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 20721). 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 BRHADDEŚĪ page_header
via surya_layout
2 288 page_number
via heuristic_pagenum
3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
via surya_layout
4 17. cf.(i) annotation_inline
parent ligne 3
via heuristic_short
5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
via surya_layout
6 Mānaso IV.16.332. annotation_inline
parent ligne 5
via heuristic_short
7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
via surya_layout
8 (ii) annotation_inline
parent ligne 7
via heuristic_short
9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
via surya_layout
10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
via surya_layout
11 S Rāj II.4.3.111. annotation_inline
parent ligne 10
via heuristic_short
12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
via surya_layout
13 (iii) annotation_inline
parent ligne 12
via heuristic_short
14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
via surya_layout
15 Ra Kau III.117. annotation_inline
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16 18. Reconstruction in the first and second foot based on SR IV. main
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17 212c, 213b. annotation_inline
parent ligne 16
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18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
via surya_layout
19 <b>cf.(i)</b> annotation_inline
parent ligne 18
via heuristic_short
20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
via surya_layout
21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
via surya_layout
22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
via surya_layout
23 Mānaso IV.16,333,335. main
via surya_layout
24 आर्यैव यदि गीयेत तालेन गजलीलया । main
via surya_layout
25 (ii) annotation_inline
parent ligne 24
via heuristic_short
26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
via surya_layout
27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
via surya_layout
28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
via surya_layout
29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
parent ligne 28
via heuristic_brackets
30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
via surya_layout
31 S Rāj 11.4.3.108-110. main
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32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
via surya_layout
33 19. cf. annotation_inline
parent ligne 32
via heuristic_short
34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
via surya_layout
35 SR IV.279,280. annotation_inline
parent ligne 34
via heuristic_short
36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
via surya_layout
37 20. cf. annotation_inline
parent ligne 36
via heuristic_short
38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
via surya_layout
39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
via surya_layout
40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
via surya_layout
41 Mānaso IV.16.336 -338. main
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42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
via surya_layout
43 21. cf. annotation_inline
parent ligne 42
via heuristic_short
44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
via surya_layout
45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
via surya_layout
46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
via surya_layout
47 SR IV.283,284. main
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1 • • annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĪ page_header
via surya_layout
3 210 page_number
via heuristic_pagenum
4 [३. गद्य:] section_header
via surya_layout
5 ५प्रान्ते यस्य भवेत्तालो वर्णनीयस्य संज्ञया । main
via surya_layout
6 म्रातो annotation_inline
parent ligne 5
via heuristic_height
7 गीयते यत् तदत्राहुर्गद्यं गीतविशारदा: ॥३८५॥ main
via surya_layout
8 [४.दण्डक:] section_header
via surya_layout
9 तालयुक्तं स्वरोपेतं मध्ये- ६पाटविराजितम् । main
via surya_layout
10 पुन: पदसमायुक्तं गानं तद् दण्डकं विदु: ॥३८६॥ main
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11 दण्डको बुधैः main
via surya_layout
12 [५. वर्णः] section_header
via surya_layout
13 विभूतित्यागसौभाग्यबिरुदै: समलङ्कृत: । main
via surya_layout
14 ॰(तम् ? तः) annotation_inline
parent ligne 13
via heuristic_markers
15 •विस्तै: main
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16 विभृत्याग + annotation_inline
parent ligne 15
via heuristic_height
17 तालेनापि च युक्त: स्याद् वर्ण: कर्णाटभाषया ॥३८७॥ main
via surya_layout
18 ٦٧ page_number
via heuristic_pagenum
19 [६.पद्धडी] section_header
via surya_layout
20 स्वरपाटसमायुक्ता तालेन च समन्विता । main
via surya_layout
21 <sup>८</sup>कयापि भाषया युक्ता बिरुदै: सा तु पद्धडी ॥३८८॥ main
via surya_layout
22 पाटली annotation_inline
parent ligne 21
via heuristic_height
23 <i>्</i>विभाषया annotation_inline
parent ligne 21
via heuristic_height
24 [७. अडिला] section_header
via surya_layout
25 यत्र स्यात् स्वरिवन्यासः प्रतिपादान्तमुज्ज्वलः । main
via surya_layout
26 ॰पादा (द्ध?मु)॰ annotation_inline
parent ligne 25
via heuristic_markers
27 तालेन च समायुक्त: <sup>९</sup>अडिला नामतो भवेत् ॥३८९॥ main
via surya_layout
28 अधिला नामशो (?) main
via surya_layout
29 [८.चतुष्पदी] section_header
via surya_layout
30 यत्र प्रतिपदार्थं तु गीतं तालयुतं भवेत्। main
via surya_layout
31 परूप्रतिः annotation_inline
parent ligne 30
via heuristic_short
32 <sup>१</sup>॰स्वरतेनकसंयुक्तैः सा चतुष्पदिका भवेत् ॥३९०॥ annotation_inline
parent ligne 30
via heuristic_markers
33 तातेन्तकैस्वासंयुक्तैः स्वाचतुष्पीटिका भवेत् (?) main
via surya_layout

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1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
via surya_layout
4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
via surya_layout
12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
parent ligne 20
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
parent ligne 23
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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1 47 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 When it (ṣāḍjī) is sung as hexatonic, then the sparseness<sup>59</sup> of ṛṣabha has to main
via surya_layout
4 be brought about, (and) there is abundance of the remaining svaras. main
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5 [ Anu. 147] editorial_bracket
parent ligne 4
via heuristic_brackets
6 And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete main
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7 state and four ṣāḍavas, because when gāndhāra is amśa, it excludes the main
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8 formation of ṣāḍava. The amśas have been written as such so that they main
