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 21394). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p103 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 189 page_number
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3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
parent ligne 7
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
parent ligne 13
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
parent ligne 18
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
via surya_layout
22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p032 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 46 page_number
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3 यदा षाडवा गीयते तदा ऋषभस्याल्पत्वं कार्यम्, शेषाणां स्वराणां बहुत्वम् । main
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4 (था ? दा) annotation_inline
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5 [अनु॰ १४७] editorial_bracket
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6 अस्याश्च दशांशका: । तद्यथा - शुद्ध:, विकृताश्च पञ्च पूर्णाश्चत्वार: main
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7 <sup>१३५</sup>षाडवा:, main
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8 <sup>१३६</sup>गान्धारेंऽशे षाडवापवादात् । येनांशा: स्फुटयन्ते तेन लिखिता: । main
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9 षड्जांशेन शुद्धत्वं <sup>१३७</sup>षड्जश्चापन्यास:।सम्पूर्णावस्थायामष्टविधलक्षणम्।षाडवावस्थायां main
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10 नवविधत्वम् । शुद्धां परित्यज्य चतुर्विधा षाड्जी विकृता बोद्धव्या । main
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11 न(य ? व) annotation_inline
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12 अस्याश्च धैवतादिमूर्छना । पञ्चपाणिरेककलिश्चत्रे मार्गे मागधी गीति:। पञ्चपाणिर्द्विकलो main
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13 ॰श्चित्रे मार्गे annotation_inline
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14 र्वहकल: annotation_inline
parent ligne 12
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15 वार्तिकमार्गे सम्भाविता गीतिश्चतुष्कलः पञ्चपाणिर्दक्षिणे मार्गे पृथुला गीतिः । अनेन क्रमेण main
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16 र्णाः •द• annotation_inline
parent ligne 15
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17 सर्वासां जातीनां बोद्धव्यम्। वीररौद्राद्धतरसा: कार्या:। प्रथमे <sup>१३८</sup>प्रेक्षणके ध्रुवागाने विनियोग। main
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18 [२. आर्षभी] section_header
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19 [अनु॰ १४८] section_header
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20 १३९[आर्षभ्याम्]ऋषभधैवतनिषादा ग्रहा: स्वयमेवांशा:, त एवापन्यासा: पञ्चस्वरपरस्तारो१४० editorial_bracket
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21 ष्र: annotation_inline
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22 निषाद:[?] । ऋषभो न्यास: । न्यासपरस्तत्परो वा मन्द्र: । १४१षड्जधैवतयोर्ऋषभगान्धारयोश्च editorial_bracket
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23 ॰पञ्चम: ऋषभ॰ annotation_inline
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24 सङ्गति: । षड्जहीनं षाडवम्, षड्जपञ्चमहीनम् औडुवितम् । पूर्णावस्थायां main
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25 षङ्जगान्धारपञ्चमानामल्पत्वम् , औडुविते गान्धारमध्यमयोरल्पत्वम् , शेषाणां च बहुत्वम्। main
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26 [अनु॰१४९] section_header
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27 दशविधत्वं चास्याः। दशांशाः शुद्धः, विकृताः पूर्णास्त्रयः, त्रयः षाडवाः, त्रय main
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28 Πannotation_inline
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29 औडुवाश्चेति। पञ्चमादिमूर्छना, चच्चत्पुटस्ताल:। एककलेन चित्रेण मागधी,द्विकलेन वार्तिकेन main
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vol_II_p106 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 195 page_number
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3 ......Mālavī [iii] editorial_bracket
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4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
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6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
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8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
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13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
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14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
parent ligne 14
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
parent ligne 16
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
parent ligne 25
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
parent ligne 30
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
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33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
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34 in due order (?).<sup>24</sup> main
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35 (28) main
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vol_II_p056 RIGHT — 39 lignes

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1 95 page_number
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2 TRANSLATION page_header
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3 prescribed; ṣāḍava is in pūrvaranga, but in the citra (pūrvaranga?)comprised of main
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4 eighteen aigas (components), kaišikamadhyama (is performed) in the end. main
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5 This is the application of śuddha rāgas prescribed by Brahmā." main
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6 [NS as quoted in Kalā on SR II.2.30-32] editorial_bracket
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7 [B. Bhinna rāgas] section_header
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8 Now he (the author) has spoken of the description of bhinna rāgas. main
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9 Bhinna (modified) 45 on account of śruti, bhinna on account of jāti, bhinna main
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10 on account of śuddha (rāga) similarly having (bhinna) svara, it (this category main
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11 of rāgas) is called bhinnaka because it is modified in respect of (the above) main
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12 four. annotation_inline
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13 (304) annotation_inline
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14 [Anu. 172] editorial_bracket
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15 (Contention) Whatisstated by the word 'bhinna?' Does the word bhinnamean main
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16 that which is split or does it mean 'this is distinct from that'? This should not be main
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17 said. 'Bhinna' here is said to be vikṛta (modified). The state of being vikṛta is main
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18 according to the prescription given before in terms of śruti-bhinna and the like. main
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19 [Svarabhinna] section_header
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20 [Anu. 173] editorial_bracket
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21 Now for the sake of elucidating the aforesaid description of bhinna (rāgas), main
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22 the definition of svarabhinna (out of the four) is being spoken of in the main
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23 beginning - annotation_inline
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24 When the <math>v\bar{a}din^{46}</math> is upheld (as the initial note) and the <math>sainv\bar{a}din</math> or <math>anu main
