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 21409). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p051 RIGHT — 43 lignes

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1 85 page_number
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2 <b>TRANSLATION</b> page_header
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3 Aśvākrāntā (6) main
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4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
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5 Abhirudgatā (7) annotation_inline
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6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
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7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
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8 (Anu. 63) annotation_inline
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9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
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10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
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11 svaras). During the performance of raga, murchanas should be known to be main
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12 composed of twelve svaras. They should be known to be included in the main
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13 mūrchanās of şadjagrāma (?).64 main
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14 That is thus - annotation_inline
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15 Sauvīrī (1) annotation_inline
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16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
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17 Hariņāśvā (2) annotation_inline
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18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
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19 Kalopanatā (3) annotation_inline
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20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
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21 Suddhamadhyā (4) annotation_inline
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22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
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23 Mārgī (5) annotation_inline
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24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
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25 Pauravi (6) annotation_inline
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26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
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27 Hṛṣyakā (7) annotation_inline
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28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
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29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
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30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
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31 VI [Section on Varņas and Alankāras] section_header
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32 [The Varnas] section_header
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33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
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34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
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35 (118) annotation_inline
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36 ārohin (ascending) and avarohin (descending). main
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37 (Anu. 64) annotation_inline
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38 (Contention) what is spoken of by the word varna? (Answer) The act of main
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39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
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40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
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41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
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42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
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43 māmāmāmā in the madhyamā (jāti). main
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1 2"-WH - - * annotation_inline
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2 270 page_number
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3 BRHADDEŚĪ page_header
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4 54. Reconstruction based on Kalā (appendix) on SR II, p. 139, list_item
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5 reading sa-ri-sangatā. list_item
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6 55. Both S Rāj II.2.1.999 c and Kalā (appendix) on SR, p.119 read list_item
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7 khañjanī. list_item
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8 56. S Rāj II.2.1.999b reads 'gāndhāreņa vivarjitā', thus describing it list_item
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9 as being devoid of 'gāndhāra'. list_item
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10 57. Gūrjarī is described as complete in S Rāj II.2.1.1001f and Kalā list_item
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11 (appendix) on SR II, p. 138, hence our reconstruction. list_item
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12 ककुभे मध्यमग्रामभाषा धैवतविश्रमा। main
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13 58. cf. annotation_inline
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14 मध्यमांशग्रहा पूर्णा सङ्कीर्णा रिधसङ्गता ॥ main
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15 S. Rāj II. 2. 1. 683. main
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16 59. Bha Bhā Vol. II,VII, 47 c reads śalavāhinī, enumerating it under the list_item
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17 five antarabhāṣās of ṣadjagrāma. S. Rāj II.2.1.123a reads sālavāhanī under the list_item
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18 uddeśa(enumeration) of the bhāṣās of kakubha and ibid 686 f reads śātavāhanī list_item
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19 while giving its lakṣaṇa (description). It also reads śālavāhanī while enumerating list_item
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20 it in verse 79 d as an <i>antarabhāṣā</i> of <i>kakubha</i>. Kalā (appendix) on SR II, p. 134 list_item
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21 reads śālavāhanī while describing it as an antarabhāṣā of kakubha. list_item
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22 60. Kalā (appendix) on SR II, p.134 reads ri-ga-sangatā, describing a list_item
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23 concert between rṣabha and gāndhāra. list_item
