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 20839). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p089 RIGHT — 31 lignes

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1 TRANSLATION page_header
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2 161 page_number
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3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
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4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
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5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
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7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
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8 synonym of hindolaka). main
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9 (88) annotation_inline
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
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16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
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18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
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29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
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vol_II_p044 RIGHT — 46 lignes

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1 TRANSLATION page_header
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2 71 page_number
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3 gā pā mā pā nī nī nī nī table
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4 (11) table
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5 mă pă mă pariga gā gā gā gā table
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6 (12) table
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7 ni ni pā dhā ni gā gā gā table
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8 (13) table
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9 nî nî nî nî nî nî nî nî table
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10 (14) table
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11 mã mã dhã nĩ sani dhã pã pã table
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12 (15) table
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13 mā pā mā pariga gā gā gā gā table
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14 (16) table
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15 Thusends gāndhārapancami. section_header
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16 [8. Āndhrī] section_header
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17 In <i>āndhrī, niṣāda, ṛṣabha, gāndhāra</i> and <i>pañcama</i> are the <i>aniśas</i>. There is main
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18 concert between ṛṣabha-gāndhāra and niṣāda-dhaivata. One should proceed main
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19 upto the nyāsa according to the order of the respective amsas. main
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20 (21) annotation_inline
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21 The hexatonic form comes into being with the omission of sadja. The main
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22 mūrchanā beginning with madhyama obtains. The kalās, tāla and viniyoga main
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23 (application) are said to be as in the previous one (gāndhārapañcamī). main
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24 (22) annotation_inline
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25 Gāndhāra is the nyāsa in this āndhrī. The amsas themselves are apanyāsas. main
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26 The <i>prastāra</i> is thus – main
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27 gārirīrīrīrīrīrī table
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28 (1) table
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29 rī gā rī gā rī rī rī rī table
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30 (2) table
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31 rī rī gā gā rī rī mā mā table
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32 (3) table
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33 rī gā sā dhani nī nī nī nī table
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34 (4) table
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35 ni ri ni ri dhani dhani pā pā table
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36 (5) table
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37 mā pā mā riga gā gā gā gā table
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38 (6) table
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39 rī rī gā sa ma mā mā pā pā table
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40 <b>(7)</b> table
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41 mā pā mā riga gā gā gā gā table
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42 (8) table
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43 dhā nī gā gā gā gā gā gā table
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44 (9) table
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45 pā pā mā riga gā gā gā gā table
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46 (10) table
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vol_II_p034 LEFT — 30 lignes

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1 BRHADDEŚÏ page_header
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2 50 page_number
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3 पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र: । main
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4 <b>(</b>Y) annotation_inline
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5 [अनु॰ १५३] editorial_bracket
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6 गान्धारादिमूर्छना । तालश्चच्चत्पुट: । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] editorial_bracket
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7 चतुष्यष्टिः annotation_inline
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8 चित्रेऽष्टौ । दशविधत्वं चास्या: । दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय editorial_bracket
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9 शुद्धास्त्रयो annotation_inline
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10 औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: । editorial_bracket
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11 [५. षड्जकैशिकी] section_header
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12 [अनु॰ १५४] editorial_bracket
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13 षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तार: । editorial_bracket
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14 न्हाः annotation_inline
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15 न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् । main
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16 - ऋषभस्याल्पतरत्वम्, annotation_inline
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17 थैवतनिषादग्रहा । मध्यमानामल्पत्वम् annotation_inline
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18 शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च । main
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19 (ना ? न्या)सस्तु गा(मागा ? न्या)रः । main
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20 ्याः अष्टधैव annotation_inline
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21 [अनु॰ १५५] editorial_bracket
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22 नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः, main
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23 अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः main
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24 द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुण: । प्रथमप्रवेशगीते main
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25 द्वितीयप्रेक्षणके विनियोग:। main
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26 [६. षड्जोदीच्यवा] section_header
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27 [अनु॰ १५६] editorial_bracket
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28 षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो main
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29 ्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् । main
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30 <sup>१५२</sup>पूर्णावस्थायामृषभ- main
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vol_I_p049 RIGHT — 37 lignes

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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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vol_II_p092 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 167 page_number
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3 Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda), main
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4 there is (mutual) movement between madhyama-dhaivata and abundance of main
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5 pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā main
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6 (mixed). annotation_inline
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7 (102) main
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8 Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั- main
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9 sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x] editorial_bracket
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10 These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika. main
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11 (103) main
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12 [6. Bhāṣāsin bhinnaṣaḍja] section_header
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13 After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>. main
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14 (104) annotation_inline
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15 Having dhaivata as amsa and the same as concluding note, being devoid main
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16 of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja- main
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17 gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist main
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18 in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46 main
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19 (105) annotation_inline
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20 lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg main
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21 ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี main
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22 gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā main
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23 dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā main
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24 Suddhā [i] editorial_bracket
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25 Having dhaivata as amsa, dhaivata as the concluding note, the concert main
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26 between sadja-dhaivata, there being (mutual) movement between sadja- main
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27 dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa main
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28 (region)<sup>47</sup> and is born of (bhinna) şadja. main
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29 (106) main
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173 lignes a valider — change uniquement les roles incorrects.