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 21361). 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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1 276 page_number
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2 BRHADDEŚĪ page_header
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3 appears to be incomplete. main
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4 115. In spite of the description of this bhāṣā as its being complete, the main
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5 illustration omits <i>ṛṣabha</i>. main
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6 ì annotation_inline
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7 116. cf. (i) main
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8 ्विभाषा रागराजस्य पञ्चमस्य वराटिका । main
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9 अंश: षड्जग्रहन्यास: नितारा मन्द्रमध्यमा ॥ main
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10 समशेषस्वरा पूर्णा शृङ्गारे याष्टिकोदिता ॥ main
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11 Jagadekamalla cited in BhaKo p. 584. main
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12 विभाषा रागराजस्य पञ्चमस्य वराटिका । list_item
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13 (ii) list_item
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14 समशेषस्वरा पूर्णा शृङ्गारे याष्ट्रिकोदिता ॥ list_item
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15 117. cf. (i) तथैव पञ्चमे भिन्ने मध्यमग्रामगानयुक्। list_item
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16 मध्यमांशग्रहा धान्ता मन्द्रर्षभविभूषिता ॥ list_item
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17 मध्यमर्पभसंवादा ऋषभस्वरदुर्बला । list_item
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18 द्रुतमध्यलया तारपङ्जा स्फुरितधैवता ॥ list_item
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19 पूर्णारोह्मवरोहिभ्यां वर्णाभ्यामुपशोभिता । list_item
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20 लिलतेर्गमकैर्युक्ता भाषा धैवतभूषिता ॥ list_item
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21 S Rāj II.2.I.898-900 main
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22 (ii) पूर्णा धांशग्रहन्यासा सधयो रिधयोर्युता । main
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23 भित्रपञ्चमसंभूता भाषा धैवतभूषिता ॥ main
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24 Kalā (appendix) on SR II, p.136. main
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25 118. Reconstruction based on Kalā (appendix) on SR II, p. 137 list_item
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26 ŀ annotation_inline
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27 reading 'sadhasañcārini' and 'dhabhūṣitā' and S Rāj II.2.I.902 reading 'ṣadja- list_item
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28 dhaivatasangatā'. list_item
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29 119. S Rāj II.2.1.956 ab describes a samvāda (to and fro movement) list_item
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30 between niṣada-dhaivata, but Kalā (appendix) on SR II, p. 138 reads 'ridha- list_item
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31 sañcārā'; it appears that 'ni' has been replaced here with 'ri' on account of list_item
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32 error in deciphering or copying at some stage. list_item
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33 वाहुल्यं दृश्यते त्वस्या: सर्वस्वरगतं वृधै: । main
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34 120. cf. annotation_inline
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35 S Rāj II.2.1.956 cd. main
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36 121. P. t. does not contain the description of bhāvinī, the bhāṣā of main
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37 mālavapanīcama, although it is included in the initial enumeration (uddeša) main
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38 in verse 33 cd of this chapter. Kalā (appendix) on SR II, p. 142 describes two main
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39 vibhāṣās named bhāvanī and vibhāvanī under mālavapañcama as- main
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40 भावनी पञ्चमांशान्तग्रहा मालवपञ्चमात् । main
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41 जाता विभाषा षड्जापन्यासा ऋषभवर्जिता ॥ main
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42 विभावनी विभाषा स्यात् पूर्णा मालवपञ्चमे । main
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43 पञ्चमांशग्रहन्यासा मगधाल्पा पमन्द्रभाक् ॥ main
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44 S Rāj II.2.1.1084 describes vibhāvanī according to Yāṣṭika, but bhāvanī is not main
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45 ł annotation_inline
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46 mentioned there. main
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47 Districted the fire annotation_inline
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1 BRHADDEŚI page_header
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2 48 page_number
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3 पञ्चमस्तु भवेत् कृष्णः पीतवर्णस्तु धैवतः। main
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4 निषादः सर्ववर्णोऽयं विज्ञेयाः स्वरवर्णकाः॥७४॥ main
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5 <b>४</b> यड्जस्य दैवतं ब्रह्मा ऋषभो वह्निदैवतः। main
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6 गान्धारो भारतीदेवो मध्यमोभ् हरदैवतः॥७५॥ main
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7 पञ्चमः शतयज्ञस्तु धैवतो गणनायकः। main
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8 निषादो भानुदेवस्तु इत्येते स्वरदेवताः॥७६॥ main
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9 <b>44अग्निगीतः स्वरः षड्ज ऋषभो ब्रह्मणोदितः।</b> main
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10 सोमेन गीतो गान्धारो विष्णुना मध्यमः स्वरः॥७७॥ main
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11 पञ्चमस्तु स्वरो गीतो नारदेन महात्मना। main
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12 धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ।।७८।। main
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13 <b>४</b>व्हास्यशृङ्गारयोः कार्यौ स्वरौ मध्यमपञ्चमौ। main
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14 षड्जर्षभौ तथा ज्ञेयौ वीररौद्राद्भुतेषु च ॥७९॥ main
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15 गान्धारइच निषादइच कर्तव्यौ करुणे रसे। main
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16 धैवतश्चापि कर्त्तव्यो बीभत्से सभयानके।।८०॥ main
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17 कण्ठादुत्तिष्ठते षड्ज ऋषभः शिरसः स्मृतः। main
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18 स्यि annotation_inline
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19 नासायाश्चैव गान्धार उरसो मध्यमः स्वरः॥८१॥ main
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20 उरसः शिरसः कण्ठादुत्थितः पञ्चमः स्वरः। main
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21 तालुदेशात् समुत्पन्नो धैवतस्तु यशस्विनि।। main
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22 46हो annotation_inline
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23 निषादस्तु समुत्पन्नो विज्ञेयः सर्वसन्धितः ॥८२ ॥ main
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24 एवं स्वरान् विजानीयादुत्पन्नान् गीतसागरे। main
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25 महादेवमुखोद्भतान् देशीमार्गे च संस्थितान्।।८३।। main
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26 ॥ इति स्वरप्रकरणम् ॥ editorial_bracket
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1 97 page_number
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2 TRANSLATION page_header
