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 21679). 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 1 page_number
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2 [ तृतीयोऽध्याय: ] section_header
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3 [ रागलक्षणम् ] section_header
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4 [मङ्गलाचरणम् ] section_header
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5 भं ज्योतिस्तद्रतो हंसस्तस्मात् तं भरतं विदु:। main
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6 तद्भवं भरतज्ञानं तद्भवा भारती शुभा ॥ २६०॥ main
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7 (वं) annotation_inline
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8 [रागलक्षणम्, रागशब्दव्युत्पत्तिश्च] section_header
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9 [नारद उवाच ?] section_header
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10 किमुच्यते रागशब्देन किं वा रागस्य लक्षणम् । main
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11 व्युत्पत्तिलक्षणं तस्य यथावद् वक्तुमर्हसि ॥२६१॥ main
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12 मतङ्ग उवाच - annotation_inline
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13 रागमार्गस्य यद्रूपं यन्नोक्तं भरतादिभि:। main
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14 निरूप्यते तदस्माभिर्लक्ष्यलक्षणसंयुतम् ॥२६२॥ main
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15 तत्रादौ - annotation_inline
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16 १स्वरवर्णविशेषेण ध्वनिभेदेन वा पुन:। main
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17 <sup>२</sup>。विशिप्टेन main
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18 रज्यते येन रसिच्चत्तं स रागः सम्मतः सताम् ॥२६३॥ main
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19 यः कश्चित् annotation_inline
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20 अथवा - main
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21 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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22 • annotation_inline
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23 <sup>४</sup>विशेपित: annotation_inline
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24 रञ्जको जनचित्तानां स च राग उदाहृत: ॥२६४॥ main
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25 > annotation_inline
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26 <sup>५</sup>स रागः कथितो बुधैः main
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27 सामान्यं च ६विशेषं च लक्षणं द्विविधं मतम् । main
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28 <sup>७</sup>विशेषध annotation_inline
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29 ८द्विविधं लक्षणं main
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30 चतुर्विधं तु सामान्यं 'विशेषञ्चांशकादिकम् ॥२६५॥ main
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31 १०च annotation_inline
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32 विशेषश्चांश annotation_inline
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1 BRHADDEŚĨ page_header
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2 228 page_number
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3 [२. कामलेखा] section_header
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4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
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5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
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6 विंशति विषमे annotation_inline
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7 (?)चरमे annotation_inline
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8 [३. बाणलेखा] section_header
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9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
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10 (電?) annotation_inline
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11 ऽपि+(विशिष्टम्) annotation_inline
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
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13 न्त annotation_inline
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14 [४. चन्द्रलेखा] section_header
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15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
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16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
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17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
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18 [ग. वर्णेलाप्रकारा:] section_header
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19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
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20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
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21 ++ annotation_inline
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22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
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23 (च)तथा annotation_inline
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24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
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25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
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28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
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29 अलिलतनामोपेता annotation_inline
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30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
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31 ....भवति रम्यतरा 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 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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1 BRHADDESI page_header
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2 82 page_number
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3 तस्माद् यत्किञ्चिद् गीयते तन्मध्यमध्वनिविशेषैः main
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4 कण्ठध्वनिभिर्मन्द्रतारव्यवस्थासिद्ध्यर्थमेव। main
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5 चतुर्विधा मया प्रोक्ता मूर्छनाः सप्तस्वरात्मिकाः। main
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6 द्वादशस्वरमूर्छनाः annotation_inline
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7 इदानी तु प्रवक्ष्यामि द्वादशस्वरमूर्छनाः ॥११७॥ main
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8 90H annotation_inline
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9 <sup>91</sup>ुनाम् main
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10 [ अनु॰ ६१ ] section_header
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11 तत्र मूर्छनानिर्देशः स्थानित्रतयप्राप्त्यर्थमिति वचनात्, main
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12 मन्द्रतारसिद्ध्यर्थमिति वचनाच्च द्वादशस्वरसम्पन्ना मूर्छना main
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13 द्रष्टव्याः annotation_inline
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14 प्रयोगकाले। तथा चाह कोहलः -- main
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15 "योजनीयो बुधैर्नित्यं क्रमो लक्ष्यानुसारतः। main
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16 संस्थाप्य मूर्छना जातिरागभाषादिसिद्धये" ।।१२ main
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17 ुना annotation_inline
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18 नान्दकश्वरणाप्युक्तम्- main
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19 “द्वादशस्वरसम्पन्ना ज्ञातव्या मूर्छना बुधैः। main
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20 जातिभाषादिसिद्ध्यर्थं तारमन्द्रादिसिद्धये।" main
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21 [ अनु₀ ६२ ] section_header
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22 यद्यप्याचार्यैः अप्तस्वरमूर्छनाः प्रतिपादिताः, स्थानत्रितयप्राप्त्यर्थं main
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23 ुदा annotation_inline
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24 द्वादशस्वरैरेव मूर्छनाः प्रयुक्ताः। अन्यथा चोक्षषाडवे रिमा इति प्रयोगो main
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25 सा annotation_inline
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26 न स्यात्। एवं च १५सति स रागः सिद्धो न स्यात्। main
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27 ग सिध्यान्त (२) annotation_inline
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28 षाङ्जीजातौ रिगमधनि प्रयोगस्तारमन्द्रको न main
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29 पर्ज, annotation_inline
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30 स्यात्। अन्येषामपि रागाणां नाशंकरः प्रयोगः स्यात्। तेन सरिगम [प] editorial_bracket
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31 धन्याद्या मूर्छना धनि [ सरि ] गमपाद्याः। तद्यथा— editorial_bracket
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32 नि अन्या annotation_inline
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33 धनिसरिगमपधनिसरिग । उत्तरमन्द्रा main
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34 [ <sup>8</sup> ] editorial_bracket
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35 निसरिगमपधनिसरिगम । रजनी main
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36 ि ३ ो annotation_inline
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37 सरिगमपधनिसरिगमप । उत्तरायता main
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38 रिगमपधनिसरिगमपध । शुद्धषड्जा [ ४ ] editorial_bracket
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39 गमपधनिसरिगमपधनि । मत्सरीकृता [ ५ editorial_bracket
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169 lignes a valider — change uniquement les roles incorrects.