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 21774). 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 BRHADDEŚĨ page_header
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2 124 page_number
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3 [अनु॰ २१०] section_header
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4 अस्यार्थ: - पञ्चमषाडव: १०७षड्जग्रामसम्बन्ध: । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो main
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5 ॰( ঘ:) annotation_inline
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6 न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ editorial_bracket
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7 ॰(जी?दी) annotation_inline
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8 (स्र?कृ)॰ annotation_inline
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9 विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, main
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10 चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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11 [९.रेवगुप्त:]<sup>१०९</sup> section_header
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12 ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा । main
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13 (₹) annotation_inline
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14 आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित: ॥३४०॥ main
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15 [अन्॰ २११] section_header
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16 अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि main
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17 षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव main
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18 च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ विनियोग: । main
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19 वीरादिरस:। annotation_inline
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20 ॰(जी?दी) annotation_inline
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21 ऋषभादिमूर्छना । आरोही वर्ण: प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला । main
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22 चच्चत्पुटादिताल:। ११० main
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23 [१०. टक्सैन्धवः] section_header
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24 स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:। main
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25 षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥ main
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26 [अनु २१२] section_header
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27 [अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य editorial_bracket
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28 ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् । main
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29 ग्रहोंऽशो न्यासश्च । main
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30 ॰(रेष ? चै) annotation_inline
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31 (चित्रे ? चात्र) annotation_inline
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32 210 page_number
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1 81 page_number
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2 TRANSLATION page_header
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3 krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri main
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4 - <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri< editorial_bracket
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5 <math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there main
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6 are six tanas of gandhara (along with the preceding two svaras viz. sa - n). main
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7 Similarly, there is only one krama (original order) of madhyama (added to main
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8 the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas main
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9 beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa - main
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10 ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga main
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11 thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly, main
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12 there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken main
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13 together they are twenty-four. annotation_inline
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14 Similarly, there is only one krama (original order) of pañcama (along with its main
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15 four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa main
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16 (formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni - main
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17 ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has main
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18 twenty-four (varieties beginning with it), taken together they become one main
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19 hundred and twenty. Similarly, dhaivata has one krama (original order along main
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20 with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma - main
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21 ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma - main
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22 ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken editorial_bracket
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23 together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is main
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24 only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga - main
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25 ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each main
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26 one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty main
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27 (through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty. main
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28 (Anu. 59) annotation_inline
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29 Thus the tāna-vidhāna (performance of tānas) of svaras is found on the main
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30 (viṇās having) sixty-six strings or hundred strings. The measurements of these main
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31 two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t main
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32 tānas has not been made on these (viņās) in order to avoid a digression; by this main
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33 order itself, it (the demonstration) should be understood by the wise ones on main
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34 their own. annotation_inline
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35 (Anu. 60) annotation_inline
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36 The objective of these tanas has been said to be for the sake of the main
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37 attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in editorial_bracket
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1 117 page_number
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2 TRANSLATION page_header
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3 [Anu. 200] editorial_bracket
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4 This means - Mālavakaišika is related to madhyamagrāma on account of main
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5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
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6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
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7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
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8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [The assignment of gramas to vesararagas] section_header
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13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
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14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
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15 one (grāma) called sadja. annotation_inline
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16 (329) annotation_inline
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17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
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18 of madhyamagrāma. annotation_inline
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19 (330) annotation_inline
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20 Thus have all the vesara(rāgas) been spoken of with their definitive main
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21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
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22 seen in them. annotation_inline
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23 (331) annotation_inline
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24 [ E. Sādhāraņa rāgas] section_header
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25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
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26 of. Now I will speak of the seven sādhāraņa ones. main
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27 (332) annotation_inline
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28 [Anu. 201] editorial_bracket
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29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
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30 come about? It is being answered. On account of being born of the gitis main
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31 pertaining to all the ragas that have been spoken of heretofore, there is their main
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32 sādhāraņatva (commonness); this comes about on account of their being sung in main
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33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
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34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
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1 TRANSLATION page_header
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2 139 page_number
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3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
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4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
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6 That which has sadja as its concluding note, madhyama as its amsa, is main
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7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
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8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
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9 (40) annotation_inline
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10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
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11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
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12 nīsasā. Travaņodbhavā [ii] editorial_bracket
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13 Verañjikā should be known to have gandhāra as its amśa and weak main
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14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
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15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
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16 should be known (this) bhāṣā; it is said to be hexatonic. main
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17 <math>(41-42)</math> main
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18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
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19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
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20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
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21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
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22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
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23 complete, brilliant 15 with madhyama, there being the mutual concert main
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24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
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25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
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26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
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27 (43) page_footer
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1 ٠ page_number
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2 TRANSLATION page_header
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3 145 page_number
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4 performed as to involve mutual movement between rşabha-gandhara and main
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5 similarly <i>şadja-madhyama</i>. main
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6 <math>(52-53)</math> main
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7 Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā main
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8 dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā. main
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9 Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari main
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10 gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi] editorial_bracket
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11 Ambāherī is said to have madhyama as its amśa, ṣadja as its concluding note, main
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12 gāndhāra and dhaivata as profuse, incomplete in svaras, being always devoid main
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13 of pa (pancama), this bhāṣā is said to bear the name <math>desi^{20}</math> (regional). main
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14 (54) annotation_inline
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15 Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī. main
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16 Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā. main
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17 Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā. main
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18 Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā. main
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19 Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā. main
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20 Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii] editorial_bracket
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21 Being combined with sadja in the beginning and having madhyama and main
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22 dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is main
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23 sankīrņā (mixed) and hexatonic. There is (mutual) movement between the main
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24 svaras comprised of two śrutis each. main
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25 (55) annotation_inline
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26 Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā. main
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27 Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa. main
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28 Lalitā [xiii] editorial_bracket
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29 Combined with şadja as the initial and concluding note, omitting main
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30 pañcama, being devoid of the seventh (niṣāda), having the concert of main
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31 madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born main
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161 lignes a valider — change uniquement les roles incorrects.