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 21496). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p051 RIGHT — 29 lignes

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1 <b>g</b>., annotation_inline
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2 85 page_number
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3 TRANSLATION page_header
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4 with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of main
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5 all gitis. annotation_inline
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6 <math>(284 - 285)</math> main
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7 [6. Bhāṣā gīti] section_header
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8 This bhāṣā gīti is described by the experts in gīti as consisting of prayogas main
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9 (melodic phrases?) that are rendered by the body (voice), are smooth, main
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10 colourful with kākus, well composed, shaken, soft, brilliant, combined with main
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11 mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that main
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12 delights the people. main
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13 <math>(286 - 287)</math> main
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14 [7. Vibhāṣā gīti] section_header
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15 Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive, main
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16 numerous, brilliant, shaken, pertaining to the chest region, even, high and main
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17 very high, smooth, in which madhyama shines forth in between, that are main
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18 delightful to the ear and are attractive. This process of composition should main
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19 be spontaneous and should take the course that delights the people. main
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20 (288-289) annotation_inline
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21 [ Thus ends the description of gitis.] editorial_bracket
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22 [ The number and nomenclature of ragas ] section_header
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23 The lakṣaṇa (description) of gītis has been spoken of; now the number of main
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24 rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the main
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25 bhinna ones are of the same number. Gauda (rāgas) have been said to be main
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26 three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- main
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27 sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās main
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28 are only twelve and (now) know their names. main
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29 <math>(290 - 292)</math> main
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vol_I_p044 RIGHT — 27 lignes

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1 71 page_number
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2 TRANSLATION page_header
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3 Thus end names of the tanas devoid of şadja in madhyamagrama. main
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4 Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also main
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5 (109) annotation_inline
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6 abhyudaya. annotation_inline
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7 Thus end the names of tanas devoid of rşabha. main
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8 Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt main
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9 (110) annotation_inline
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10 and then godohana. main
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11 Thus end the names of tanas devoid of gandhara. main
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12 Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. main
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13 Thus end the names of forty-nine (sadava) tanas seated in the two gramas. main
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14 Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka main
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15 (111) annotation_inline
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16 are the audava (tānas) in şadjagrāma. main
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17 Thus end the names of tanas devoid of şadja and pancama. main
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18 J annotation_inline
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19 Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and main
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20 (112) annotation_inline
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21 saubharaka is known. main
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22 Thus end the names of tanas devoid of gandhara and nisada. main
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23 Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and main
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24 (113) annotation_inline
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25 then), uccățana and vasikțt. main
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26 Thus end the name of tanas that are devoid of pancama and mabha. main
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27 Thus end the twenty-one names of audavita tānas in sadjagrāma. main
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vol_II_p064 RIGHT — 42 lignes

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1 14.00 annotation_inline
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2 TRANSLATION page_header
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3 111 page_number
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4 [Anu. 193] section_header
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5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
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6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
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7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
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8 the context of entry and the like in the behaviour of those who perform domestic main
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9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
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10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
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11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
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12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
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13 in the songs comprised of svara and pada. main
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14 [3. Mālavapañcama] section_header
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15 Mālavapancamashould be known to have pancamaasits anistand concluding main
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16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
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17 are comprised of two śrutis (gāndhāra and niṣāda). main
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18 (322) main
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19 [Anu. 194] section_header
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20 This means-Mālavapañcamais related to madhyamagrāma on account of main
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21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
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22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
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23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
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24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
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25 female apartments). The mūrchanā beginning with pañcama obtains. main
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26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
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27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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29 like caccatputa obtains in the songs comprised of svara and pada. main
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30 [4. Vesarașādava] section_header
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31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
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32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
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33 (323) main
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34 [Anu. 195] section_header
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35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
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36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
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37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
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38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
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39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
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40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
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41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
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42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
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vol_I_p023 RIGHT — 27 lignes

