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 21444). 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 71/ unknown
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2 PÄTHAVIMARŚA page_header
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3 283 page_number
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4 सापन्यासा मन्द्रसगधा शुद्धा दीर्घपञ्चमा ॥ main
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5 Kalā(appendix) on SR II. p.121. main
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6 (ii) annotation_inline
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7 शुद्धा भाषा भित्रषड्जे ग्रहांशन्यासधैवता । main
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8 गापन्यासा धभूयिष्ठा रिहीना मृदुषड्जिका ॥ main
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9 धतारा पश्चमेनापि रहिता याष्ट्रिके मते ॥ main
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10 S Rāj II.2.1.1038. annotation_inline
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11 40. Since verse 32 is identified by us as pertaining to śuddhā and not main
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12 to madhyamā, the description of madhyamā seems to be lost in the MSS. main
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13 मध्यमा भित्रपड्जस्य भाषा मान्ता ग्रहांशधा । main
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14 cſ. annotation_inline
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15 Kalā (appendix) on SR II.140. main
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16 ग्रहांशधैवता पड्जप्रान्ता पूर्णा च मध्यमा ॥ main
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17 S Rāj II.2.1.1033. annotation_inline
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18 41. Reconstruction based on the demands of metre. main
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19 Chapter V (Desī rāgas) section_header
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20 1. The portion within[] has been added here from the citation in list_item
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21 Sudhā on SR II.2.9-19 and Kalā on SR II.2.1,2. list_item
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22 2. C.r. in Kalā (ibid) reads - list_item
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23 ग्रामोक्तानां तु रागाणां छायामात्रं भवेदिति । main
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24 3. C.r. in ibid. list_item
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25 4. C.r. in Sudhā on SR II.2.9 -19,p.19 - list_item
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26 शोकोत्साहकरुणादिदीपकात्मक्रियाऽऽदितः । main
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27 जायन्ते च यतो नाम कियाङ्गास्तेन हेतुना ॥ main
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28 5. This verse is found only in c.r. in Kalā (ibid). list_item
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29 6. Reconstruction based on 'ga - dha - hīnā 'in (i) below (note 7). list_item
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30 7.cf. (i) list_item
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31 पड्जग्रहांशा मन्यासा कूटतानसमाश्रया । list_item
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32 गधहोना भित्रपड्जे कच्छेलीं तां विदु: परे ॥ list_item
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33 मग्रहांशा मन्द्रतारर्षभा च गनिवर्जिता ॥ list_item
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34 Kalā (appendix) on SR II. p.121. main
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35 (ii) annotation_inline
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36 मध्यमांशग्रहन्यासा निगाभ्यां स (प)रिवर्जिता । main
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37 प्रसन्नपिंड्जका यो(सा)रि-भूयसी शासने स्मृता ॥ main
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38 कछेली भाषिका भिन्नपङ्जे मध्यमगानयुक् ॥ main
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39 S Rāj II. 2.1.1027. annotation_inline
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40 8. cf. (i) main
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41 भित्रपड्जेऽस्ति बाङ्गाली ग्रहांशन्यासधैवता । main
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42 मध्यमान्दोलिता गापन्यासा धैवतमन्द्रिका ॥ main
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43 उद्दीपने नियोक्तव्या .....॥ main
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44 S Rāj II.2.1.1050. main
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1 BRHADDEŚĪ page_header
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2 54 page_number
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3 [८. गान्धारी] section_header
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4 तत्र गान्धार्या गान्धारषड्जमध्यमपञ्चमनिषादा <sup>१५७</sup>ग्रहा: , त एवांशा:। पञ्चस्वरपरस्तारो main
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5 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम्,ऋषभधैवतहीनमौडुवितम्। main
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6 पूर्णावस्थायामृषभधैवतयोरल्पत्वम्, शेषाणां बहुत्वम्। स्वरजातित्वाद् गान्धारो न्यासः, main
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7 १५८षड्जपञ्चमावपन्यासौ, धैवतर्षभयो: सङ्गति:। तद्यथा - गान्धारी यदा सम्पूर्णा गीयते तदा main
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8 ॰मध्यमा॰ annotation_inline
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9 माधारिगा<sup>९५९</sup> इति प्रयोग: स्यात् । यदा ऋषभहीना गीयते [तदाऽ]धरस्वरप्रवेशने माधाधागा इति editorial_bracket
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10 <b>ण्नं(?)</b> annotation_inline
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11 (गि?गः) annotation_inline
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12 (甲) annotation_inline
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13 प्रयोग: स्यात् । यदा औडुविता गीयते तदा <sup>१६०</sup>उत्तर-स्वर-प्रवेशे मागागा इति प्रयोग: स्यात्, main
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14 <b>॰यन्ते</b> annotation_inline
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15 मापरिध इति प्रयोगः कदाचिदपि न स्यात् । main
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16 [अनु॰ १६१] section_header
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17 [ एका- ]दशविधत्वमस्या:। एकादशांशका:-शुद्ध:,विकृता: पूर्णा: पञ्च,चत्वार:षाडवा: , editorial_bracket
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18 ॰द्धा annotation_inline
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19 औडुवित एक: । मूर्छना धैवतादि: । चच्चत्पुटस्ताल: एककलविधौ चित्रमार्गे मागधी, द्विकले main
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20 ·ध: annotation_inline
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21 वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला। रसः 'करुणः'र६१। ध्रुवागाने तृतीयप्रेक्षणके main
