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 21387). 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 BRHADDEŚĪ page_header
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2 288 page_number
via heuristic_pagenum
3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
via surya_layout
4 17. cf.(i) annotation_inline
parent ligne 3
via heuristic_short
5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
via surya_layout
6 Mānaso IV.16.332. annotation_inline
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7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
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8 (ii) annotation_inline
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via heuristic_short
9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
via surya_layout
10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
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11 S Rāj II.4.3.111. annotation_inline
parent ligne 10
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12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
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13 (iii) annotation_inline
parent ligne 12
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14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
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15 Ra Kau III.117. annotation_inline
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16 18. Reconstruction in the first and second foot based on SR IV. main
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17 212c, 213b. annotation_inline
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18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
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19 <b>cf.(i)</b> annotation_inline
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20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
via surya_layout
21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
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22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
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23 Mānaso IV.16,333,335. main
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24 आर्यैव यदि गीयेत तालेन गजलीलया । main
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25 (ii) annotation_inline
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via heuristic_short
26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
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27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
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28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
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29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
parent ligne 28
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30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
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31 S Rāj 11.4.3.108-110. main
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32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
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33 19. cf. annotation_inline
parent ligne 32
via heuristic_short
34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
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35 SR IV.279,280. annotation_inline
parent ligne 34
via heuristic_short
36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
via surya_layout
37 20. cf. annotation_inline
parent ligne 36
via heuristic_short
38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
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39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
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40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
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41 Mānaso IV.16.336 -338. main
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42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
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43 21. cf. annotation_inline
parent ligne 42
via heuristic_short
44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
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45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
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46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
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47 SR IV.283,284. main
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1 47 page_number
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2 TRANSLATION page_header
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3 When it (ṣāḍjī) is sung as hexatonic, then the sparseness<sup>59</sup> of ṛṣabha has to main
via surya_layout
4 be brought about, (and) there is abundance of the remaining svaras. main
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5 [ Anu. 147] editorial_bracket
parent ligne 4
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6 And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete main
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7 state and four ṣāḍavas, because when gāndhāra is amśa, it excludes the main
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8 formation of ṣāḍava. The amśas have been written as such so that they main
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9 become clear. annotation_inline
parent ligne 8
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10 There is the state of śuddhā with ṣadja as the amśa and ṣadja is the apanyāsa. main
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11 In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being main
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12 irrelevant). In the sadava state (they are) nine-fold (auduvita being main
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13 irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, main
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14 excluding (its) šuddhā (form). main
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15 And it has the <math>m\bar{u}rchan\dot{a}^{60}</math> beginning with dhaivata. (The <math>t\bar{a}la</math>) ekakala main
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16 pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra main
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17 (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika main
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18 mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala main
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19 pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of main
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20 tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and main
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21 adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is main
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22 (prescribed) in the singing of dhruvā(s) in the first scene (or act). main
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23 [2. Ārşabhī] section_header
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24 [Anu. 148] editorial_bracket
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25 (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves main
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26 are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the main
