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 21588). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p053 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 89 page_number
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3 The first alternative does not hold good. Why? Because of this rāga being main
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4 complete (with seven svaras). Hence the second alternative alone is main
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5 stronger. Why is it said to be prominent among the six rāgas? Because of main
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6 the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On main
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7 account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been main
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8 indicated in the beginning. main
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9 Suddhaṣāḍava is born of the modified madhyamā jāti. main
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10 Its <i>nyāsa</i> is annotation_inline
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11 madhyama, which is also the amśa and gāndhāra is weak in it. main
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12 (300) annotation_inline
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13 [ Anu. 165 ] section_header
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14 This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) main
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15 madhyama is its graha. Madhyama is the amśa and nyāsa and there is the main
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16 sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 main
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17 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is main
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18 the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. main
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19 There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā main
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20 beginning with madhyama obtains here. The avarohin (descending) varņa,34 main
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21 prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla main
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22 The kalā<sup>37</sup> (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains main
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23 in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 main
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24 obtains in the svaras and padas (units of text). main
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25 Ākṣiptikā..... table
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26 [2. Suddhapañcama] table
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27 ********* table
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28 [ Anu. 166 ] table
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29 Šuddhapancama is known to be born of şadjodicyavatī jāti. table
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30 --------------------------------------- table
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31 [3. Šuddhasādhārita] section_header
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32 It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis main
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33 (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti main
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34 is the śuddhasādhārita. annotation_inline
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35 (301) annotation_inline
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36 A Section of the second section of the section of the section of the section of the section of the section of the sectio annotation_inline
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1 BRHADDEŚI page_header
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2 98 page_number
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3 | अनु₀ <b>९</b>0 | editorial_bracket
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4 तारादेकान्तरस्वरावरोहात् त्रिरावृत्त्या कलात्रयकरणात् सर्वेषां 25ह्रादमानः। यथा— main
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5 26सध सध सध, निप निप निप, धम धम धम, पग पग पग, मरि मरि मरि, गस गस main
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6 Ĺ unknown
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7 [ २१ ] editorial_bracket
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8 गस 🛭 इति 📗 ह्रादमानः। main
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9 अनु₀ ९१ ] editorial_bracket
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10 समनन्तरस्वरमारुह्य द्वे कले स्थित्वा पुनः स्वरोऽन्तरे अर्धकलामारोहति main
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11 (व?) ति annotation_inline
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12 र्द annotation_inline
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13 <b>.</b> annotation_inline
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14 पुनश्चानन्तरमेवार्धकलामवरोहित स रिक्षतः। [ यथा - ] सरी मग, रिगा पम, गमा editorial_bracket
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15 ₀ಪು annotation_inline
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16 धप, मपा निध, पधा सनि [ इति ] रञ्जितः। editorial_bracket
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17 [ २२ ] editorial_bracket
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18 [ अनु₀ ९२ ] editorial_bracket
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19 आरोहावरोहाभ्यामष्टौ स्वरानुच्चार्य प्राकृस्वरोच्चारणान्ते क्रमशोऽष्टकल आवर्तकः। main
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20 र (प २) मु₀ annotation_inline
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21 ०मादौ₀ annotation_inline
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22 अथवा सग गप पनि धस सध निप पग गस [ इति ] आवर्तकः। editorial_bracket
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23 [ २३ ] editorial_bracket
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24 धानीपा गासा annotation_inline
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25 सधा annotation_inline
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26 27q q127 main
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27 [ अनु₀ ९३ ] editorial_bracket
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28 [ अनन्तरं त्रिस्वरानारुह्य ] पुनरेकस्वरं चतुर्थं लङ्घयित्वा पञ्चमं स्वरं प्राप्य editorial_bracket
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29 पुनरप्य [न] न्तरान् त्रिस्वरानवरोहृन् चतुर्थं । लङ्क्षयन्नाद्यं स्वरं षड्जं गच्छेत्। editorial_bracket
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30 <sup>29</sup>चतुर्ल main
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31 आरोहावरोहाभ्यां कलाष्टकेन तथैव तारादारभ्य सर्वस्वराणामारोहावरोहणम्। षोडशकलः main
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32 (लो २ला) व annotation_inline
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33 नवरोई (?) main
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34 परिवर्तकः। स.च लोके ओहाडीत्युच्यते [ यथा -] सरिगप पमगस, रिगमध धपमरि, editorial_bracket
parent ligne 33
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35 (को १ के) main
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36 सा annotation_inline
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37 पा annotation_inline
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38 गमपनि निधपग, मपधस सनिधम, सनिधम मपधस, निधपग गमपनि, धपमरि main
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39 गा annotation_inline
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40 रिगमध, पमगस सरिगम इति परिवर्तकः। main
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41 [ २४ ] editorial_bracket
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42 <sup>ं३0</sup><br>अनु<sub>॰</sub> ९४ ] editorial_bracket
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43 स्वरद्वये ह्येककलया आरोहक्रमेण तृतीयस्वरं परिहरन्नारोहक्रमेणैवोपरितनस्थ- main
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44 हि. annotation_inline
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45 0 इ annotation_inline
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46 स्वरद्वयमाक्रामन्ननेनैव क्रमेणावरोहः। शेषानिप स्वराननेनैव क्रमेणारोहन्नष्टादशकल main
