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 21563). 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 87 page_number
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2 TRANSLATION page_header
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3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
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4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
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5 the bhinnaones. annotation_inline
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6 (293) annotation_inline
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7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
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8 bhinnapañcama, and the fifth is bhinnakaiśika. main
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9 (294) annotation_inline
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10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
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11 said to be the three gaudas. main
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12 (295) annotation_inline
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13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
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14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
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15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
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16 by their names, by the excellent munis. main
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17 <math>(296-297)</math> annotation_inline
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18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
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19 itself, similarly gändhärapañcama and the one named main
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20 rūpasādhārita annotation_inline
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21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
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22 (298) annotation_inline
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23 [Thus is the number and nomenclature of rāgas] editorial_bracket
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24 [The specific description of ragas] section_header
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25 [A. Out of them śuddharagas] section_header
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26 Now he (the author) has spoken about the description of suddha (rāgas)- main
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27 Those that are in accordance with their 'own' jāti 31 (from which they are main
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28 born), without any reference to other jātis and those that are one out of the main
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29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
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30 (299) annotation_inline
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31 [1. Suddhaşādava] section_header
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32 [Anu. 164] editorial_bracket
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33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
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34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
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1 BRHADDEŚĪ page_header
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2 122 page_number
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3 [अनु॰ २०८] editorial_bracket
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4 अस्यार्थः - रूपसाधारितः षड्जग्रामसम्बन्धः षड्जमध्यमानिषाद-[वती]-सकाशादुत्पन्नत्वात्। editorial_bracket
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5 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । पञ्चमर्षभयोरल्पत्वम् । निषादोऽत्र काकली। main
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6 पूर्णश्चायम्। annotation_inline
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7 (पञ्चमर्पभयोरल्पत्वम्) annotation_inline
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8 वीरकरुणेऽस्य प्रयोग: । वीरादिरस: । षङ्जादिमूर्छना । <sup>१०२</sup>आरोही वर्ण: । अलङ्कार: प्रसन्नमध्य: । दक्षिणे main
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9 कला, वार्तिक कला, चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः। main
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10 [६. गान्धारपञ्चम:] section_header
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11 गान्धारीरक्तगान्धार्योर्जातो गान्धारपञ्चम:। main
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12 गान्धारोऽस्य भवेदंशो न्यासो गान्धार एव च ॥३३८॥ main
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13 [अनु॰ २०९] section_header
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14 अस्यार्थ: – गान्धारपञ्चमो मध्यमग्रामसम्बन्धः, गान्धारीरक्तगान्धारीसमुत्पन्नत्वात् । यद्यपि main
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15 १॰३दुर्गशक्तिमते धैवतीसमुत्पत्रोऽसौ, तथापि पञ्चमस्य त्रिश्रुतिकत्वादुभयग्रामजातिजातोऽपि मध्य[म]- editorial_bracket
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16 सम्बन्ध एव । गान्धारोऽस्य ग्रहोंऽशो न्यासश्च, प्रयोक्त्रपेक्षया गान्धारो धैवतो भवेत् <sup>१०४</sup>। निषादोऽत्र काकली। main
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17 पूर्णश्चायम्। १०५अद्भुते विस्मये हास्ये चास्य विनियोगः। करुणो रसः। गान्धारादिमूर्छना सञ्चारी वर्णः । main
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18 र(स): annotation_inline
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19 अद्भुते( ऽस्य विनियोग:) main
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20 प्रसन्नमध्यमोऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चपुयदितालः। main
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21 [७. षड्जकैशिक:]<sup>१०६</sup> table
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22 .............. annotation_inline
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23 [८. पञ्चमषाडवः] editorial_bracket
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24 धैवत्यार्षभिकाजात्योर्जात: पञ्चमषाडव:। main
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25 (भी?भिका) annotation_inline
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26 ऋषभांशसमायुक्तो मध्यमो न्यास एव च ॥३३९॥ main
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27 <b>(</b>श) annotation_inline
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1 ¶ Visi annotation_inline
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
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9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
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10 and gändhära. main
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11 [Anu. 163] section_header
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12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
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13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
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15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
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16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
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29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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1 BRHADDESI page_header
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2 74 page_number
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3 इति विप्रकर्षेण प्रवेशनम् ७५। main
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4 -धेन annotation_inline
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5 मार्ववेन यथा- तस्यैव षड्जस्य निषादापेक्षया उत्तरीभूतस्य मार्दवं main
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6 66नाय annotation_inline
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7 शिथिलीकरणं निषादापादनम् इति द्विविधं प्रवेशनम्। main
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8 ्द ब्दाः <sup>67</sup>यावत्। इति द्विविधः प्रवेशः main
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9 [ अनु॰ ४९ ] editorial_bracket
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10 <b>७</b> निग्रहस्त्वनन्तरस्वरपरित्यागोऽसंस्पर्शनम्। main
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11 ०रः स्वपरित्यागास्पदं दर्शनम् main
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12 प्रयोगस्तु यथा—सा सा ग रि, पा पा मा रि। main
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13 तथा चाह भरतः - annotation_inline
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14 69 द्विविधा तानक्रिया तन्त्र्यां प्रवेशनं निग्रहस्तथा। तत्र प्रवेशनमधर- main
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15 .याः annotation_inline
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16 स्वरप्रकर्षादुत्तरस्वरमार्दवाद्वा। निग्रहश्चासंस्पर्शः।" main
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17 •श्चाह ∙स annotation_inline
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18 दत्तिलेनाप्युक्तम् - main
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19 "तानक्रिया द्विधा तन्त्र्या प्रवेशान्निग्रहात्तथा। main
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20 प्रवेशो ध्वनिसादृश्यमसंस्पर्शस्तु निग्रहः।" main
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21 70तत्र प्रध्यन्येक्यमः [दत्तिलम् ३६] editorial_bracket
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22 [ अनु₀ ५0 ] editorial_bracket
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23 ननु त्रिषु स्थानेषु स्वरप्रयोग इत्युक्तं काकुविधाने। तत्र कतमं स्वर— main
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24 71。代 保。 annotation_inline
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25 सप्तकमवलम्ब्य मूर्छना कार्येति ये संशेरते तान् प्रत्याह - मध्यम- main
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26 72。红石。 annotation_inline
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27 सप्तकेन मूर्जनानिर्देशो भवति मन्द्रतारसंसिद्ध्यर्थम्। कुतः ? मध्यम- main
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28 ∘शः <sup>73</sup>कार्यो annotation_inline
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29 74साव ( ? ) annotation_inline
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30 सप्तकस्याविनाशित्वादित्यर्थः। भरतेनाप्युक्तम् - main
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31 75"मध्यमस्वरेण [ वैणेन ] मूर्छना-निर्देशो भवत्यविनाशित्वान्मध्यमस्य editorial_bracket
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32 CANADA STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, S unknown
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33 निग्रहे पर्यग्रहे वा।" main
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34 ंदि annotation_inline
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1 27 page_number
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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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163 lignes a valider — change uniquement les roles incorrects.