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25 or vivādin is released (as the finale), that is called svara-bhinna. main
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26 (305) annotation_inline
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27 [Anu. 174] editorial_bracket
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28 This means – the madhyama that is the graha and amsa of suddha-sādava main
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29 (rāga) that belongs to madhyamagrāma, is replaced with dhaivata that is taken main
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30 up as being vivādin or anuvādin. When the samvādin of the svara madhyama main
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31 is treated as a point of release (tyāga) or placement (nyāsa), then it is called main
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32 svara-bhinna. In bhinna-ṣaḍja, dhaivata is vādin on account of 'speaking out' main
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33 (vadana) and it is again of abundant usage. main
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34 (Contention) Out of the five (bhinna) rāgas, why is bhinna -ṣaḍja being main
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35 described in the beginning itself? Truly has it been said, on account of its main
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36 prominence. Its prominence is thus-just as in the (rāgas of) śuddhagīti, there is main
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37 the prominence of śuddha ṣāḍava, similar is the case of bhinna ṣaḍjain the (rāgas main
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38 of) bhinna gīti, on account of this (bhinna-ṣadja) being a variety of that (śuddha main
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39 sādava).<sup>47</sup> main
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vol_I_p083 RIGHT — 46 lignes

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1 149 page_number
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2 VIMARŚA page_header
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3 As for the distinction between vowel and musical note, Abhinavagupta has main
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4 made a remarkable contribution in the conception of the autonomy of musical main
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5 note; this will be dealt with under the definition of svara in our text. main
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6 16. In language vyañjana, consonant ( lit. the act or instrument of mani- list_item
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7 festation ) is the phonetic unit that brings about specificity, but it can be list_item
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8 pronounced only with the help of vowel, otherwise it is impotent or ineffective. list_item
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9 Hence svara has been identified here with the śakti (supreme energy or power) list_item
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10 that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and list_item
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11 Garland of Letters, p. 260). The underlying idea is that Siva obtains His state list_item
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12 only from the association with Sakti, otherwise it is like Sava (a dead body). list_item
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13 Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in list_item
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14 Sabdakalpadruma Pt. V, p. 5) list_item
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15 17. Svarūpa (lit. own form) means the phonetic form of word and list_item
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16 sentence without reference to meaning. The whole world being a manifestation list_item
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17 of dhvani (sound), the very form of word and sentence without reference to list_item
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18 meaning, delineates or 'paints' the world because this form itself is a stage of list_item
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19 manifestation that in itself is the basis of further manifestation. list_item
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20 18. The sentence is the basic semantic unit, the 'word' becomes meaningful list_item
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21 when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa ) list_item
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22 which is mentioned here. list_item
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23 19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the list_item
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24 suffix sup or tin (nominal or verbal suffixes), it is not just a combination of list_item
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25 syllables. list_item
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26 20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing list_item
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27 about the action denoted by verb (Monier Williams), Kāraka is the hetu or list_item
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28 nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini, list_item
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29 viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha list_item
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30 (genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses list_item
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31 the relation of two nouns to each other, but not the relation of a noun and a list_item
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32 verb.' ( Monier Williams ) list_item
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33 The sentence is formed with padas that have sup or tin suffixes combined main
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34 with nouns and verbs respectively, standing, in turn, for kāraka and kriyā. main
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35 22. Mahāvākya has four primary connotations as follows - list_item
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36 (a) An aggregation of sentences where the apprehension of the meaning of list_item
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37 the individual components (sentences) leads to the apprehension of the total list_item
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38 meaning of the aggregate, just as in the aggregate of five components in the list_item
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39 nyāya-vākya used for inference. This is the view of nyāya. list_item
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40 (b) An aggregate of sentences where one sentence is primary and the others list_item
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41 are secondary. This is the view of Mimāmsā. list_item
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42 (c) A sentence that expresses deep philosophical meaning. This is the view list_item
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43 of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I list_item
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44 am brahman ) etc. are accepted as mahā-vākyas. list_item
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45 (d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any list_item
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46 literary composition. list_item
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181 lignes a valider — change uniquement les roles incorrects.