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47 .क्रमान, annotation_inline
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vol_II_p005 RIGHT — 117 lignes

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1 - - annotation_inline
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2 CONTENTS table
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3 χi table
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4 Madhyamadchā table
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5 147 page_number
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6 XV. table
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7 Gàndhàrapañcami table
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8 xvi. table
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9 147 page_number
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10 Vibhāṣāof ţakka rāga table
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11 149 page_number
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12 2.Bhāṣās in mālavakaišika table
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13 149 page_number
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14 i. table
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15 Suddhā table
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16 149 page_number
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17 100 page_number
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18 ii. table
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19 Ardhavesari table
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20 151 page_number
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21 iii. table
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22 Harşapüri table
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23 151 page_number
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24 Māṅgālī table
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25 iv. table
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26 151 page_number
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27 Saindhavī table
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28 151 page_number
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29 ٧. table
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30 Äbhūrī table
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31 vi. table
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32 153 page_number
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33 vii. table
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34 Khañjanî table
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35 153 page_number
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36 Gürjari table
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37 viii. table
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38 153 page_number
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39 3.Bhāṣāsin kakubha table
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40 155 page_number
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41 Kāmbojā table
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42 155 page_number
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43 1. table
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44 Madhyamagrāmikā table
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45 ii. table
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46 155 page_number
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47 iii. table
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48 Sātavāhinī table
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49 155 page_number
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50 Bhogavardhani table
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51 iv. table
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52 155 page_number
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53 Madhukari table
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54 157 page_number
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55 v. table
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56 Śakamiśritā table
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57 vi. table
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58 157 page_number
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59 vii. table
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60 Bhinnapañcamī table
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61 157 page_number
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62 4.Bhāṣāsin hindolaka table
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63 159 page_number
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64 Vesui table
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65 159 page_number
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66 i. table
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67 ii. table
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68 Prathamamañjari table
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69 159 page_number
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70 iii. table
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71 159 page_number
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72 Chevāţī table
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73 Şadjamadhyamā table
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74 161 page_number
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75 iv. table
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76 Madhuri table
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77 161 page_number
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78 ٧. table
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79 5.Bhāṣāsin pañcama table
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80 161 page_number
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81 Ābhīrī table
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82 i. table
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83 161 page_number
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84 ii. table
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85 Bhāvinī table
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86 161 page_number
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87 1 page_number
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88 iii. table
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89 Mängäli table
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90 163 page_number
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91 Saindhavi table
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92 163 page_number
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93 iv. table
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94 163 page_number
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95 Gürjari table
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96 ٧. table
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97 163 page_number
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98 Dākṣiṇātyā table
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99 vi. table
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100 vii. table
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101 Andhālī table
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102 165 page_number
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103 viii. table
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104 Tänodbhavā table
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105 165 page_number
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106 165 page_number
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107 Trāvaņī table
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108 ix. table
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109 167 page_number
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110 Kaiśikī table
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111 X. table
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112 6.Bhāṣāsin bhinnaṣadja table
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113 167 page_number
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114 Šuddhā table
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115 167 page_number