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24 विभाषा ककुभे भोगवर्धनी तारमन्द्रगा ॥ list_item
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25 61. cf. (i) list_item
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26 धैवतांशग्रहन्यासा मापन्यासा रिवर्जिता । list_item
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27 धनिभ्यां गमपैभृंरिवैराग्ये विनियुज्यते ॥ list_item
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28 SR II. 2. 112 c-113. main
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29 (ii) annotation_inline
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30 निषादांशग्रहा भाषा ककुभे भोगवर्धनी । main
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31 स्वल्पर्पभसमायुक्ता धैवतन्यासभूपिता ॥ main
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32 निगयोर्गपयोर्युक्ता सङ्गत्या गानमाश्रिता । main
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33 षड्जग्रामे .....॥ annotation_inline
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34 S Rāj II.2.1.690,691.c. main
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35 तथैव याष्टिकेनोक्ता विभाषा भोगवर्धनी । main
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36 (iii) annotation_inline
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37 पङ्जग्रामेण सम्बद्धा ककुभे तारमन्द्रगा ॥ main
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38 धैवतांशग्रहन्यासा ऋषभेण विवर्जिता । main
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39 षड्जान्यस्वरभूयिष्ठा गापन्यासा, नियोजिता ॥ main
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40 वैराग्येऽप्यथवा संन्यासे .....ं। main
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41 Ibid. 707, 708.c. annotation_inline
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42 मधुरी ककुभोद्भूता सांशा धान्ताखिल स्वरा। main
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43 62. cf. (i) annotation_inline
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44 गपयोर्निपयोर्युका सङ्कीर्णा याष्ट्रिकोदिता ॥ main
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45 Kalā (appendix) on SR II,p.133. main
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46 Carl man Carlo man a March and unknown
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47 · 西西州市，1920年11日，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年 annotation_inline
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48 2012/09/09 8:44 annotation_inline
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49 (vide) annotation_inline
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50 -0.0 annotation_inline
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51 . . . . . . . . . . . . . . . . . . . . annotation_inline
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1 BRHADDEŠĪ page_header
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2 174 page_number
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3 .....साधारिता । [३] editorial_bracket
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4 निषादांशा तु षड्जान्ता गान्धारी पूर्णसुस्वरा । main
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5 भाषा सौवीरके ह्येषा गीयते करुणे सदा ११३॥ १२३॥ main
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6 उदाहरणम् – निनिगागापामामानिसामागानी । धासासासा<sup>११४</sup>। गान्धारी । [४] editorial_bracket
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7 ॥ [इति]सौवीरकभाषा: समाप्ता: ॥ editorial_bracket
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8 ८. अतःपरं भिन्नपञ्चमस्य भाषाः कथ्यन्ते main
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9 ॰पञ्चमेऽस्य annotation_inline
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10 धैवतांशा तदन्ता च ११५सम्पूर्णा शुद्धभित्रका । main
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11 धैवतर्षभसंवाद: षड्जमध्यमयोस्तथा ॥ १२४॥ main
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12 भित्रपञ्चमजा होषा शुद्धभित्रा प्रकीर्तिता । main
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13 लोकस्य रञ्जनं दृष्ट्वा किन्नरैर्गीयते सदा ॥ १२५॥ main
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14 रञ्जकं annotation_inline
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15 उदाहरणम्-धानिधानिससधा नीधानीसागासनिगानिधा पापानिनिमपामापापमाधा main
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16 धापाधापा annotation_inline
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17 धापाधाधा । शुद्धभिन्ना । [१] editorial_bracket
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18 मध्यमांशा धैवतान्ता ऋषभेण तु दुर्बला । main
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19 षड्जधैवतसंवादो द्विश्रुतीनां सधैवतम् ॥ १२६॥ main
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20 भाषा तु षाडवा ह्येषा बहुधैवतमध्यमा । main
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21 वराटी चेति विख्याता गीता विद्याधरै: किल<sup>११६</sup>॥ १२७॥ main
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22 उदाहरणम् - माधासधानिधा पानिमामागासासागामागा साधानीधा। main
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23 धाधाधाधासाधा annotation_inline
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24 नीपापामागासासागामा[धाधा] । वराटी । [२] editorial_bracket
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25 (वराटी) annotation_inline
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26 मन्द्रेऽत्र ऋषभः कार्यो [धैवतश्च] मुहुर्मुहुः ॥ १२८॥ editorial_bracket
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27 स्फुरितं तत्र कर्तव्यं द्रुतमध्यविलम्बितम् । main
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28 तारमन्द्रगतिं कुर्यात् तथारोहावरोहकम् ॥ main
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29 तारं म(न्त्र?न्द्र) annotation_inline
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30 तथा भाषा च विज्ञेया भित्रपञ्चमसम्भवा १९७॥ १२९॥ unknown
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1 1 page_number
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2 59 page_number
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3 TRANSLATION page_header
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4 (3) table
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5 mā gā rī gā mā mā sā sā table
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6 <b>(4)</b> table
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7 [mā magama mā mā nidha padha pama gamama] table
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8 (5) table
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9 dhā padha pari riga maga riga sadhasa sā table
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10 (6) table
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11 nidha sā rī magama mā mā mā mā table
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12 (7) table
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13 mā mā magama madha dhapa padha pama gamaga table
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14 (8) table
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15 dhā padha pari riga maga riga sadhasa sā table
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16 (9) table
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17 mā mā dhani dhasa dhapa mapa pā pā table
