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 21443). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p061 RIGHT — 29 lignes

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1 105 page_number
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2 TRANSLATION page_header
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3 (Anu. 102) annotation_inline
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4 Like hunkāra one should ascend (with) three solfa syllables without a gap main
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5 (and) in a combined80 (manner), thence two lower svaras (forming two phrase- main
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6 units each) should be made (pronounced) with shake81 and verily in main
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7 combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, main
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8 because of the combination or formulation of ekakala 83 svaras (forming main
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9 temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani main
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10 dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, main
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11 (33) annotation_inline
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12 sariga riri sasa. Thus is (ends) gatravarna. main
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13 [ The treatment of Alankaras according to Bharata's opinion ] section_header
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14 I shall now speak of the varnas 84 in which the charming alankāras are main
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15 'seated' (formed), according to the prescription of Bharata. main
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16 (121) annotation_inline
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17 Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, main
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18 recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras main
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19 (122, 123) annotation_inline
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20 should be known according to their respective definition. main
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21 After this, please understand (the alankāras) born of the sancārin (varņa), as main
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22 they are again and again being described (lit. glorified). Mandratāraprasanna, main
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23 bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, main
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24 upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of main
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25 <math>(124 - 126)</math> annotation_inline
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26 the sancarin (varna). annotation_inline
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27 Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, main
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28 hrādamāna, sampradāna, sandhipracchādana, prasannādi and main
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29 prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128) main
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1 n er annotation_inline
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2 11 page_number
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3 TRANSLATION page_header
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4 the jātis (castes). Just as in human beings there are castes such as brahmin main
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5 and the like, that are both pure and mixed (or altered), similarly these jātis main
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6 are also (twofold). annotation_inline
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7 [Thus ends the general definition.] editorial_bracket
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8 [4. The tenfold lakṣaṇas or characteristics] section_header
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9 Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - main
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10 Graha (initial note), amśa (fundamental note), tāra (high), mandra (low) main
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11 and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly main
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12 alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are main
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13 said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. main
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14 The definition of this group of ten is being given in brief. main
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15 <math>(209-210)</math> annotation_inline
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16 [1. The definition of graha] section_header
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17 [Anu.119] editorial_bracket
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18 Out of these (lakṣaṇas), graha is that with which the performance of jāti main
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19 and the like is begun (lit . held or caught). That ( graha ) should be known main
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20 to have sixty-three varieties just like aniśa. main
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21 (Objection) What is the difference between graha and anisa? It is being main
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22 answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the main
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23 amsa,but graha is fourfold according to the distinction of vādī and the like main
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24 1 page_number
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25 (samvādī, vivādī and anuvādī). Or there is the distinction of predominance main
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26 and subordination between the two. Graha is subordinate ( to amśa). main
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27 ŧ annotation_inline
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28 (Objection) Why is the predominance of amsa alone being spoken of? main
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29 Because of its being the progenitor 11 of raga (delight or colour) and main
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30 because of its being pervasive, the predominance of anisa alone (is accepted). main
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31 Although graha and anisa are predominant in all the jatis and this is proved main
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32 by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup> main
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33 (operation) of samvādī and anuvādī. main
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34 Similarly said Bharata – annotation_inline
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35 "Graha is said to be like the amsa in all the jātis. The amsa that becomes the main
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36 starting point of geya (melodic organisation and performance) assumes an main
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37 alternative form as graha." main
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38 (NŚ XXVIII.67) main
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vol_II_p123 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
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2 228 page_number
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3 [२. कामलेखा] section_header
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4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
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5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
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6 विंशति विषमे annotation_inline
parent ligne 5
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7 (?)चरमे annotation_inline
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8 [३. बाणलेखा] section_header
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9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
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10 (電?) annotation_inline
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11 ऽपि+(विशिष्टम्) annotation_inline
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
parent ligne 9
via heuristic_brackets