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22 विनियोग:।। main
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23 [९. रक्तगान्धारी] section_header
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24 [अनु॰ १६२] section_header
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25 रक्तगान्धार्याः षड्जमध्यमपञ्चमगान्धारनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः , main
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26 <b>गान्धा(यंप्य ? यांप्य)</b> main
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27 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम् ऋषभधैवतहीनमौडुवितम्। main
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28 पूर्णावस्थायामृषभधैवतयोरल्पत्वम् , शेषाणां बाहुल्यम् । निषादस्यांशत्वाद् बहुत्वे प्राप्ते main
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29 οζ page_footer
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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 BRHADDESI page_header
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2 102 page_number
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3 निधपा, मपधा धपमा, गमपा पमगा, रिगमा मगरी, सरिगा गरिसा। main
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4 सनिधा. annotation_inline
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5 पधनी main
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6 मगरिस, रिगमप पमगरि, गमपध धपमग, मपधनि निधपम, पधनिस main
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7 अथवा— सरिगम annotation_inline
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8 सनिधप, मपधनि निधपम, गमपध धपमग, रिगमप पमगरि, सरिगम मगरिस main
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9 इति annotation_inline
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10 [ २९ ] editorial_bracket
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11 अष्टादशकलो हुङ्कारः। main
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12 अनु₀ ९९ section_header
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13 तारात् सप्तमं स्वरं गत्वा पुनस्तत्रैवागत्यावरोहक्रमेण स्वरद्वयोच्चारणेन main
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14 .वमा. annotation_inline
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15 कलाचतुष्टयकरणात् सन्धिप्रच्छादनः। main
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16 कारणनात् ( ? ) annotation_inline
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17 यथा - ] सनि सनि सनि सनि, निध निध निध निध, धप धप धप धप, पम पम पम editorial_bracket
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18 पम, मग मग मग मग, गरि गरि गरि गरि, रिस रिस रिस रिस। main
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19 रिस रिस रिस रिस, गरि गरि गरि गरि, main
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20 सरि सरि सरि annotation_inline
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21 सरि main
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22 रिंग रिंग रिंग रिंग annotation_inline
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23 मग मग मग, पम पम पम पम, main
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24 मग annotation_inline
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25 गम annotation_inline
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26 गम गम, main
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27 मप मप मप मप annotation_inline
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28 धप धप धप धप, निध निध निध निध, main
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29 धनि annotation_inline
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30 धनि main
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31 धनि धनि annotation_inline
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32 सनि सनि सनि सनि [ इति सन्धिप्रच्छादनः। ] editorial_bracket
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33 [ 30 ] editorial_bracket
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34 निस main
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35 निस annotation_inline
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36 निस निस main
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37 [ अनुः १०० ] editorial_bracket
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38 अंशस्वरं चतुरुच्चार्य तदनन्तरस्वरद्वयस्य द्वृतोच्चारणादनेनैव क्रमेणारोहणादेककलो main
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39 विधुतः। [ यथा - ] स स स स रिग, रि रि रि रि गम, editorial_bracket
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40 री री री री main
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41 सा सा सा सा annotation_inline
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42 ग ग ग ग मप, म म म म पध, प प प प धनि, ध ध ध ध निस main
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43 गा गा गा गा annotation_inline
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44 मामामा पापापा main
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45 धाधाधाधारि annotation_inline
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46 [ इति ] विधुतः। editorial_bracket
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47 [ ३१ ] editorial_bracket
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48 [ अनुः १०१ ] editorial_bracket
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49 तारादेकान्तरस्वरावरोहात् क्रमेणोद्गीतः । [ यथा - ] सध निप धम पग मरि गस editorial_bracket
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50 .तिः main
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51 [ इति ] उद्गीतः। editorial_bracket
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52 [ ३२ ] editorial_bracket
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1 83 page_number
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2 <b>TRANSLATION</b> page_header
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3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
via surya_layout
35 Uttaramandrā (1) annotation_inline
parent ligne 34
via heuristic_height
36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
via surya_layout
37 Rajani (2) annotation_inline
parent ligne 36
via heuristic_height
38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
via surya_layout
39 Uttarāyatā (3) annotation_inline
parent ligne 38
via heuristic_height
40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
via surya_layout
41 Śuddhasadjā (4) annotation_inline
parent ligne 40
via heuristic_height
42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
via heuristic_height
43 Matsarikṛtā (5) annotation_inline
parent ligne 40
via heuristic_height
44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
via surya_layout
211 lignes a valider — change uniquement les roles incorrects.