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3 [1.Bhinna-şadja] section_header
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4 Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its main
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5 conclusion, to be devoid of pañcama and ṛṣabha and having been born of main
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6 ṣadjodicyavati (jāti). main
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7 (306) main
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8 [Anu. 175] section_header
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9 This means – bhinna – şadja is related to şadjagrāma on account of being born main
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10 of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is main
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11 pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are main
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12 kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the main
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13 entry of the hero in a situation where he is inclined towards the use of all main
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14 implements or tools (upakaraṇa), has an aversion to fighting which does not main
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15 match his disposition (vijātīya) and proceeds for hunting. main
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16 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
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17 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in main
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18 the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in main
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19 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara main
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20 and <i>pada</i>. main
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21 [2.Bhinna-pañcama] section_header
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22 [Anu. 176] section_header
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23 ......This bhinna-pañcama is said to be svarabhinna. Its description is thus- main
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24 The knowledgeable ones in svara have spoken of bhinna-pañcama being main
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25 similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its main
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26 concluding note and is (applied) in the entry of the sūtradhāra. main
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27 (307) main
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28 [Anu. 177] section_header
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29 This means-bhinna-pañcama is related to madhyamagrāma on account of main
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30 being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa, main
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31 pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used main
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32 and this (rāga) is complete. It is applied in the entry of the sūtradhāra. main
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33 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
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34 obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed main
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35 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
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36 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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37 comprised of svara and pada. main
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1 BŖHADDEŚĪ page_header
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2 100 page_number
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3 [अनु॰ १८०] editorial_bracket
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4 अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति । main
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5 [४. भिन्नकैशिकः] section_header
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6 [अनुः १८१] editorial_bracket
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7 शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो भेदः main
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8 (कटी?गी) annotation_inline
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9 शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते। एतदुक्तं भवति - येन main
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10 स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति। लक्षणं चास्य यथा- main
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11 <b>(?)</b> annotation_inline
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12 (स्थं ?)संस्थानेन main
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13 •केन annotation_inline
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14 <b>ण्य</b>ने annotation_inline
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15 संस्थानेन annotation_inline
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16 शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:। editorial_bracket
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17 षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥ main
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18 [अन्॰ १८२] editorial_bracket
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19 अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात् । main
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20 ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयं यद्यपि रागः main
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21 उदयं(?) annotation_inline
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22 तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम् । येन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं main
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23 संस्थाने(न) annotation_inline
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24 विहाय तैरेव स्वरैरालाप: कर्तव्य:। शुद्धकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं main
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25 विभिन्नकैशिके annotation_inline
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26 (य) annotation_inline
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27 भिद्यते । दानवीरे चास्य विनियोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । main
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28 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
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29 [श्रुतिभिन्नः] section_header
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30 साम्प्रतं श्रुतिभिन्नस्य लक्षणमाह - main
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31 भिन्नतानस्य annotation_inline
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32 ६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु । main
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33 गान्धारो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥ ३१२॥ main
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34 (आधा ? गान्या)रो annotation_inline
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1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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via heuristic_height
34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
via surya_layout
178 lignes a valider — change uniquement les roles incorrects.