13 न्त annotation_inline
parent ligne 9
via heuristic_height
14 [४. चन्द्रलेखा] section_header
via surya_layout
15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
via surya_layout
16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
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17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
parent ligne 16
via heuristic_brackets
18 [ग. वर्णेलाप्रकारा:] section_header
via surya_layout
19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
via surya_layout
20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
parent ligne 19
via heuristic_brackets
21 ++ annotation_inline
parent ligne 19
via heuristic_height
22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
parent ligne 19
via heuristic_brackets
23 (च)तथा annotation_inline
parent ligne 19
via heuristic_height
24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
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25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
parent ligne 26
via heuristic_brackets
28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
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29 अलिलतनामोपेता annotation_inline
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30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
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31 ....भवति रम्यतरा annotation_inline
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1 89 page_number
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2 <b>TRANSLATION</b> page_header
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3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
via surya_layout
4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
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5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
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6 (bodily) svaras (in the verse of NS quoted above). main
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7 So has been said - annotation_inline
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8 These four varnas should be known as the constructors23 of melodic main
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9 (NŚ XXIX, 19ab) annotation_inline
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10 rendering. annotation_inline
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11 [Thus end the varnas] editorial_bracket
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12 [The Alankaras] section_header
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13 (Anu. 68) annotation_inline
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14 Now the well-known thirty-three 24 alankāras are being described by name main
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15 and application. What is spoken of through the word alankara and what is its main
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16 etymology? It is being answered. Ornament25 is being spoken of by the word main
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17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
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18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
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19 that subsists in varņas (and is) adorned by these alankāras (known as) main
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20 prasannādi and the like, becomes delightful to the performers and listeners. main
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21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
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22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
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23 (derived thereby) means that which makes something sufficient or adequate. main
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24 This word alankara has the end-suffix ghan. main
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25 (Anu. 69) annotation_inline
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26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
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27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
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28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
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29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
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30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
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31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
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32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
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33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
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34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
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35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
via surya_layout
36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
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37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
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38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
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39 i annotation_inline
parent ligne 38
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40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
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41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
via surya_layout
42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
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vol_II_p013 LEFT — 29 lignes

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1 F unknown
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2 8 page_number
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3 BRHADDEŚĪ page_header
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4 षाड्ज्यान्ध्री नन्दयन्ती च गान्धारोदीच्यवा तथा। main
via surya_layout
5 पह्(ज्य ? जा) annotation_inline
parent ligne 4
via heuristic_height
6 चतेस्रः षट्स्वरा होता ज्ञेयाः पञ्चस्वराः पराः ॥ २०१ ॥ main
via surya_layout
7 निषादवत्यार्षभी च धैवती षड्जमध्यमा । main
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8 षड्जोदीच्यवती चैव पञ्च षड्जाश्रिता: स्मृता: ॥ २०२ ॥ main
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9 त्रिधा annotation_inline
parent ligne 8
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10 गान्धारी रक्तगान्धारी मध्यमा पञ्चमी तथा । main
via surya_layout
11 कैशिकी चेति विज्ञेया: पञ्जैता मध्यमाश्रिता: ॥ २०३ ॥ main
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12 षड्जग्रामे तु विज्ञेया १४[ सम्पूर्णा षड्जकैशिकी । editorial_bracket
parent ligne 11
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13 षट्स्वरा चैव विज्ञेया षाड्जी गान्धारयोगत: ॥ २०४॥ main
via surya_layout
14 सम्पूर्णा मध्यमग्रामे ज्ञेया कार्मारवी तथा। main
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15 गान्धारपञ्चमी चैव मध्यमोदीच्यवा तथा ॥ २०५ ॥ main
via surya_layout
16 पुनश्च षट्स्वरा ज्ञेया] गान्धारोदीच्यवा बुधै:। editorial_bracket
parent ligne 15
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17 आन्ध्री च नन्दयन्ती च मध्यमग्रामसंश्रया: ॥ २०६ ॥ main
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18 (:) annotation_inline
parent ligne 17
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19 एवमेता बुधैर्ज्ञेया द्वैग्रामिक्यो विभागत: ॥ २०७ ॥ main
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20 द्वी ग्रामीकौ(?)<sup>१५</sup>ऽपिजातय: main
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21 यास्ता: सप्तस्वरा ज्ञेया याश्चेता: षट्स्वरा: स्मृता: । main
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22 क्वचित् षाडवितास्तास्तु पक्षे चौडुवितीकृताः ॥ २०८ ॥ main
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23 ॥ इति शुद्धाः, विकृताः, संसर्गजा विकृताश्च ॥ editorial_bracket
parent ligne 22
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24 [३. सामान्यलक्षणम् ] section_header
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25 [ अनु ॰ ११८ ] section_header
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26 इदानीं [ सामान्य-] लक्षणमाह - editorial_bracket
parent ligne 25
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27 <sup>१६</sup>श्रुतिग्रहस्वरादिसमूहाज्जायन्त अतो जातय इत्युच्यन्ते। <sup>१७</sup>यस्माज्जायते रसप्रतीतिरारभ्यते main
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28 <b>न्ते जातय:</b> annotation_inline
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29 न्त annotation_inline
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169 lignes a valider — change uniquement les roles incorrects.