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 21320). 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 n er annotation_inline
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2 11 page_number
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3 TRANSLATION page_header
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4 the jātis (castes). Just as in human beings there are castes such as brahmin main
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5 and the like, that are both pure and mixed (or altered), similarly these jātis main
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6 are also (twofold). annotation_inline
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7 [Thus ends the general definition.] editorial_bracket
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8 [4. The tenfold lakṣaṇas or characteristics] section_header
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9 Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - main
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10 Graha (initial note), amśa (fundamental note), tāra (high), mandra (low) main
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11 and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly main
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12 alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are main
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13 said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. main
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14 The definition of this group of ten is being given in brief. main
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15 <math>(209-210)</math> annotation_inline
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16 [1. The definition of graha] section_header
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17 [Anu.119] editorial_bracket
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18 Out of these (lakṣaṇas), graha is that with which the performance of jāti main
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19 and the like is begun (lit . held or caught). That ( graha ) should be known main
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20 to have sixty-three varieties just like aniśa. main
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21 (Objection) What is the difference between graha and anisa? It is being main
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22 answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the main
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23 amsa,but graha is fourfold according to the distinction of vādī and the like main
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24 1 page_number
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25 (samvādī, vivādī and anuvādī). Or there is the distinction of predominance main
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26 and subordination between the two. Graha is subordinate ( to amśa). main
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27 ŧ annotation_inline
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28 (Objection) Why is the predominance of amsa alone being spoken of? main
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29 Because of its being the progenitor 11 of raga (delight or colour) and main
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30 because of its being pervasive, the predominance of anisa alone (is accepted). main
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31 Although graha and anisa are predominant in all the jatis and this is proved main
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32 by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup> main
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33 (operation) of samvādī and anuvādī. main
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34 Similarly said Bharata – annotation_inline
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35 "Graha is said to be like the amsa in all the jātis. The amsa that becomes the main
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36 starting point of geya (melodic organisation and performance) assumes an main
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37 alternative form as graha." main
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38 (NŚ XXVIII.67) main
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1 4 - 1 annotation_inline
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2 149 page_number
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3 TRANSLATION page_header
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4 [ Vibhāṣā of ṭakkarāga] section_header
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5 Having pañcama as amsa and sadja as the concluding note, being main
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6 embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung main
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7 at the end of the bhāṣās. annotation_inline
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8 (61) annotation_inline
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9 Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. main
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10 Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. main
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11 Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. main
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12 [2. Bhāṣās in mālavakaiśika] section_header
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13 Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja main
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14 as the initial and concluding note, is complete in svaras (and) has profuse main
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15 șadja and madhyama. This bhāṣā should be known as the first one in main
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16 mālavakaišika (used as mālakaišika in the text due to exigency of metre) of main
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17 madhyama (grāma). annotation_inline
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18 (62) annotation_inline
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19 Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. main
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20 Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. main
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21 Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā, main
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22 complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. main
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23 (63) annotation_inline
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24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
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25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
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26 Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is main
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27 complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā main
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28 should always be known as sankīrņā (mixed), by the knowledgeable ones in main
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29 gändharva. annotation_inline
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30 (64) annotation_inline
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31 Pāpāmāmā. annotation_inline
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
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33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
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1 81 page_number
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2 TRANSLATION page_header
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3 krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri main
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4 - <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri< editorial_bracket
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5 <math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there main
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6 are six tanas of gandhara (along with the preceding two svaras viz. sa - n). main
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7 Similarly, there is only one krama (original order) of madhyama (added to main
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8 the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas main
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9 beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa - main
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10 ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga main
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11 thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly, main
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12 there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken main
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13 together they are twenty-four. annotation_inline
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14 Similarly, there is only one krama (original order) of pañcama (along with its main
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15 four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa main
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16 (formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni - main
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17 ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has main
