड्जगान्धारसंवाद: षड्जमध्यमयोस्तथा ॥ main
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14 ॰(मध्यमं?)मध्यमयोस्तथा annotation_inline
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15 •गमारः annotation_inline
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16 उदाहरण main
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17 भाषेयं षाडवा ज्ञेया मूलाख्या मालवेसरी ॥४४॥ unknown
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18 <sup>२७</sup>मालववेसरी main
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19 (飞) annotation_inline
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20 मामा ग main
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21 उदाहरणम् – निधानिनी सरिसासागामागाधारिसमामासा गासारिसासागधरिसा । गामाधामा मागाधागा । main
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22 रीगामाम unknown
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23 सासासा । माल[व]वेसरी । [५] editorial_bracket
parent ligne 21
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24 निषादांशा च षड्जान्ता सम्पूर्णा षड्जमध्ययो: । main
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25 निपादर्यभषङ्जान्ता व्मध्यमा main
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26 <sup>२८</sup>सङ्ग[तिस्]तत्र विज्ञेया पञ्चमर्षभयोस्तथा । editorial_bracket
parent ligne 25
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27 उदाहरष main
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28 <sup>२९</sup>देशभाषात्र विख्याता गूर्जरी परमोज्ज्वला ॥४५॥ main
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29 वेसरिक unknown
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30 उदाहरणम् - निसासानिपापानीधानीनी सानीसासा । सारिसारिरि । सामागा । रि़रि । नीनीनी । main
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31 पापापा । निधानि । नीगासा । गूर्जरी । [६] editorial_bracket
parent ligne 30
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32 धाधाधा annotation_inline
parent ligne 30
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33 निषादांशा तु षड्जान्ता सम्पूर्णा नित्यमेव हि । main
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34 उदाहरण annotation_inline
parent ligne 33
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35 (पा;) main
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36 सौराष्ट्रिका तु भाषेयं देश्याख्या गीयते जनै:३०॥४६॥ main
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37 रिरीगगि annotation_inline
parent ligne 36
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38 उदाहरणम् - निनिधानिनिसासा निरिगासासा main
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39 सागागासा annotation_inline
parent ligne 38
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40 धनिनिनि main
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41 धामामानान unknown
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42 क्षी main
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43 निनिधासासागासासागासासधानिधानिधामामामारिगासासा गासनीसासासा । सौराष्ट्री । [७] editorial_bracket
parent ligne 42
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1 1, 1 unknown
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2 <b>(4) 90 公司的第三人</b> annotation_inline
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3 256 page_number
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4 BRHADDEŚĨ page_header
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5 Note: Şadjamadhyamā and raktagāndhārī have been repeated in the interpo- main
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6 lated portion. main
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7 Chapter III (Rāgalakṣana) section_header
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8 कश्यपप्रमुखैरत्र यथास्वमति वर्णितम् । main
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9 l.cf. annotation_inline
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10 स्वरूपं रागशब्दस्य यथावत्तदिहोच्यते ॥ main
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11 स्वरवर्णविशिष्टेन ध्वनिभेदेन यत्परम् । main
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12 रज्यते येन सततं (सच्चित्तं) स राग: सम्मत: सताम् ॥ main
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13 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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14 रञ्जको जनचित्तानां स राग: कथितो बुधै: ॥ main
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15 S Rāj II. 2.I.10-12. main
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16 2. Reading in Sam Sa Sā, I. 58 and c.r. in Kalā. on SR. II.1.1, p.2. list_item
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17 3. Reconstruction based on ibid. (Kalā) list_item
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18 4. Reading in BhaKo p. 921. list_item
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19 5. C.r. in Kalā on SR. II .1.1, p. 2, Sudhā on the same, p. 3 and Rā Vi, list_item
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20 p. 101. list_item
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21 6. Reading in Sam Sa Sā, IV.76. list_item
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22 7. P.t.; neuter gender has been preferred by us in deference to the list_item
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23 gender of the noun being qualified, viz. lakṣaṇam. list_item
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24 8, 9,10. Reading in Sam Sa Sā, IV. 76. list_item
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25 11. The two lines of this verse are transposed in p.t. list_item
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26 12. Reconstruction based on c.r. in Sudhā on SR.II.I.I., p. 3; c.r. in list_item
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27 Kalā on ibid, p.2 reads 'vāpi manthavat' and so does c.r. in Rā Vi, p. 101. list_item
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28 13. C.r. in Rā Vi, p.101. list_item
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29 14. Reconstruction based on consideration of grammar and metre. list_item
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30 15. Reconstruction based on c.r. in Sudhā on SR.II.I.2-5, p.5 and list_item
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31 S.Rāj II.2.1.28d, 29c. list_item
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32 16. P.t. adds- 'teşam lakşanamucyate'- after 'iti', which is redundant. list_item
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33 17. Actually the gîtis spoken of by Bharata are 'modes' of textual list_item
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34 rendering, i.e., are related to pada, but they have been cited here in the list_item
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35 context of rāga. list_item
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36 One minor reading variant in this verse is -NS reads 'tu' in the place of 'ca' in main
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37 the third foot. annotation_inline
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38 18. 'Matanga' of p.t. has been replaced with 'Kasyapa' because - list_item
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39 (i) the opinion of Matanga has been given in verses 268-270, list_item
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40 (ii) S.Rāj II.2.1.30 d, 31b ascribes these two gītis to Kasyapa, and list_item
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41 (iii) citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do list_item
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42 the same. list_item
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43 and the second second annotation_inline
parent ligne 42
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205 lignes a valider — change uniquement les roles incorrects.