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 20755). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p015 RIGHT — 37 lignes

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1 TRANSLATION page_header
via surya_layout
2 13 page_number
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3 [2. The definition of amsa] section_header
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4 [Anu. 120] editorial_bracket
parent ligne 3
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5 After this amsa is being spoken of; that is known as tenfold according to main
via surya_layout
6 the division of its angas (lit. limbs, here functions). Anisa is that which leads main
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7 to the manifestation of raga (delight) in the course of its operation; this is its main
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8 first (function). And the second anisa (in its functioning) is that with which main
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9 gīta (melodic organisation and performance) begins and proceeds, which is main
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10 vikalpita (alternatively arranged) as graha, this is its second (function). That main
via surya_layout
11 amsa is third (in its functioning) which is the cause of the manifestation of main
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12 tāra (high) and mandra (low). The ascent up to the fifth svara is (the range main
via surya_layout
13 of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just main
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14 as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). main
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15 Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator main
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16 . annotation_inline
parent ligne 15
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17 ofmandra is also amsa on account of descent in seven svaras. Just as in the main
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18 ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā main
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19 <math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela main
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20 amśa which is used profusely; this is the fourth (function). That svara is also main
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21 amsa which stands as the object (here content) of raga; this is the fifth main
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22 (function). That is also amsa which is perceptible in (the operation of) main
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23 graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, main
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24 eighth, ninth and tenth (function).<sup>16</sup> main
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25 [The definition of apanyasa forming part of that of amsa section_header
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26 [Anu. 121] section_header
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27 • annotation_inline
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28 That is apanyāsa, where gīta (melodic rendering) is supposed or appears main
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29 to be ending; this occurs in the middle of all vidārīs (sub-sections). That main
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30 vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and main
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31 pada-vidārī 18 (splitting of the melodic- cum-textual units). main
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32 (Contention) What is signified by the word vidārī (?) It is the splitting or main
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33 separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma main
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34 (melodic structure) could be (understood) as such. main
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35 [The definition of samnyāsa forming part of that of amśa] section_header
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36 [Anu. 122] section_header
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37 Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when main
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vol_II_p029 RIGHT — 18 lignes

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1 ş annotation_inline
parent ligne 4
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2 41 page_number
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3 TRANSLATION page_header
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4 "Şadjamadhyamā is not desired to be with six svaras when the seventh main
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5 (niṣāda) is the amśa, because of the non-omission of the samvādī (of the main
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6 amsa); similarly it is not desired to be so when gandhara (is the amsa). main
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7 In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava main
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8 (non-ṣāḍava) and in ṣaḍjā (jātī) the amśa gāndhāra should be known as such. main
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9 O twice-born ones! when dhaivata is the amśa in ṣadjodīcyā there is no ṣāḍava main
via surya_layout
10 (form) because of the non-omission of the samvādī. These seven (amśas) are main
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11 devoid of the state of making six svara forms. main
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12 In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh main
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13 (niṣāda) should be known to be such as disallowing the formation of main
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14 auduvita. annotation_inline
parent ligne 13
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15 In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, main
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16 similarly dhaivata in kaiśiki - these twelve should be avoided in making main
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17 pentatonic (forms). These jātis should always be treated as anauduvita (non- main
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18 pentatonic), when based on the above svaras. main
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vol_I_p056 LEFT — 41 lignes