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18 (10) table
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19 mā magama mā nidha padha pamaga gā mā table
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20 (11) table
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21 dhā padha pari riga maga riga sadhasa sā table
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22 (12) table
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23 nidha sā rī magama mā mā mā mā table
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24 Thus ends <i>şadjamadhyamā</i>. section_header
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25 [2. Gāndhārodīcyavā] section_header
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26 In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic main
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27 is known to be with the omission of rşabha. In the state of completeness there main
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28 is the sparseness of svaras other than those that are anisas. main
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29 (4) annotation_inline
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30 In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to main
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31 be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known main
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32 and the mūrchanā beginning with dhaivata obtains. main
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33 (5) annotation_inline
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34 The tāla should be known as caccatpuța. Sixteen kalās (time units) are said main
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35 to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā main
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36 in the fourth act. annotation_inline
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37 (6) main
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38 Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The main
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39 prastāra is thus - main
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40 (1) table
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41 sā sā pā mā pā dhapa pā mā table
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42 (2) table
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43 dhā pā mā mā sā sā sā sā table
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44 (3) table
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45 dhã nĩ sã sã mã mã pã pã table
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46 (4) table
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47 ករី ករី ករី ករី ករី ករី ករី ករី table
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48 (5) table
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49 mã mã dhã nisa nĩ nĩ nĩ table
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50 (6) table
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51 mā pā mā pari gā gā sā sā table
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1 127 page_number
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2 <b>TRANSLATION</b> page_header
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3 mā mā sā sā annotation_inline
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4 de - vam - annotation_inline
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5 mā sā sā mā annotation_inline
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6 de vam sa rvam annotation_inline
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7 sasa masa mama nn annotation_inline
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8 devam sarvam vande annotation_inline
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9 (Anu. 112) annotation_inline
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10 Māgadhī is (known as such) because of its origin in the magadha deśa (south main
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11 Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). main
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12 Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 main
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13 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to main
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14 'pada'. In the repetition of half a pada the verbal meaning should not be main
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15 construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or main
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16 acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is main
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17 predominantly musical, the verbal meaning is not cared for in the repetitions. It main
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18 has been said - the word jātavedasam (fire) that is repetitive, here (in the main
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19 context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī, main
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20 on the other hand, is based on the predominance of laghu (short syllables); main
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21 on account of the profusion of the grouping (grāma) of padas (syllabic units) it main
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22 is called pṛthulā (lit. broad or large). main
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23 (Anu. 113) annotation_inline
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24 In the three margas in the prescription about gitis, the use of laya should be main
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25 seen to be ninefold. annotation_inline
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26 He (the author) shows the use of laya as - daksina marga, vartika marga and main
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27 citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina main
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28 mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas main
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29 in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus main
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30 are the three layas in the operation of citra-marga. Thus has been propounded main
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31 in the chapter on gitis. As - in the daksina marga there are four gurus (long main
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32 units) two gurus and one guru. In vārtika mārga there are two gurus, one guru main
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33 and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half main
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34 - mātrā unit). annotation_inline
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209 lignes a valider — change uniquement les roles incorrects.