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9 become clear. annotation_inline
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10 There is the state of śuddhā with ṣadja as the amśa and ṣadja is the apanyāsa. main
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11 In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being main
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12 irrelevant). In the sadava state (they are) nine-fold (auduvita being main
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13 irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, main
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14 excluding (its) šuddhā (form). main
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15 And it has the <math>m\bar{u}rchan\dot{a}^{60}</math> beginning with dhaivata. (The <math>t\bar{a}la</math>) ekakala main
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16 pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra main
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17 (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika main
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18 mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala main
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19 pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of main
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20 tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and main
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21 adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is main
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22 (prescribed) in the singing of dhruvā(s) in the first scene (or act). main
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23 [2. Ārşabhī] section_header
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24 [Anu. 148] editorial_bracket
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25 (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves main
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26 are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the main
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27 extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto main
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28 nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- main
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29 dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is main
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30 devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, main
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31 gandhara and pancama. In the auduvita form, there is the sparseness of main
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32 gāndhāra and madhyama and the profusion of the remaining (svaras). main
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33 [Anu. 149] editorial_bracket
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34 And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās main
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35 in the complete state are three, in the sadava state are three and in the main
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36 auduva state are (also) three, thus in the complete state are three, in the main
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37 ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with main
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38 pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the main
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1 BRHADDEŚĪ page_header
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2 106 page_number
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3 [अनु॰ १८८] editorial_bracket
parent ligne 4
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4 अस्यार्थ: - गौडकैशिको रागो मध्यमग्रामसम्बन्ध: कैशिकोषड्जमध्यमाभ्यां जात: main
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5 रा(मो?गो) annotation_inline
parent ligne 4
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6 षड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यास:। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति<sup>६४</sup>। main
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7 त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि main
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8 ग्रामद्वयजातौ जात:, तथापि मध्यमोऽस्य ग्राम:, न षड्ज:<sup>६५</sup> । तथा दर्शनात् । करुणे चास्य main
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9 पद्जी annotation_inline
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10 मध्यम: annotation_inline
parent ligne 8
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11 विनियोगः । वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला, main
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12 वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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13 [३.गौडकैशिकमध्यम:] section_header
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14 <sup>६६</sup>षड्जांशो मध्यमन्यास: षड्जमध्यमया कृत: । main
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15 ॰मध्यम(वा?या) annotation_inline
parent ligne 14
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16 परिपूर्णस्वर: प्रोक्तो गौडकैशिकमध्यम: ॥ ३१८॥ main
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17 [अन्॰ १८९] section_header
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18 अस्यार्थ: - गौडकैशिकमध्यम: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
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19 प(इज)मध्यमाजाते(त?)र्जातत्वात् main
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20 ग्रहोंऽशश्च । मध्यमो न्यास: । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोग: । main
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21 वीरादिको रस:। षड्जादिमूर्छना। आरोही वर्ण:। प्रसन्नमध्योऽलङ्कार:। दक्षिणे कला, वार्तिके main
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22 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । unknown
via fallback
23 [गौडरागाणां ग्रामविभाग:] section_header
via surya_layout
24 इदानीं गौडानां ग्रामविभागमाह - main
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25 गौडपञ्चमक: षड्जे गौडकैशिकमध्यम:। main
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26 ॰पञ्चं(ग?क): annotation_inline
parent ligne 25
via heuristic_markers
27 गौडकैशिकरागस्तु मध्यमग्रामसंश्रय:॥ main
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28 त्रयो गौडा: समाख्याता रागान् वक्ष्याम्यत: परम् ॥ ३१९॥ main
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29 (vide) annotation_inline
parent ligne 28
via heuristic_height
182 lignes a valider — change uniquement les roles incorrects.