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 21758). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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
via surya_layout
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
via surya_layout
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_II_p030 RIGHT — 31 lignes

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1 43 page_number
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2 TRANSLATION page_header
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3 The omission of all notes is prescribed in all <math>j\bar{a}tis</math>, but the omission of main
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4 madhyama should never be made. The svara madhyama is the chief among main
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5 all the svaras and is indispensable both in the kalpa (practice and precept) main
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6 of gāndharva and also in sāmans." main
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7 (NŚ XXVIII. 58-65) main
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8 [ Anu. 142 ] section_header
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9 Now the prescription of sadava and auduvita as well as the prescription main
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10 according to utsarga<sup>55</sup> (general view) and apavāda<sup>56</sup> (exception) should be main
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11 known only in vikṛtā jātis, not in the śuddhā jātis, because the śuddhās become main
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12 the root of the coming into existence of other jātis. These śuddhās themselves main
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13 become vikṛtās. How- main
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14 [9. A repeated definition of śuddhā jāti] section_header
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15 When a jāti has the same graha, the same apanyāsa and the same aniśa, has main
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16 nyāsa in the mandra (lower register) and is complete, then it is known as main
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17 śuddhā jāti. annotation_inline
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18 (259) annotation_inline
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19 Thus has been said the definition of śuddhā. main
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20 [10. The vikṛtā state of śuddhā jātis] section_header
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21 [Anu. 143] section_header
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22 Out of these characteristics, the jātis become vikṛtā (modified) by (the main
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23 violation of) one, two or many characteristics, excepting the nyāsa. The main
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24 statement 'excepting the nyāsa' means that there is no vikṛtā state that comes main
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25 about by (a change in) the nyāsa. main
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26 [ The illustration of sadji ] section_header
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27 [ Anu. 144 ] section_header
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28 Vikṛtā ṣādjī is two-fold – one that is always complete and the other that is main
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29 ṣāḍavā. Ṣāḍjī is śuddhā with the aṁśa that bestows its name (viz. ṣaḍja). Vikṛtā main
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30 ṣāḍjī is complete when gāndhāra is its aṁśa because of the non-omission of main
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31 ---- annotation_inline
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vol_I_p061 RIGHT — 29 lignes

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1 105 page_number
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2 TRANSLATION page_header
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3 (Anu. 102) annotation_inline
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4 Like hunkāra one should ascend (with) three solfa syllables without a gap main
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5 (and) in a combined80 (manner), thence two lower svaras (forming two phrase- main
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6 units each) should be made (pronounced) with shake81 and verily in main
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7 combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, main
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8 because of the combination or formulation of ekakala 83 svaras (forming main
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9 temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani main
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10 dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, main
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11 (33) annotation_inline
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12 sariga riri sasa. Thus is (ends) gatravarna. main
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13 [ The treatment of Alankaras according to Bharata's opinion ] section_header
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14 I shall now speak of the varnas 84 in which the charming alankāras are main
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15 'seated' (formed), according to the prescription of Bharata. main
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16 (121) annotation_inline
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17 Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, main
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18 recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras main
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19 (122, 123) annotation_inline
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20 should be known according to their respective definition. main
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21 After this, please understand (the alankāras) born of the sancārin (varņa), as main
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22 they are again and again being described (lit. glorified). Mandratāraprasanna, main
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23 bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, main
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24 upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of main
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25 <math>(124 - 126)</math> annotation_inline
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26 the sancarin (varna). annotation_inline
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27 Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, main
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28 hrādamāna, sampradāna, sandhipracchādana, prasannādi and main
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29 prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128) main
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vol_II_p047 LEFT — 32 lignes

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1 1 page_number
via heuristic_pagenum
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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vol_I_p092 RIGHT — 42 lignes

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1 VIMARŚA annotation_inline
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2 167 page_number
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3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
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4 The word antara in the compound 'antara-mūrchanā' covers both antara main
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5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
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6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
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7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
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8 not be directly covered. The mandala (cycle) beginning with reabha in main
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9 sadjagrāma will cover both the grāmas in the following manner- main
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10 Madhyama-grama annotation_inline
parent ligne 9
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11 pa annotation_inline
parent ligne 9
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12 ma annotation_inline
parent ligne 9
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13 Sadja-grama annotation_inline
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14 ga annotation_inline
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15 п annotation_inline
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16 sa annotation_inline
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17 an ga dha unknown
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18 an ga kā ni unknown
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19 ma ni annotation_inline
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20 ga ni unknown
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21 kā ni unknown
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22 dha annotation_inline
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23 pa annotation_inline
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24 пі annotation_inline
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25 sa annotation_inline
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26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
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27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
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28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
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29 şadja and madhyama) agre-sara; this term could be explained in two ways main
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30 according to the association of agre with time and space. In the context of time main
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31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
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32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
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33 than şadja and madhyama, because primarily şadja and madhyama have to be main
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34 established or accepted on an arbitrary sound and then the interval of rsabha- main
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35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
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36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
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37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
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38 in front or preceding; here preceding will have to be construed in terms of main
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39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
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40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
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41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
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42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
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166 lignes a valider — change uniquement les roles incorrects.