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1 BRHADDEŚI page_header
via surya_layout
2 94 page_number
via heuristic_pagenum
3 ग्रंसरि रिस रिंग गरि गम मंग मंप पम पंध धंप धनि निध निस सनि [ इति ] editorial_bracket
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4 [ १२ ] editorial_bracket
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5 प्रेङ्खोलितः। main
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6 [ अनु。 ८२ ] editorial_bracket
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7 अंशाच्चतुर्थं पञ्चमं वा स्वरं गत्वा यत्र मन्द्रे पुनरागम्यते [ स ] तारमन्द्रप्रसन्नः। editorial_bracket
parent ligne 5
via heuristic_brackets
8 रिगमपधरि गमपधनिग मपधनिसम। अथवा मन्द्रस्वरात् तारं main
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9 यथा—18सरिगमपस annotation_inline
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10 [ १३ ] editorial_bracket
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11 गत्वा पुनः सहसा मन्द्रवशादागम्यते स तारमन्द्रप्रसन्नः। main
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12 (व) .द्वा. annotation_inline
parent ligne 11
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13 [ अनु₀ ८३ ] editorial_bracket
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14 मन्द्रात् सहसा तारं प्राप्य मन्द्रत्वेन क्रमेणावरोहान्मन्द्रतारप्रसन्नः । [ यथा - ] editorial_bracket
parent ligne 11
via heuristic_brackets
15 ₹ः annotation_inline
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16 ⋴रः annotation_inline
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17 19सपमगरिस रिधपमगरि गनिधपमग मसनिधपम। अथवा—मन्द्रस्वरात् main
via surya_layout
18 तारस्वरमुच्चार्य क्रमेणावरुह्य च मन्द्र एवागम्यते [ स ] मन्द्रतारप्रसन्नः। editorial_bracket
parent ligne 17
via heuristic_brackets
19 १४। annotation_inline
parent ligne 17
via heuristic_height
20 यथा - ससनिध पमगरिस [ इति ] मन्द्रतारप्रसन्नः। editorial_bracket
parent ligne 17
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21 [ अनु॰ ८४ ] editorial_bracket
parent ligne 17
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22 द्विरूपश्च प्रस्तारः स्थायिन्यारोहिणि च। तत्र स्थायिन्येकस्वरः स्वस्मात् main
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23 स्य (?) annotation_inline
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24 ्यी त्या, इणी main
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25 विक annotation_inline
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26 क्रमशस्तारमन्द्रा [-रोहा-] वरोहणेन [ आरोहिणि च ] मन्द्रतारारोहणेन[ ावरोहणेन ] editorial_bracket
parent ligne 24
via heuristic_brackets
27 स्वरेण [ ? ] प्रस्तारः । [ यथा ] सरिरिस सरिगगरिस [ सरिगममगरिस ] editorial_bracket
parent ligne 24
via heuristic_brackets
28 सरिगमपपमगरिस सरिगमपधधपमगरिस सरिगमपधिनिनिधपमगरिस main
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29 सरिगमपधनिससनिधपमगरिस 20अथवा 21सरिरिस रिगगरि गममग मपपम पधधप main
via surya_layout
30 १५ page_number
via heuristic_pagenum
31 धनिनिध निससनि [ इति ] प्रस्तारः। editorial_bracket
parent ligne 29
via heuristic_brackets
32 [ अनु₀ ८५ ] editorial_bracket
parent ligne 29
via heuristic_brackets
33 प्रस्तार-विपरीतः प्रसादः यथा- main
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34 प्रस्वस्तारः पविपरितः ( ? ) annotation_inline
parent ligne 33
via heuristic_height
35 सनिनिस सनिधधनिस सनि [ ध ] पपधनिस सनिधपममपधिनस editorial_bracket
parent ligne 33
via heuristic_brackets
36 सा annotation_inline
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via heuristic_height
37 सा annotation_inline
parent ligne 33
via heuristic_height
38 सा annotation_inline
parent ligne 33
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39 सनिधपमगगमपधनिस सनिधपमगरिरिगमपधनिस सनिधपमगरिससरिगमपधनिस। main
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40 सा annotation_inline
parent ligne 39
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41 सा page_footer
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vol_II_p093 RIGHT — 29 lignes

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1 169 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- main
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4 nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. main
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5 Dākşiņātyā [ii] editorial_bracket
parent ligne 4
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6 Combined with dhaivata as the initial and concluding note, embellished main
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7 with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. main
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8 (Mutual) movement between gändhära and dhaivata is seen here in a dense main
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9 manner. annotation_inline
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10 (107) annotation_inline
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11 Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. main
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12 Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā main
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13 sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] editorial_bracket
parent ligne 12
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14 Combined with dhaivata as the initial and concluding note, hexatonic, main
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15 devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of main
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16 Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two main
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17 śrutis each is sung. annotation_inline
parent ligne 16
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18 (108) annotation_inline
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19 Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā main
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20 ririrīnisāninidhādhā. Šrīkaņţhī [iv] editorial_bracket
parent ligne 19
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21 Having madhyama as amśa, dhaivata as the concluding note, weak in main
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22 ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the main
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23 Nāga<sup>49</sup> people and is made of sweet svaras alongwith gamakas. (Mutual) main
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24 movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. main
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25 <math>(109-110)</math> annotation_inline
parent ligne 24
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26 Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā editorial_bracket
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27 nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā main
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28 māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā main
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29 nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v] editorial_bracket
parent ligne 28
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vol_I_p050 RIGHT — 44 lignes

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1 83 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
parent ligne 7
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
parent ligne 11
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
parent ligne 34
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
parent ligne 40
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42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
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43 Matsarikṛtā (5) annotation_inline
parent ligne 40
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44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
via surya_layout
169 lignes a valider — change uniquement les roles incorrects.