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 21441). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p059 RIGHT — 37 lignes

page vol_II_p059 RIGHT
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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
parent ligne 36
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1 199 page_number
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2 TRANSLATION page_header
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3 Illustration-.....Śuddhā[xiv] table
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4 [.....] table
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5 Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. main
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6 Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. main
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7 Madhyamā [xv] editorial_bracket
parent ligne 6
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8 Pārvatī (bhāṣā) has paṇcama as amśa (and) dhaivata as the concluding note main
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9 and is born of a region<sup>31</sup>; it is sung in the assembly of kşatrīyas, is complete main
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10 and born of bhinna (şadja). main
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11 (33) annotation_inline
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12 Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani main
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13 dhāpāpādhā. Pārvatī [xvi] editorial_bracket
parent ligne 12
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14 Thus end the sixteen bhāṣās of bhinnaṣaḍja according to main
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15 the opinion of Śardūla. main
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16 The proper bhāṣās adorned with vibhāṣās have been spoken of in main
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17 combination with practice and theory (and) blended with prastāra (lit. main
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18 elaboration, here notational illustration). main
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19 (34) annotation_inline
parent ligne 18
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20 Thus ends the description of bhāṣās. main
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21 [Thus ends the fourth chapter.] editorial_bracket
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vol_I_p023 LEFT — 31 lignes

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1 28 page_number
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2 BRHADDESI page_header
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3 किमत्र कारणम् ? उच्यते - ग्रामद्वयेऽप्यन्तरमूर्छना-प्रतिपादनार्थम्, यद्वा main
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4 ग्रामद्वयेऽपि षड्जमध्यमस्वरौ ग्रामण्यौ भवतः। अन्यस्वरास्तदग्रेसरा main
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5 ₀मध्यपरौ annotation_inline
parent ligne 4
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6 इति॥ main
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7 इति तावन्भया प्रोक्ताः श्रुतयो ग्रामसंश्रिताः ॥५२॥ main
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8 ॥ इति श्रुतिप्रकरणम् ॥ editorial_bracket
parent ligne 7
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9 IV [स्वर-प्रकरणम् ] section_header
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10 [ तत्र स्वरलक्षणम् ] section_header
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11 इदानी सम्प्रवक्ष्यामि स्वराणां च विनिश्चयम्। main
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12 तत्रादौ स्वरशब्दस्य व्युत्पत्तिरिह कथ्यते।।५३॥ main
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13 राजृ दीप्ताविति धातोः स्वशब्दपूर्वकस्य च। main
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14 •वस्प<sup>1</sup> annotation_inline
parent ligne 13
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15 स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः॥५४॥ main
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16 <del>2हि</del> annotation_inline
parent ligne 15
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17 ेतस्मात् स्वर इति main
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18 । अनु. १५ । section_header
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19 ननु स्वर इति किम् ? उच्यते - रागजनको ध्वनिः स्वर इति। main
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20 तथा चाह कोहलः - annotation_inline
parent ligne 19
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21 "आत्मेच्छया महीतलाद् वायुरुद्यविधार्यते। main
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22 ∘च्या₊⁴ annotation_inline
parent ligne 21
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23 हि unknown
via fallback
24 ⁵नाभि₃ annotation_inline
parent ligne 21
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25 नाडीभित्तौ तथाऽऽकाशे ध्वनी॰ रक्तः स्वरः स्मृतः॥" annotation_inline
parent ligne 21
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26 नि annotation_inline
parent ligne 21
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27 [ अनु. १६ ] section_header
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28 ननु स्वर एवं स्यादेकोऽनेको वा, व्यापकोऽव्यापको main
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29 वा, नित्योऽनित्यो वा स्यात् । अत्रोच्यते - एकोऽनेको main
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30 व्यापको नित्यश्चेति। तत्र निष्कलरूपेणैकः स्वरः main
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31 षइजादिरूपेणानेकः स्वरः। main
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vol_II_p057 RIGHT — 37 lignes

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1 97 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [1.Bhinna-şadja] section_header
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4 Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its main
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5 conclusion, to be devoid of pañcama and ṛṣabha and having been born of main
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6 ṣadjodicyavati (jāti). main
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7 (306) main
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8 [Anu. 175] section_header
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9 This means – bhinna – şadja is related to şadjagrāma on account of being born main
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10 of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is main
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11 pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are main
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12 kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the main
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13 entry of the hero in a situation where he is inclined towards the use of all main
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14 implements or tools (upakaraṇa), has an aversion to fighting which does not main
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15 match his disposition (vijātīya) and proceeds for hunting. main
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16 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
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17 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in main
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18 the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in main
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19 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara main
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20 and <i>pada</i>. main
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21 [2.Bhinna-pañcama] section_header
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22 [Anu. 176] section_header
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23 ......This bhinna-pañcama is said to be svarabhinna. Its description is thus- main
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24 The knowledgeable ones in svara have spoken of bhinna-pañcama being main
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25 similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its main
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26 concluding note and is (applied) in the entry of the sūtradhāra. main
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27 (307) main
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28 [Anu. 177] section_header
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29 This means-bhinna-pañcama is related to madhyamagrāma on account of main
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30 being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa, main
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31 pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used main
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32 and this (rāga) is complete. It is applied in the entry of the sūtradhāra. main
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33 Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata main
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34 obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed main
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35 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
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36 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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37 comprised of svara and pada. main
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vol_I_p028 LEFT — 27 lignes

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1 <b>BRHADDES!</b> page_header
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2 38 page_number
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3 [ अनु. २५ ] editorial_bracket
parent ligne 4
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4 इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते main
via surya_layout
5 द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः main
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6 स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम main
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7 विवादित्वम्। विवादिमण्डलं यथा— main
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8 स annotation_inline
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9 नि annotation_inline
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10 रि annotation_inline
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11 ध annotation_inline
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12 4 page_number
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13 Ŧ annotation_inline
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14 ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ editorial_bracket
parent ligne 7
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15 ` annotation_inline
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16 [ अनु. २६ ] editorial_bracket
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17 विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान main
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18 25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः main
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19 प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो editorial_bracket
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20 भवेत् ॥ इति षड्जग्रामे ॥ editorial_bracket
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21 [ अनु. २७ ] editorial_bracket
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22 इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च editorial_bracket
parent ligne 18
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23 तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः main
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24 प्रदश्यते । annotation_inline
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25 संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ main
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26 विवादिनौ । annotation_inline
parent ligne 25
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27 ___ •नादनुः ____ main
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153 lignes a valider — change uniquement les roles incorrects.