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 21653). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p089 RIGHT — 31 lignes

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1 TRANSLATION page_header
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2 161 page_number
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3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
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4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
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5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
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7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
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8 synonym of hindolaka). main
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9 (88) annotation_inline
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
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16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
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18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
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29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
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1 55 page_number
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2 TRANSLATION page_header
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3 [8. Gändhārī] section_header
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4 Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, main
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5 the same are amsas of gandhari. The tara extends upto five svaras. The mandra main
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6 , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid main
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7 of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete main
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8 state there is sparseness of rṣabha-dhaivata, and abundance of the remaining main
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9 ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara, main
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10 gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is main
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11 sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That main
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12 is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}< main
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13 prayoga (performance). main
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14 Thus is the performance. When it is sung with the omission of rṣabha then main
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15 while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) main
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16 mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic main
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17 form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the main
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18 performance. Mā-pa-ri-dhā is never to be performed. main
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19 [Anu. 161] editorial_bracket
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20 This is eleven-fold. There are eleven ainsas - there is one in the suddhā main
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21 state, five in the vikṛtā complete state, four are hexatonic (and) one is main
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22 pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța main
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23 is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala main
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24 vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there main
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25 is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā main
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26 in the third act of a drama. annotation_inline
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27 [9. Raktagāndhāri] section_header
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28 [Anu. 162] editorial_bracket
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29 Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas main
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30 of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra main
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31 extends up to the nyāsa or the svara next to it. The hexatonic form is devoid main
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32 of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the main
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33 paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) main
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34 have abundance. On account of niṣāda being the amśa, its abundance is main
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35 indicated. Its non-abundance comes about on account of the stated main
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36 prescription. Dhaivata being non-aniśa, its sparseness is indicated, its main
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vol_II_p014 RIGHT — 38 lignes

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1 n er annotation_inline
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2 11 page_number
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3 TRANSLATION page_header
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4 the jātis (castes). Just as in human beings there are castes such as brahmin main
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5 and the like, that are both pure and mixed (or altered), similarly these jātis main
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6 are also (twofold). annotation_inline
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7 [Thus ends the general definition.] editorial_bracket
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8 [4. The tenfold lakṣaṇas or characteristics] section_header
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9 Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - main
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10 Graha (initial note), amśa (fundamental note), tāra (high), mandra (low) main
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11 and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly main
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12 alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are main
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13 said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. main
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14 The definition of this group of ten is being given in brief. main
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15 <math>(209-210)</math> annotation_inline
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16 [1. The definition of graha] section_header
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17 [Anu.119] editorial_bracket
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18 Out of these (lakṣaṇas), graha is that with which the performance of jāti main
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19 and the like is begun (lit . held or caught). That ( graha ) should be known main
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20 to have sixty-three varieties just like aniśa. main
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21 (Objection) What is the difference between graha and anisa? It is being main
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22 answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the main
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23 amsa,but graha is fourfold according to the distinction of vādī and the like main
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24 1 page_number
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25 (samvādī, vivādī and anuvādī). Or there is the distinction of predominance main
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26 and subordination between the two. Graha is subordinate ( to amśa). main
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27 ŧ annotation_inline
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28 (Objection) Why is the predominance of amsa alone being spoken of? main
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29 Because of its being the progenitor 11 of raga (delight or colour) and main
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30 because of its being pervasive, the predominance of anisa alone (is accepted). main
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31 Although graha and anisa are predominant in all the jatis and this is proved main
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32 by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup> main
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33 (operation) of samvādī and anuvādī. main
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34 Similarly said Bharata – annotation_inline
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35 "Graha is said to be like the amsa in all the jātis. The amsa that becomes the main
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36 starting point of geya (melodic organisation and performance) assumes an main
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37 alternative form as graha." main
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38 (NŚ XXVIII.67) main
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vol_II_p121 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 225 page_number
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3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
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11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_I_p019 LEFT — 32 lignes

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1 BRHADDESI page_header
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2 20 page_number
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3 नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता। main
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4 ₀गृहीत｡<sup>72</sup> annotation_inline
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5 आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥ main
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6 7 अकेन annotation_inline
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7 यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्। main
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8 श्रुतीना74 annotation_inline
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9 विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥ main
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10 ₀त्वात्<sup>75</sup> annotation_inline
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11 कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्। main
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12 श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।। main
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13 ₀व76 annotation_inline
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14 अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्। main
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15 77ग्रहपूर्वक annotation_inline
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16 सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥ editorial_bracket
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17 सत्यम् । main
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18 कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि। main
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19 तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥ main
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20 ਚ78 annotation_inline
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21 कार्येषु विद्यमानेषु कारणस्योपलम्भनात्। main
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22 घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥ main
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23 79fH annotation_inline
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24 805<del>4</del> main
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25 825<del>0</del>23° annotation_inline
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26 परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः। main
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27 <sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः annotation_inline
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28 <b>65,च्यः      ६६,न्य</b>ि main
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29 इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥ main
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30 [ अनु. १२ ] editorial_bracket
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31 ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां main
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32 चानु [प]लम्भात्। editorial_bracket
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169 lignes a valider — change uniquement les roles incorrects.