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 21512). 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 47 page_number
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2 TRANSLATION page_header
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3 The third (letter) of the eighth (group viz. 's') combined with the Hari-bija main
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4 <math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out main
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5 with all effort. annotation_inline
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6 (63) main
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7 The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja main
via surya_layout
8 (viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna main
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9 (64) annotation_inline
parent ligne 8
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10 (brahmagranthi). main
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11 The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja, main
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12 (viz. 'a'), one should always draw out (this) svara which is attractive among the main
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13 (65) annotation_inline
parent ligne 12
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14 various svaras. main
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15 The last (letter) of the sixth group, (viz. 'm') combined with the initial one main
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16 (viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras. main
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17 (66) annotation_inline
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18 The first one of the same (sixth group, viz. 'p') combined with the first one main
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19 (viz. 'a'), know that as the beautiful svara, associated with the number (five) of main
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20 (67) annotation_inline
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21 vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup> main
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22 The fourth (letter) of the fifth group (viz. 'dh') combined with the initial main
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23 one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68) main
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24 The last (letter) of the fifth group (viz. 'n') differentiated by the end that is main
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25 other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture) main
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26 is combined with 'high' sound. main
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27 (69) annotation_inline
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28 Thus, this much has been shown as the svaroddhāra (analysis of svara-names) main
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29 (70 ab) annotation_inline
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30 contained in agama.79 main
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31 [ Assignment of community, colour and the like to svaras ] section_header
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32 Now I shall speak of the assignment of community, colour and the like (to main
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33 <math>(70 \text{ cd})</math> main
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34 svaras). main
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35 (i) Kula-Vamśa. section_header
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36 Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods, main
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37 this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa). main
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38 (71) unknown
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39 The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda main
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40 (72) annotation_inline
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41 born in the community of demons, is called 'ni'. main
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42 (ii) Colours. section_header
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43 Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot, main
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44 gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi- main
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45 (73) annotation_inline
parent ligne 44
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46 florum). main
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1 -- 1 annotation_inline
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2 History of the State of the State of the State of the State of the State of the State of the State of the State of the S annotation_inline
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3 184 page_number
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4 BRHADDEŚĪ section_header
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5 [१. अथ टके] section_header
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6 पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्। main
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7 ..(ता? न्ता) annotation_inline
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8 भाषे annotation_inline
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9 <sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥ main
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10 चैषा ॰ annotation_inline
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11 उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा main
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12 धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] editorial_bracket
parent ligne 11
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13 मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा । main
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14 सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥ main
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15 उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- main
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16 सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- main
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17 सानिसा। पौराली । [२] editorial_bracket
parent ligne 16
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18 धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता । main
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19 (वैध ? धैव) annotation_inline
parent ligne 18
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20 टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥ main
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21 शकभाषा annotation_inline
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22 उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- main
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23 माधमागसासासा । त्रावणी । [३] editorial_bracket
parent ligne 22
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24 मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा । main
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25 विपा annotation_inline
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26 मान annotation_inline
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27 विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥ main
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28 ॰रागस्यैपा annotation_inline
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29 मूढलालिता annotation_inline
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30 उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा । main
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31 रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] editorial_bracket
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32 तानल॰ annotation_inline
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33 भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । main
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34 साधारणा तु पङ्जांशान्ता main
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35 पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥ main
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36 <b>ल्होनं</b> annotation_inline
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37 স্ত(?) annotation_inline
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38 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE annotation_inline
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1 PÄŢHAVIMARŚA page_header
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2 271 page_number
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3 (ii) main
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4 पञ्चमांशग्रहा धान्ता निगयोर्गपयोर्गप । main
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5 धैवतर्पभयोधैव सङ्गत्या सङ्गधा(ता)मिथ:॥ main
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6 मधुरी ककुभे भाषा षड्जग्रामसमाश्रिता । main
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7 S Rāj II. 2.1.695. annotation_inline
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8 (iii) Madhukarī is treated as a vibhāṣā of kakubha ircS Rāj II.2. 1. main
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9 704, 705. annotation_inline
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10 निपयो रिधयोर्यस्यां संवादो निग्रहांशता । main
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11 63.cf. (i) annotation_inline
parent ligne 10
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12 रिन्यासा ककुभे भाषा शकमिश्रा तु सा मता ॥ main
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13 Kalā (appendix) on SR II,p.133. main
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14 (ii) annotation_inline
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15 निपादांशग्रहा भाषा शकमिश्रा रिविश्रमा । main
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16 निधयो: सधयोर्युक्ता सङ्गत्या ककुभाश्रिता ॥ main
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17 पङ्जग्रामेण सम्बद्धा मधुरैर्गमकैर्युता । main
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18 S Raj II.2.1, 698. annotation_inline
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19 64. 'Chāyā 'does not fit the context; our reconstruction as prāyā would main
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20 mean 'where kākalī is frequent'. Other texts, however, do not mention main
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21 kākalī in this bhāṣā. Our reconstruction is in close proximity with p.t. main
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22 65. cf. annotation_inline
parent ligne 21
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23 पङ्जग्रामसमुद्भतककुभे जनिता यथा। main
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24 धैवतांशग्रहन्यासा धापन्यासा धमन्द्रगा ॥ main
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25 माध्यमैरार्पभैस्तानै: पाञ्चमैधैवतैर्पि । main
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26 संयुक्तोन्झितगान्धारा भाषेयं भित्रपञ्चमी ॥ main
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27 विप्रलम्भे नियोक्तव्या ..... main
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28 S Rāj II.2.1.671,672 c. main
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29 Our reconstruction of the first foot of verse 80 is based on the above and main
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30 on the illustration which begins and ends with dhaivata. main
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31 66. (i) P.t. puts this line after the illustrative notation. main
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32 (ii) cf. हिन्दोलभाषा सान्तांशा वेसरी रिधदुर्बला । main
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33 सङ्गता समयो रिन्यो: प्रेक्षणे विनियुज्यते ॥ main
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34 Kalā (appendix) on SR II, p. 137. main
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35 67. SRāj II. 2.1.947 creads 'madhyamāmśagrahā', describing 'madhyama' as list_item
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36 the aniśa and graha. list_item
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37 68. Other texts read the name as cūtamañjarī; e.g. SR II.1.31 cd, Kalā list_item
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38 (appendix) on SR II, p. 137and S Rāj II.2.1.947b. 'Prathamamañjarī 'is read list_item
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39 as a 'bhāṣāṅga 'derived of kakubha, in SR II.2.115d. list_item
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40 69. SR II.2.146 a describes it as being devoid of 'rṣabha'as 'rihīnā'. list_item
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41 70. cf. list_item
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42 बहु (मन्द्र) पङ्जग्रहांशान्ता ऋपभेण विवर्जिता । list_item
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43 धैवतस्वरभृयिष्ठा[ऽ]पन्यासान्यितगस्यरा ॥ list_item
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1 TRANSLATION page_header
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2 51 page_number
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3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
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4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
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5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
via surya_layout
6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
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7 upto the nyāsa or upto the svara next to it. main
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8 [Anu. 153] section_header
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9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
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10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
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11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
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12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
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15 [5. Şadjakaisiki] section_header
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16 [Anu. 154] section_header
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17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
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19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
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24 It has no śuddhā state, there are three amśas in the complete state. main
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25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
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29 with entry in the second scene (or act). main
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30 [6. Şadjodicyava] section_header
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31 [Apu. 156] section_header
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32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
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33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
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34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
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1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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196 lignes a valider — change uniquement les roles incorrects.