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 20905). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p097 LEFT — 33 lignes

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1 (vide) annotation_inline
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2 176 page_number
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3 BRHADDEŚĪ page_header
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4 उदाहरणम् - धाधानिधासासानिधा धानिधाधाधापामागारिरिरिगामपापाधा main
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5 पगारिरिधमाधापा- annotation_inline
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6 पाधा पामरिगामानी annotation_inline
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7 धापाधाधा धामपाधापानिरिगरिसारिधा रिधारिधारिपाधाधाधाधानि। सासा- main
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8 প্ৰাণ annotation_inline
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9 रिगागामसामपमाधाधा धापाधासानिधैवतधाधा । धैवतभूषिता । [३] editorial_bracket
parent ligne 7
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10 विशाला पञ्चमांशा तु धैवतान्ता मनोहरा। main
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11 सुसम्पूर्णस्वरा होषा ११८ सञ्चार: सधयोर्हि च ॥ main
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12 शो धैवतस्तत: annotation_inline
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13 एषा भाषा तु विज्ञेया किन्नरैर्गीयते सदा ॥ १३०॥ main
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14 उदाहरणम् – पाधासासाधानी गासानिधाधा। पाधाधा। निसासानीधा पामागानिनिनिरिगामामा– main
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15 नीधानिसारिगारिसासानिधा रिगास निसानिधानि नीधापधधधपापामागारिरिधा- main
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16 गाममधा annotation_inline
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17 रिरिममध्यमगमापापापा निधधधधपामाधा निसासासारिरिरिमममपमपापाधा नीसानीधापाधा- main
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18 धा पानिनिनिसासामधापाधानिधा । विशाला । [४] editorial_bracket
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19 एता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषा:। main
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20 भित्रप(ञ्च)मभाषा(:) annotation_inline
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21 [९ अथ बोट्टरागे ] section_header
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22 पोट्ट annotation_inline
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23 पञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज्ज्वला । main
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24 <sup>११९</sup>धैवतनिषादसञ्चारो दृश्यते <sup>१२०</sup>बहुल: सदा ॥ १३१॥ main
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25 ॰निपाद: annotation_inline
parent ligne 24
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26 एषा बङ्गालभाषा तु बोट्टरागे प्रगीयते । main
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27 (तु) annotation_inline
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28 सर्वेषां मङ्गलानां च नायकैर्गीयते सदा ॥ main
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29 मङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता ॥ १३२ ॥ unknown
via fallback
30 उदाहरणम् - पाधापाधामा धापामा गारिरिरिगमपा धासागासानिधापापामा । मङ्गला । [१] editorial_bracket
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31 माङ्गाली annotation_inline
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32 [१०. अथ मालवपञ्चमे] section_header
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33 ······<sup>१२१</sup>[ भाविनी ] table
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vol_II_p010 RIGHT — 24 lignes

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1 The Great Treatise on Desi Music section_header
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2 Composed by Śrī Matanga Muni section_header
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3 [ Chapter II ] editorial_bracket
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4 [ Jātis ] editorial_bracket
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5 [1. Their number, nomenclature and types] editorial_bracket
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6 [Number and nomenclature] editorial_bracket
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7 [Anu. 114] editorial_bracket
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8 Now he (the author)spoke (speaks) about the nomenclature of jātis at main
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9 the appropriate time and place. The jātis are only eighteen. These become main
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10 one hundred and forty in number according to all the variations of amsa main
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11 svaras. annotation_inline
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12 <math>\it J\bar{a}tis</math> are only eighteen as has been said earlier by Brahmä? I shall explain <math>^3</math> main
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13 them according to the distinction of their graha, amsa and the like. main
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14 (185) main
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15 [The jātis of şadjagrāma] section_header
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16 Ṣāḍjī and ārṣabhī and dhaivatī, then niṣādinī, ṣaḍjodīcyavatī and ṣaḍjakaiśikī main
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17 and ṣadjamadhyā (these are the jātis) based on ṣadjagrāma. main
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18 (186, 187) annotation_inline
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19 Thus end the seven (jātis) based on ṣadjagrāma . main
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20 [The jātis of madhyamagrāma] section_header
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21 After this, I shall speak of the jātis based on madhyamagrāma. main
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22 (188) annotation_inline
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23 Gändhäri, madhyamä and pañcami and similarly gändhärodicyavā and main
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24 gāndhārapañcamī, after that raktagāndhārī and similarly madhyamodīcyavā, main
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vol_II_p135 RIGHT — 40 lignes