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116 i. table
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117 (vide) unknown
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vol_II_p072 RIGHT — 31 lignes

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1 127 page_number
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2 TRANSLATION page_header
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3 in yuddha-vīra 92 (rasa). Vīra and the like is the rasa. The mūrchanā beginning main
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4 with ṣaḍjaobtains. Ārohin is the varṇa. Prasannāntais the alaṅkāra. The kalā main
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5 is formed in the dakṣiṇa(mārga), the kalā obtains in the vārtika(mārga) and main
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6 the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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7 comprised of svara and pada. main
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8 [The assignment of grāma to sādhāraņa rāgas] section_header
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9 Now, the assignment of grāma to sādhāraņa (rāgas) is being shown. main
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10 Bhammāṇapañcama should be known to be born of madhyamagrāma and main
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11 so are gāndhārapañcama, narta and ṣaḍjakaiśika. main
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12 (342) annotation_inline
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13 The rāgas rūpasādhārita, śaka, kakubha, revagupta and pañcamaṣāḍava main
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14 should be known to be (related to ) the one known as sadja. The seven main
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15 (nine?) sādhāraņa (rāgas) have (thus) been said to be based on the two main
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16 grämas. annotation_inline
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17 (343) main
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18 [The basis of the specification of murchanā in respect of grāma-rāgas] section_header
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19 [Anu. 213] editorial_bracket
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20 (Contention) How is the specification of particular mūrchanās in respect main
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21 of grāma-rāgas known? It is being answered. The specification of mūrchanās main
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22 is known from the statements of authorities. Similarly has said Kasyapa - main
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23 "The mūrchanā should be specified by the wise after knowing the main
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24 predominance of amsa in a jāti."94 main
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25 [The difference between gita and raga] section_header
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26 [Anu. 214] editorial_bracket
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27 (Contention) What is the difference between gita and raga? It is being main
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28 answered. The gita characterised with ten lakṣaṇas should be named after main
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29 the word rāga. Gīta is comprised of four angas (components).95 It is five- main
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30 fold in combination with dhruva96 From where is this known? From the main
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31 statements of authorities. Similarly has said Kasyapa - main
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1 BRHADDEŚI page_header
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2 100 page_number
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3 उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस editorial_bracket
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4 रि annotation_inline
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5 सा annotation_inline
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6 धा annotation_inline
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7 सा annotation_inline
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8 पा annotation_inline
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9 सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस main
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10 नी annotation_inline
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11 री main
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12 सा annotation_inline
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13 गा annotation_inline
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14 धा annotation_inline
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15 सा annotation_inline
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16 मा annotation_inline
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17 सरिमप, मगरिस [ इति ] उद्घट्टितः। editorial_bracket
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18 [ २५ ] editorial_bracket
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19 पा annotation_inline
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20 सा annotation_inline
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21 अन्₀ ९५ ] section_header
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22 त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं main
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23 कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु editorial_bracket
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24 धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु main
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25 २६ । annotation_inline
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26 इत्याक्षिप्तकः । main
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27 अनु, ९६ section_header
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28 प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव editorial_bracket
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29 क्रमेणा- main
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30 व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -] editorial_bracket
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31 सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा main
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32 संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा, main
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33 गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा, main
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34 पा annotation_inline
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35 म annotation_inline
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36 पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा, main
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37 [ २७ ] editorial_bracket
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38 मरिसा सरिमा, गरिसा इति सम्प्रदानः । main
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39 अन्० ९७ section_header
via surya_layout
40 सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि, editorial_bracket
parent ligne 39
via heuristic_brackets
41 गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि, main
via surya_layout
42 ₹, annotation_inline
parent ligne 41
via heuristic_height
43 धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः। editorial_bracket
parent ligne 41
via heuristic_brackets
44 Ⅰ २८ ] editorial_bracket
parent ligne 41
via heuristic_brackets
45 गा annotation_inline
parent ligne 41
via heuristic_height
46 धा annotation_inline
parent ligne 41
via heuristic_height
47 मा annotation_inline
parent ligne 41
via heuristic_height
48 सा annotation_inline
parent ligne 41
via heuristic_height
49 सा annotation_inline
parent ligne 41
via heuristic_height
50 पा annotation_inline
parent ligne 41
via heuristic_height
51 [ अनु。 ९८ ] section_header
via surya_layout
52 ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -] editorial_bracket
parent ligne 51
via heuristic_brackets
53 सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा main
via surya_layout
284 lignes a valider — change uniquement les roles incorrects.