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 21440). 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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1 171 page_number
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2 TRANSLATION page_header
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3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
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1 BRHADDESI page_header
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2 20 page_number
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3 नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता। main
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4 ₀गृहीत｡<sup>72</sup> annotation_inline
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5 आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥ main
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6 7 अकेन annotation_inline
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7 यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्। main
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8 श्रुतीना74 annotation_inline
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9 विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥ main
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10 ₀त्वात्<sup>75</sup> annotation_inline
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11 कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्। main
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12 श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।। main
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13 ₀व76 annotation_inline
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14 अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्। main
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15 77ग्रहपूर्वक annotation_inline
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16 सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥ editorial_bracket
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17 सत्यम् । main
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18 कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि। main
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19 तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥ main
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20 ਚ78 annotation_inline
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21 कार्येषु विद्यमानेषु कारणस्योपलम्भनात्। main
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22 घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥ main
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23 79fH annotation_inline
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24 805<del>4</del> main
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25 825<del>0</del>23° annotation_inline
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26 परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः। main
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27 <sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः annotation_inline
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28 <b>65,च्यः      ६६,न्य</b>ि main
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29 इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥ main
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30 [ अनु. १२ ] editorial_bracket
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31 ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां main
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32 चानु [प]लम्भात्। editorial_bracket
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1 VIMARŚA annotation_inline
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2 167 page_number
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3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
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4 The word antara in the compound 'antara-mūrchanā' covers both antara main
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5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
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6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
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7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
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8 not be directly covered. The mandala (cycle) beginning with reabha in main
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9 sadjagrāma will cover both the grāmas in the following manner- main
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10 Madhyama-grama annotation_inline
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11 pa annotation_inline
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12 ma annotation_inline
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13 Sadja-grama annotation_inline
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14 ga annotation_inline
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15 п annotation_inline
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16 sa annotation_inline
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17 an ga dha unknown
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18 an ga kā ni unknown
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19 ma ni annotation_inline
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20 ga ni unknown
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21 kā ni unknown
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22 dha annotation_inline
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23 pa annotation_inline
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24 пі annotation_inline
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25 sa annotation_inline
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26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
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27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
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28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
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29 şadja and madhyama) agre-sara; this term could be explained in two ways main
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30 according to the association of agre with time and space. In the context of time main
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31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
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32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
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33 than şadja and madhyama, because primarily şadja and madhyama have to be main
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34 established or accepted on an arbitrary sound and then the interval of rsabha- main
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35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
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36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
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37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
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38 in front or preceding; here preceding will have to be construed in terms of main
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39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
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40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
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41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
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42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
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1 TRANSLATION page_header
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2 129 page_number
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3 "Sometimes the aniśa, sometimes the nyāsa, sometimes ṣāḍava and auḍuvita main
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4 (becomes obvious). The wise should arrange (the melody) after knowing main
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5 the sparseness and abundance combined with graha and apanyasa and main
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6 similarly low and high (mandra-tāra). The grāma-rāgas should be used in main
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7 daśarūpaka 97 according to the prescribed rules. The gāna that is five-fold as main
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8 praveśa (entry), ākṣepa (sudden change in emotive state), niṣkrāma (exit), main
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9 prāsādika (pacifying) and āntara (filler of gaps) should be performed in main
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10 these rāgas." annotation_inline
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11 [The application of gītis] section_header
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12 In pūrvaraiga, the śuddhā should be there, the bhinnā is based on main
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13 prastāvanā, 98 the vesarā should be 'done ' in the two mukhas (mukha and main
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14 pratimukha sandhi),99 gauḍi is prescribed in the garbha (sandhi) and main
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15 similarly sādhārita should be there in avamarsa sandhi<sup>101</sup> and nirvahana main
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16 (sandhi). annotation_inline
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17 (344) annotation_inline
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18 Thus ends the third chapter entitled "Raga-laksana" in annotation_inline
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19 Bṛhaddeśi composed by Matanga Muni. main
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1 化二溴磺基基 医动物 annotation_inline
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2 20 page_number
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3 BRHADDEŚĪ page_header
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4 [७. अल्पत्व-लक्षणम्] section_header
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5 [अनु॰ १२८] editorial_bracket
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6 इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् main
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7 (ते?त्वे) annotation_inline
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8 बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । main
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9 <sup>५५</sup>अन्तरमार्गस्य main
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10 संन्यासादिगतो भवेत् annotation_inline
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11 ৽হা৽ annotation_inline
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12 लक्षणं यथा जातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्यां गान्धारस्य सर्वस्वरसंगत्या main
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13 अनंशो annotation_inline
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14 विनास्प: annotation_inline
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15 बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- main
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16 ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति main
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17 [ना॰ शा॰ २८.१३६] editorial_bracket
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18 [८. बहुत्वलक्षणम्] section_header
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19 [अनु॰ १२९] editorial_bracket
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20 <sup>५६</sup>अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेष:। कथमित्याह editorial_bracket
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21 बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- main
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22 न्ते annotation_inline
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23 ५७ जातिस्वरैस्तु नित्यं [स्याज्] जात्यल्पत्वं द्विधा च तत्॥ editorial_bracket
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24 (स्यात्) annotation_inline
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25 जात्यस्प(स्व?त्वं)द्वि(विधं?धा) annotation_inline
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26 सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। main
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27 संचा(रस्य/रोंऽश) annotation_inline
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28 न्यासश्चान्तरमार्गस्तु जातीनां व्यक्तिकारक:॥'' main
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29 द्विविधान्तर • annotation_inline
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30 • कार(कम्?कः) main
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31 [तुल॰ ना॰ शा॰ २८.७४ गघ, ७५] editorial_bracket
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32 [९. न्यासलक्षणम्] section_header
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33 [अनु॰१३०] editorial_bracket
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34 इदानीं न्यासमाह - न्यस्यतें त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास main
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35 ॰ स: स annotation_inline
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158 lignes a valider — change uniquement les roles incorrects.