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 20704). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p054 LEFT — 28 lignes

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1 BŖHADDEŚĪ page_header
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2 90 page_number
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3 [अन्॰ १६७] editorial_bracket
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4 अस्यार्थ: -शुद्धसाधारितो राग: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेरुत्पत्रत्वात्। तारषड्जो main
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5 ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको main
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6 रसः । षड्जादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला main
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7 (ति ? दि) annotation_inline
parent ligne 6
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8 स्वरपदगीते चच्चत्पुटादिताल:। main
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9 [४. शुद्धकैशिकमध्यम:] section_header
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10 कैशिकीषड्जमध्याभ्यां शुद्धकैशिकमध्यमः। main
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11 ॰शुद्ध॰ annotation_inline
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12 षड्जांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ main
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13 ॰क (स्त्रि ? त्रि) त्रुतिपञ्चम: annotation_inline
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14 [अनु॰ १६८] editorial_bracket
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15 अस्यार्थ: - शुद्धकैशिकमध्यमो राग: षड्जग्रामसम्बन्ध: कैशिकीषड्जमध्याजातिभ्यां<sup>४२</sup> main
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16 ॰ जात्यो: annotation_inline
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17 समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत main
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18 (ननु ?) annotation_inline
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19 उभयग्रामता[ऽ]स्तीति भाव:।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे editorial_bracket
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20 ऋषभपञ्चमयोर्लोपो नास्तीति भाव: ।]<sup>४३</sup> तारषड्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । editorial_bracket
parent ligne 17
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21 निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोप: । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य main
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22 काकलिपाडवश annotation_inline
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23 प्रयोग: । षड्जादिमूर्छना । रौद्रवीरादिको रस: । प्रसन्नान्तोऽलङ्कार: । ..... main
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24 [५. शुद्धकैशिक: ] section_header
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25 ४४षड्जांश: ४५पञ्चमन्यास: कैशिकीजातिसम्भव:। main
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26 पड्जांशै: annotation_inline
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27 पञ्चमो annotation_inline
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28 तथा कार्मारवीजाते: स्वरै: पूर्णेश्च कैशिक: ॥३०३॥ main
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vol_II_p083 RIGHT — 33 lignes

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1 4 - 1 annotation_inline
parent ligne 4
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2 149 page_number
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3 TRANSLATION page_header
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4 [ Vibhāṣā of ṭakkarāga] section_header
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5 Having pañcama as amsa and sadja as the concluding note, being main
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6 embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung main
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7 at the end of the bhāṣās. annotation_inline
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8 (61) annotation_inline
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9 Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. main
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10 Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. main
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11 Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. main
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12 [2. Bhāṣās in mālavakaiśika] section_header
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13 Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja main
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14 as the initial and concluding note, is complete in svaras (and) has profuse main
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15 șadja and madhyama. This bhāṣā should be known as the first one in main
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16 mālavakaišika (used as mālakaišika in the text due to exigency of metre) of main
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17 madhyama (grāma). annotation_inline
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18 (62) annotation_inline
parent ligne 16
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19 Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. main
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20 Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. main
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21 Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā, main
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22 complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. main
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23 (63) annotation_inline
parent ligne 22
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24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
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25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
parent ligne 24
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26 Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is main
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27 complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā main
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28 should always be known as sankīrņā (mixed), by the knowledgeable ones in main
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29 gändharva. annotation_inline
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30 (64) annotation_inline
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31 Pāpāmāmā. annotation_inline
parent ligne 28
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
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33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
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vol_I_p044 RIGHT — 27 lignes

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1 71 page_number
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2 TRANSLATION page_header
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3 Thus end names of the tanas devoid of şadja in madhyamagrama. main
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4 Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also main
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5 (109) annotation_inline
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6 abhyudaya. annotation_inline
parent ligne 4
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7 Thus end the names of tanas devoid of rşabha. main
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8 Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt main
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9 (110) annotation_inline
parent ligne 8
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10 and then godohana. main
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11 Thus end the names of tanas devoid of gandhara. main
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12 Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. main
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13 Thus end the names of forty-nine (sadava) tanas seated in the two gramas. main
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14 Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka main
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15 (111) annotation_inline
parent ligne 14
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16 are the audava (tānas) in şadjagrāma. main
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17 Thus end the names of tanas devoid of şadja and pancama. main
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18 J annotation_inline
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19 Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and main
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20 (112) annotation_inline
parent ligne 19
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21 saubharaka is known. main
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22 Thus end the names of tanas devoid of gandhara and nisada. main
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23 Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and main
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24 (113) annotation_inline
parent ligne 23
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25 then), uccățana and vasikțt. main
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26 Thus end the name of tanas that are devoid of pancama and mabha. main
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27 Thus end the twenty-one names of audavita tānas in sadjagrāma. main
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vol_II_p098 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
parent ligne 21
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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vol_II_p031 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 45 page_number
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3 the samvādī of the amsa. It becomes ṣāḍavā with niṣāda when (any one of) main
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4 madhyama, pañcama and dhaivata is the amsa. main
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5 [ Anu. 145] section_header
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6 When sadji is sung as suddha then upon sadja being the amsa, there is main
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7 abundance of the remaining svaras. Upon<sup>57</sup> the profusion of sadja and main
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8 pañcama, there are thirty amsas (?). With six, it (?) becomes fourteen-fold. main
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9 Gāndhāra is nineteen-fold (?) and madhyama is fourteen-fold (?) - main
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10 Taken together seven svaras become hundred and twenty-eight (?), main
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11 suffice to say that. main
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12 [11. The particular characteristics of jātis] section_header
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13 [ Anu. 146] section_header
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14 Now out of the ten characteristics he (the author) shows the respective main
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15 ones of each jāti.- main
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16 [1. Şādjī] section_header
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17 Ṣādjī that pertains to ṣadja-grāma has five anisas and grahas. That is thus- main
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18 ṣadja, gāndhāra, madhyama, pañcama, dhaivata are grahas and amsas. Gāndhāra main
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19 and pañcama are the two apanyāsas. It is ṣāḍavā by being devoid of niṣāda. main
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20 Ṣadja is the nyāsa. There is sangati (concert) between ṣadja and gāndhāra as main
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21 well as ṣadja and dhaivata. Gāndhāra is very profuse, in spite of its being main
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22 vivādī. Sangatī<sup>58</sup> means 'reaching out to each other', i.e. to and fro movement main
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23 between the two svaras concerned. main
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24 The movement in tāra (high register) extends up to five svaras. The main
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25 movement in mandra (lower register) extends upto şadja (the lower octave main
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26 of the amsa). The state of auduvita does not obtain at all. It is complete and main
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27 hexatonic. When it is sung in its complete form, then the sparseness of main
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28 ṛṣabha-pañcama and niṣāda-pañcama should be brought about. Why? - main
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29 "( The svara) without which the incomplete state (of a given jāti) comes main
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30 about, that (svara) is sparse in that (jāti, in its complete state)." main
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31 [Datti 61 ab] editorial_bracket
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32 - Because of the above statement. main
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152 lignes a valider — change uniquement les roles incorrects.