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18 twenty-four (varieties beginning with it), taken together they become one main
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19 hundred and twenty. Similarly, dhaivata has one krama (original order along main
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20 with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma - main
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21 ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma - main
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22 ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken editorial_bracket
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23 together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is main
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24 only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga - main
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25 ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each main
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26 one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty main
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27 (through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty. main
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28 (Anu. 59) annotation_inline
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29 Thus the tāna-vidhāna (performance of tānas) of svaras is found on the main
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30 (viṇās having) sixty-six strings or hundred strings. The measurements of these main
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31 two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t main
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32 tānas has not been made on these (viņās) in order to avoid a digression; by this main
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33 order itself, it (the demonstration) should be understood by the wise ones on main
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34 their own. annotation_inline
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35 (Anu. 60) annotation_inline
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36 The objective of these tanas has been said to be for the sake of the main
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37 attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in editorial_bracket
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vol_I_p023 LEFT — 31 lignes

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1 28 page_number
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2 BRHADDESI page_header
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3 किमत्र कारणम् ? उच्यते - ग्रामद्वयेऽप्यन्तरमूर्छना-प्रतिपादनार्थम्, यद्वा main
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4 ग्रामद्वयेऽपि षड्जमध्यमस्वरौ ग्रामण्यौ भवतः। अन्यस्वरास्तदग्रेसरा main
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5 ₀मध्यपरौ annotation_inline
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6 इति॥ main
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7 इति तावन्भया प्रोक्ताः श्रुतयो ग्रामसंश्रिताः ॥५२॥ main
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8 ॥ इति श्रुतिप्रकरणम् ॥ editorial_bracket
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9 IV [स्वर-प्रकरणम् ] section_header
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10 [ तत्र स्वरलक्षणम् ] section_header
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11 इदानी सम्प्रवक्ष्यामि स्वराणां च विनिश्चयम्। main
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12 तत्रादौ स्वरशब्दस्य व्युत्पत्तिरिह कथ्यते।।५३॥ main
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13 राजृ दीप्ताविति धातोः स्वशब्दपूर्वकस्य च। main
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14 •वस्प<sup>1</sup> annotation_inline
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15 स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः॥५४॥ main
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16 <del>2हि</del> annotation_inline
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17 ेतस्मात् स्वर इति main
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18 । अनु. १५ । section_header
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19 ननु स्वर इति किम् ? उच्यते - रागजनको ध्वनिः स्वर इति। main
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20 तथा चाह कोहलः - annotation_inline
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21 "आत्मेच्छया महीतलाद् वायुरुद्यविधार्यते। main
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22 ∘च्या₊⁴ annotation_inline
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23 हि unknown
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24 ⁵नाभि₃ annotation_inline
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25 नाडीभित्तौ तथाऽऽकाशे ध्वनी॰ रक्तः स्वरः स्मृतः॥" annotation_inline
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26 नि annotation_inline
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27 [ अनु. १६ ] section_header
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28 ननु स्वर एवं स्यादेकोऽनेको वा, व्यापकोऽव्यापको main
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29 वा, नित्योऽनित्यो वा स्यात् । अत्रोच्यते - एकोऽनेको main
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30 व्यापको नित्यश्चेति। तत्र निष्कलरूपेणैकः स्वरः main
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31 षइजादिरूपेणानेकः स्वरः। main
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vol_I_p064 LEFT — 45 lignes

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1 BRHADDEŚI page_header
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2 110 page_number
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3 समनन्तरौ स्वरौ द्वौ विचरत्युद्वाहितो द्विकल एव । main
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4 आरोहत्येककलां पुनरेककलां प्रसादयति। ।१४८॥ main
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5 50otto annotation_inline
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6 ++++ annotation_inline
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7 उद्वाहित एव स्यादुपलोलकसंज्ञको द्विरभ्यस्तः । main
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8 एकं द्वौ त्रीन् गच्छन् स्वरान् क्रमेण [ स ] क्रमो ज्ञेयः ॥१४९॥ editorial_bracket
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9 51सह् annotation_inline
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10 (डो १डे) त्रीणि main
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11 ۰₹۵ annotation_inline
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12 एकान्तरमारुह्य प्रत्येकान्तरं स्वरं यस्तु । main
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13 ्र भी (?) annotation_inline
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14 निष्कृजितसंज्ञकोऽसौ ज्ञेयः सूरिभिरलङ्कारः ॥१५०॥ main
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15 क्रमयोगेनानेन तु सञ्चार्येकान्तरस्वरो द्विकलः । main
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16 <i>दे</i> (३)। annotation_inline
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17 ्नासी ज्ञेयः main
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18 द्वचवरः षट्पर एवं ह्यारोही हादमानः स्यात् ॥१५१॥ main
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19 ď annotation_inline
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20 त्रिकलत्वपरषड्जमेवमारोहि (?) main
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21 अथ रिक्षतस्तु समनन्तरस्वरे द्वे कले पुनः स्थित्वा । main
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22 अर्धकलामारोही पुनरेव तथावरोही स्यात्52 ॥१५२॥ main
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23 ।हि oतत् oचापको हि annotation_inline
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24 <b>.</b>4. main
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25 आवर्तकश्चतुर्षु स्वरेषु समनन्तरेषु सम्भवति । main
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26 आरोहणावरोहणविधिना चैकान्तरेष्विप वा ॥१५३॥ main
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27 ज्ञेयो निरन्तरकृतस्त्वष्टकलः सान्तरस्तथा कार्यः । main
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28 ,रुध्वंष्ट. unknown
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29 तज्ज्ञैः कलाश्चतसस्त्वावृत्त्या [ ऽऽ ] वर्तको भवति ॥१५४॥ editorial_bracket
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30 प्राज्ञेः main
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31 अधिरुह्य च स्वरांस्त्रीन् स्वरान्तरं लङ्घयति च निवृत्तौ । main
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32 53से annotation_inline
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33 पुनरपि च परावृत्त्या परीवर्तकोऽष्टकलो ज्ञेयः ॥१५५॥ main
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34 •र्तेषु 54कलो annotation_inline
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35 यस्य स्वरावतीतौ तथा परं ह्यन्तरस्वरो भवति । main
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36 <b>.</b>पतितौ annotation_inline
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37 परस्त्व, annotation_inline
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38 य: annotation_inline
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39 एककलश्च तथा भवेत् तदुद्घट्टितो नित्यम् ॥१५६॥ main
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40 •द्वाहितो <sup>55</sup>,त्या main
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41 भव annotation_inline
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42 आक्षिप्तकस्त्रिस्वरजः कर्तव्यः षड्विधः कलामानः । main
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43 <b>०रारज प्रथगेककलात्रयकृतश्च (?)</b> main
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44 मा. annotation_inline
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45 एककलस्त्वधरः स्यात् षट्कलिको वापरो ज्ञेयः ॥१५७॥ main
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184 lignes a valider — change uniquement les roles incorrects.