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27 extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto main
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28 nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- main
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29 dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is main
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30 devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, main
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31 gandhara and pancama. In the auduvita form, there is the sparseness of main
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32 gāndhāra and madhyama and the profusion of the remaining (svaras). main
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33 [Anu. 149] editorial_bracket
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34 And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās main
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35 in the complete state are three, in the sadava state are three and in the main
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36 auduva state are (also) three, thus in the complete state are three, in the main
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37 ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with main
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38 pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the main
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1 BRHADDEŠĪ page_header
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2 78 page_number
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3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
via surya_layout
4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
via surya_layout
5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
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6 यापि वाचकः annotation_inline
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7 मन्थवत् annotation_inline
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8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
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9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
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10 [गीति-भेदाः] section_header
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11 [तत्र मतङ्गमतम् ] section_header
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12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
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13 (त ? ती) annotation_inline
parent ligne 12
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14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
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15 (त ? ति:) annotation_inline
parent ligne 14
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16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
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17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
via surya_layout
18 (त ?ति) annotation_inline
parent ligne 17
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19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
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20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
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21 सप्तगीत्यो मया annotation_inline
parent ligne 20
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22 [॥ इति मतङ्गमतम्॥] editorial_bracket
parent ligne 20
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23 [दुर्गशक्तिमतम्] section_header
via surya_layout
24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
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25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
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26 याष्ट्रिकेन महात्मना annotation_inline
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27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
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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 BŖHADDEŚĪ page_header
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2 52 page_number
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3 पञ्चमयोरत्पत्वम् । <sup>१५३</sup>गान्धारस्यांशत्वे[ऽ]प्राप्ते[ऽपि] बाहुत्यम् । षाडवे पञ्चमस्यात्पत्वम् editorial_bracket
parent ligne 4
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4 पद्जागान्धारपञ्चमयोरलपत्वम् , main
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5 औडुविते न कस्याप्यल्पत्वमशेषाणां बहुत्वम् । मध्यमो न्यासः । ऋषभधैवतावपन्यासौ । अंशानां main
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6 परस्परगमनम् । main
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7 [अनु॰ १५७] section_header
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8 १५४एकादशविधत्वमस्या:। एकादशांशका: -पूर्णाश्चत्वार:, षाडवास्त्रयो धैवतांशे तदपवादाद् main
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9 औडुविताश्चत्वार:।शुद्धस्तु नास्ति।गान्धार[ादि]मूर्छना।ताल:पञ्चपाणि:।एककलेन चित्रेण editorial_bracket
parent ligne 8
via heuristic_brackets
10 मागधी, द्विकलेन वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । रसौ शृङ्गारहास्यौ । main
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11 ध्रवागाने द्वितीयप्रेक्षणके विनियोग:। main
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12 [७. पड्जमध्यमा] section_header
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13 [अनु॰ १५८] section_header
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14 षड्जमध्यमाया ग्रहा अंशाश्च सप्तैव स्वरा:। पञ्चस्वरपरस्तार:। न्यासपरस्तत्परो वा मन्द्र: main
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15 ॰हा: annotation_inline
parent ligne 14
via heuristic_markers
16 निषादहीना षाडवा । निषादगान्धारहीना औडुविता । ग्रामाविरोधेन यथेष्टं सञ्चार: । पूर्णावस्थायां main
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17 निषादगान्धारयोरल्पत्वम् । षड्जमध्यमौ न्यासौ । सप्तस्वरा अपन्यासा: । main
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18 <b>क्खरापन्या</b> (स: ? सा) annotation_inline
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19 [अनु॰ १५९] section_header
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20 सप्तदशांशका: – तत्र सप्त पूर्णा:, पञ्च षाडवा:, पञ्च औडवाश्चेति main
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21 <sup>१५५</sup>सप्तदशविधत्वमस्याः । main
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22 एतदंशकाश्रत्वार: पाडवा:। तथैव थैवतेंऽशे पाडवानाम् औदुविताश main
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23 <sup>१५६</sup>दशिंधत्वमस्या annotation_inline
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24 शुद्धत्वं नास्ति । मध्यमादिमूर्छना । ताल: पञ्चपाणि: । एककलेन चित्रेण मागधी, द्विकलेन main
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25 (F) annotation_inline
parent ligne 24
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26 वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । सर्वरसात्मिका, ध्रुवागाने द्वितीये प्रेक्षणके main
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27 विनियोग: । annotation_inline
parent ligne 26
via heuristic_short
28 ॥ [इति] एता: षड्जग्रामसम्बन्धा: सप्त जातय: ॥ editorial_bracket
parent ligne 26
via heuristic_brackets
29 [अनु॰ १६०] section_header
via surya_layout
30 इदानीं मध्य[म] ग्रामसम्बन्धा जातय उच्यन्ते - editorial_bracket
parent ligne 29
via heuristic_brackets
31 --- annotation_inline
parent ligne 29
via heuristic_height
181 lignes a valider — change uniquement les roles incorrects.