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 21402). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p042 RIGHT — 50 lignes

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1 TRANSLATION page_header
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2 67 page_number
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3 sā pā nī mā pā pā gā gā table
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4 <b>(7)</b> table
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5 mā pā mā nidha nī nī sā sā table
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6 (8) table
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7 pā pā mā dhani pā pā pā pā table
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8 (9) table
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9 mā pā mā riga gā gā gā gā table
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10 (10) table
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11 gā pā mā pā nī nī nī nī table
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12 (11) table
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13 mā pā mā pariga gā gā gā gā table
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14 (12) table
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15 gā gā gā mā mā nidha nī nī table
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16 (13) table
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17 nī nī dhapa mā nidha nidha pā pā table
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18 (14) table
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19 rī gā sā sā mā nidhani nī nī table
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20 (15) table
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21 nī nī dhā pā dhā pā mā mā table
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22 (16) table
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23 Thusends<i>inadhyamodīcyavā</i>. section_header
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24 [6. Kārmāravi] section_header
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25 In kārmāravī, niṣāda, ṛṣabha, pañcama and dhaivata become the ainśas. main
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26 (16) annotation_inline
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27 Many (svaras) are said to be non-amsas on account of antara-marga. main
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28 Gāndhāra is excessively abundant. There is concert among all the amśa main
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29 svaras. annotation_inline
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30 (17) main
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31 Caccatpuța (is the tāla), there are sixteen kalās. The mūrchanā beginning main
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32 with şadja obtains. The application is (prescribed) in the dhruvā of the fifth main
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33 act. annotation_inline
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34 (18) main
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35 Pañcama is the nyāsa in this (jāti). The amsás themselves are apanyāsas. main
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36 The prastāra is thus- main
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37 ri ri ri ri ri ri ri ri table
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38 (1) table
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39 mā gā sā gā sā nī nī nī table
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40 (2) table
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41 nī mā nī mā pā pā gā gā table
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42 (3) table
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43 gā pā mā pā nī nī nī nī table
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44 (4) table
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45 rī gā sā nī rī gā rī gā table
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46 (5) table
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47 rī gā rī sā nī dhani pā pā table
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48 (6) table
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49 mā pā mā pariga gā gā gā gā table
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50 <b>(7)</b> table
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1 Electric and the annotation_inline
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2 123 page_number
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3 TRANSLATION page_header
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4 [Anu. 208] section_header
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5 Its meaning is thus - Rūpasādhārita is related to şadjagrāma on account of main
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6 being born of şadjamadhyamā and niṣādavatī. Şadja is its graha and amśa. main
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7 Madhyama is the nyāsa. There is the sparseness of pañcama and ṛṣabha. main
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8 Niṣāda is kākalī here and this (rāga) is complete. It is used in vīra and karuņa main
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9 (rasas). Vīra and the like is the rasa84 The mūrchanā begininng with ṣaḍja main
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10 obtains. Arohin is the varna. Prasannamadhya is the alankāra. The kalā is main
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11 formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the main
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12 kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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13 comprised of svara and pada. main
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14 (338) main
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15 [6. Gāndhārapañcama] section_header
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16 Gāndhārapañcama isborn of gāndhārī and raktagāndhārī (jātis). Gāndhāra is main
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17 its <i>amśa</i> and <i>gāndhāra</i> alone is <i>nyāsa</i>. main
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18 [Anu. 209] section_header
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19 Itsmeaning is thus-gāndhārapañcama is related to madhyamagrāma on account main
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20 of being born of gāndhārī and raktagāndhārī jātis. Although it is born of dhaivatī main
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21 (jāti) in the opinion of Durgaśakti, yet on account of pañcama being comprised main
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22 of three śrutis, it is related to madhyama (grāma) alone in spite of being born of main
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23 jātis belonging to both the grāmas. Gāndhāra is its graha, amśa and nyāsa. With main
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24 relevance to the performer, gāndhāra may become dhaivata.85 Niṣāda is main
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25 kākalī here and this (rāga) is complete. Its application is prescribed in main
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26 adbhuta, vismaya<sup>86</sup> and hāsya (rasas). Karuṇa is the rasa<sup>87</sup> The mūrchanā main