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1 29 page_number
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2 TRANSLATION page_header
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3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
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4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
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5 become their agre-sara 68 (movers in front). main
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6 (52) annotation_inline
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7 Thus I have spoken of the śrutis that are seated in grāma.69 main
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8 Here ends the section on srutis. annotation_inline
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9 IV [The Section on Svaras] section_header
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10 [The laksana of svaras] section_header
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11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
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12 (53) annotation_inline
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13 etymology of the word 'svara' is being spoken about. main
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14 From the root raje, meaning brilliance, to which is prefixed the word sva main
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15 (the word 'svara' is derived); because (the meaning is) that which shines by main
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16 (54) annotation_inline
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17 itself, hence it is known as svara. main
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18 [ Anu. 15 ] editorial_bracket
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19 But what is meant by svara? It is being answered - the dhvani (sound) which main
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20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
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21 Kohala. annotation_inline
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22 "By the will of the atman, the vayu (that is) moving upward from the base of main
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23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
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24 space, is known as svara, the delightful<sup>5</sup> sound." main
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25 (Anu. 16) annotation_inline
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26 But svara in this way is one or many, pervasive or non-pervasive or is it main
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27 eternal or non-eternal? annotation_inline
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vol_II_p016 LEFT — 37 lignes

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1 14 page_number
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2 BRHADDESÏ page_header
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3 सोऽभिधीयते । अंशस्य विवादी ३९यो न भवति [स] प्रथमविदार्यन्ते४० editorial_bracket
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4 यदि main
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5 प्रयुक्तो annotation_inline
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6 <b>॰यन्तिर्यादि</b> annotation_inline
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7 प्रवृत्तो annotation_inline
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8 यथा annotation_inline
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9 भवति, तदासौ संन्यास इत्यर्थ: । main
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10 ¥<sup>१</sup>तदा annotation_inline
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11 <sup>४२</sup> इत्युच्यते main
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12 यदा annotation_inline
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13 [अंशलक्षणान्तर्गतं विन्यासलक्षणम्] section_header
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14 [अनु॰१२३] editorial_bracket
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15 एष एव तु संन्यासस्वरः पदान्ते विन्यस्तो तदा विन्यासः । main
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16 <sup>४३</sup>०स्वरो यदा annotation_inline
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17 अतएव तदुक्तं भवति - main
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18 र्४४<br>एवांशस्य संवाद्यनुवादी वा पदिवदार्यन्ते भवतीत्युक्तम् । main
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19 भ्भ' रागश्च यस्मिन् वसति यस्माच्चैव प्रवर्तते । main
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20 अंशस्य संवादी या भवति annotation_inline
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21 नेता च तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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22 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
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23 अनुवृत्तश्च यश्चेह सोंऽश: स्याद् दशलक्षण:॥'४६ main
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24 स्या(दं?द्द)शलक्ष(णं?ण:) main
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25 [तुल॰ ना॰ शा॰ २८.६८,६९] editorial_bracket
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26 [३. तारलक्षणम्] section_header
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27 [अनु॰ १२४] editorial_bracket
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28 इदानीं तारलक्षणमुच्यते - main
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29 <sup>४७</sup>अंशस्वरप्रयोगादारभ्य main
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30 पञ्चस्वरपरा तारगति:। main
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31 किमुक्तं भवति ? main
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32 पञ्चमस्वरारोहणं तार इति, चतुःस्वरारोहणं तार इति [वा]। नन्दयन्त्यां यथासासानिधसा editorial_bracket
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33 <b>ल्सारो</b>॰ annotation_inline
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34 <b>ल्यमारो</b>॰ annotation_inline
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35 रिग annotation_inline
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36 इति, पञ्चमांशत्वात् षड्जस्तार: । आपञ्चमादिति योजना [गान्धार्या] अष्टम्या विदार्या editorial_bracket
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37 °ध्या page_footer
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162 lignes a valider — change uniquement les roles incorrects.