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27 beginning with gāndhāra obtains. Sañcārin is the varņa. Prasannamadhya is main
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28 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
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29 the vārtika(mārga) and the kalā prevails in the citra (mārga). A tāla like main
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30 caccatputa obtains in the songs comprised of svara and pada. main
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31 [7.Şadjakaisika] section_header
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32 *************** annotation_inline
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33 [8. Pañcamaṣāḍava] section_header
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34 Pañcamaṣāḍavaisborn of dhaivatī and ārṣabhī jātis. It is combined with ṛṣabha main
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35 as the amśa and madhyama alone is the nyāsa. main
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36 (339) 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_II_p054 LEFT — 28 lignes

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1 BŖHADDEŚĪ page_header
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2 90 page_number
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3 [अन्॰ १६७] editorial_bracket
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4 अस्यार्थ: -शुद्धसाधारितो राग: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेरुत्पत्रत्वात्। तारषड्जो main
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5 ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको main
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6 रसः । षड्जादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला main
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7 (ति ? दि) annotation_inline
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8 स्वरपदगीते चच्चत्पुटादिताल:। main
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9 [४. शुद्धकैशिकमध्यम:] section_header
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10 कैशिकीषड्जमध्याभ्यां शुद्धकैशिकमध्यमः। main
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11 ॰शुद्ध॰ annotation_inline
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12 षड्जांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ main
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13 ॰क (स्त्रि ? त्रि) त्रुतिपञ्चम: annotation_inline
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14 [अनु॰ १६८] editorial_bracket
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15 अस्यार्थ: - शुद्धकैशिकमध्यमो राग: षड्जग्रामसम्बन्ध: कैशिकीषड्जमध्याजातिभ्यां<sup>४२</sup> main
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16 ॰ जात्यो: annotation_inline
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17 समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत main
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18 (ननु ?) annotation_inline
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19 उभयग्रामता[ऽ]स्तीति भाव:।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे editorial_bracket
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20 ऋषभपञ्चमयोर्लोपो नास्तीति भाव: ।]<sup>४३</sup> तारषड्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । editorial_bracket
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21 निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोप: । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य main
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22 काकलिपाडवश annotation_inline
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23 प्रयोग: । षड्जादिमूर्छना । रौद्रवीरादिको रस: । प्रसन्नान्तोऽलङ्कार: । ..... main
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24 [५. शुद्धकैशिक: ] section_header
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25 ४४षड्जांश: ४५पञ्चमन्यास: कैशिकीजातिसम्भव:। main
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26 पड्जांशै: annotation_inline
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27 पञ्चमो annotation_inline
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28 तथा कार्मारवीजाते: स्वरै: पूर्णेश्च कैशिक: ॥३०३॥ main
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1 107 page_number
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2 TRANSLATION page_header
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3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
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4 (129) annotation_inline
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5 should be known in the avarohin (varna). main
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6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
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7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
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8 (130, 131) annotation_inline
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9 alankāras are said to be based on all the varnas. main
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10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
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11 (132) annotation_inline
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12 are said to belong to all the varnas. main
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13 These alankaras should be known by the wise to be subsistent in the seven main
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14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
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16 excessive 'stretching' of syllables (of the text). main
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17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
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18 whichever others are (involved with stretching and) counter-stretching, they main
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19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
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21 their own measure (of extension). main
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22 135ab) annotation_inline
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23 In the performance of dhruvās, ascending svaras should be used. main
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24 (135cd) main
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25 t annotation_inline
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26 Because dhruvā that is formed in accordance with the (desired) meaning, main
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27 has to be made the communicator of meaning, in dhruvās the adequate main
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28 sparseness or thinness of varnas (patterns of melodic movement) should again main
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29 be brought about (lit. made). main
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30 (136) annotation_inline
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
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32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
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34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
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185 lignes a valider — change uniquement les roles incorrects.