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1 PÄŢHAVIMARŚA page_header
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2 253 page_number
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3 135. cf. पूर्णतायां पडंशा: पाडवत्वे चत्वार इति मतङ्गोक्ता दशांशा वेदितव्या: । main
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4 Kalā on SR I. 7. 59 -63, p. 196. main
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5 136. cf. गान्धारें ऽशे पाडवा एवापवादात् । ते चांशका लुप्तकात् स्फुटं ज्ञायन्ते । तेन लालिता अत्र स्वरभागे main
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6 जात्यंशकास्ता(न)पहास्य(य)..... main
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7 Abhi Bhā on NŚ XXVIII. 95-97, p. 54. main
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8 137. cf. "शुद्धत्वे पड्जधापन्यास: " main
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9 C.r. in Kalā on SR I. 7. p. 201. Ṣādjīprastāra. main
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10 138. P.t. reads prathamapaksepage and BhaKo p. 57 reads- list_item
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11 prathamaprekşanike. list_item
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12 139. P. t. begins with confused reading as follows, which has been list_item
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13 dropped- list_item
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14 आर्यभी शुद्धा गीयते । निपादपञ्चमाल्पत्वम् ऋषभगान्धारमध्यमपञ्चमधैवतनिपादा: पङ्जपङ्ज: मिलित्वा...... पध्याम् । main
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15 BhaKo, p. 57 reads - main
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16 आर्पभी शुद्धा गीयते । निषादपञ्चमाल्पत्वम् । रिषभधैवतनिषादा ग्रहा: । main
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17 140. Reconstruction based on BhaKo p. 57. list_item
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18 141. Reconstruction based on Abhi. Bhā. on NŚ XXVIII. 98, p. 55. list_item
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19 BhaKo p. 57 reads - ‘ṣaḍjadhaivatapañcamāḥ’. list_item
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20 142. P.t. adds here the following confused reading, which has list_item
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21 been dropped- list_item
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22 मात्रा ॥ ६९॥ दक्षिणे कला । main
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23 143. P.t. adds here - 'dhaivatādimūrchanā' which is out of context. list_item
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24 144. Reconstruction based on BhaKo p. 298. list_item
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25 145. BhaKo, p. 298 reads - ' dhaivata eva nyāsalı'; reconstructed list_item
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26 according to context. list_item
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27 146. P.t. adds - Pañcamaṣadjahīnam ṣāḍavam which is confused and list_item
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28 redundant. list_item
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29 147. cf. आरोहिणाबारोहिवर्णगौ सपौ लङ्घ्यौ लङ्घनीयौ; पूर्णावस्थायामल्पतरौ कर्तव्यावित्यर्थ:।एतेनावरोहे list_item
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30 सपावल्पौ कर्तव्यौ, न त्वल्पतराविति गम्यते । list_item
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31 Kalā on SR I. 7.75cd, p.216, 217. main
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32 BhaKo p. 298 reads - 'svarau balau '. main
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33 148. P.t. adds the following confused reading after this, which has main
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34 been dropped- annotation_inline
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35 पूर्णावस्थायां षड्जगान्धारमध्यमपञ्चमनिषादानामल्पत्वम् । शेषाणां च बहुत्वम् । main
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36 149. BhaKo p. 298 reads - ‘<i>vārtike sambhāvitā gītiḥ</i>’. list_item
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37 150. Reconstruction based on c.r. in Kalā on SR I.7.77, 78, p. 120. list_item
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38 151. Reconstruction (addition) based on ibid. list_item
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39 152. Reconstruction based on SR I.7.81-83.c.r. and Kalā on the list_item
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40 (vide) annotation_inline
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vol_II_p127 RIGHT — 30 lignes

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1 TRANSLATION page_header
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2 237 page_number
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3 [5. Drāvidailā] section_header
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4 The <i>elā</i> born in the <i>draviḍa</i> region is adorned with <i>bhāva</i>, <i>abhinaya</i> and <i>tāla</i>, main
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5 coloured with variegated sounds, devoid <math>^{85}</math> of prāsa and established in rasa. main
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6 (472) annotation_inline
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7 Thus end the five <i>clās</i> bearing regional names. main
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8 [The number of <i>Elās</i>] section_header
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9 Ganailā has been said to be fourfold, the fifth is of the nature of sankara main
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10 (mixture); mātrailā has been spoken of with four varieties, by the experts in main
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11 music. annotation_inline
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12 (473) main
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13 Varņailā has been described as having fourteen varieties, deśailās have main
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14 been said to be five-fold according to the distinction of region. main
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15 (474) annotation_inline
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16 Altogether these are known to be twenty-eight in number by the experts main
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17 in the science of music, they are combined with their respective characteristics. main
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18 (475) annotation_inline
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19 [Thus end the varieties of <i>elā</i>] editorial_bracket
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20 [36. Jhombada] section_header
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21 Where half of the (first) foot is sung in repetition and then the second half main
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22 of the same is sung and there is alliteration between the two, similarly is sung main
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23 its second foot, in the same way the third foot and where the foot that is the main
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24 fourth one is sung at the end of each of all the feet, that is called <i>jhombada</i> main
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25 by the experts in music. main
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26 <math>(476-478)</math> main
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27 The tāla named kankāla never obtains in jhombadaka. All other tālas main
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28 related to desi obtain here. There are varieties of jhombada, adorned with main
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29 tenaka. annotation_inline
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30 (479) main
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vol_II_p059 RIGHT — 37 lignes

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1 101 page_number
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2 TRANSLATION page_header
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3 [Anu. 180] editorial_bracket
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4 This means-leaving the other jāti and taking up its own root i.e. bedecked main
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5 with its own jāti and kula (is formed the śuddhabhinna).54 main
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6 [4. Bhinnakaisika] section_header
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7 [Anu. 181] editorial_bracket
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8 The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. main
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9 What is then the difference? The difference is formed by gīti. Śuddhakaiśika main
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10 is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung main
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11 This is being said - annotation_inline
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12 The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in main
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13 śuddhakaiśika, the rāga is not elaborated with the same svasthāna in main
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14 bhinnakaisika. And its description is thus - main
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15 Bhinnakaiśika is known by the knowledgeable ones in svara to have a form main
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16 similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa main
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17 (and) is complete with the seven svaras. main
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18 (311) annotation_inline
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19 [Anu. 182] editorial_bracket
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20 This means - bhinnakaiśika is related to madhyamagrāma on account of being main
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21 born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the main
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22 nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like main
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23 śuddhakaiśika, yet there is a difference. This has abundance of mandra (low main
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24 notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in main
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25 śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that main
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26 svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and main
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27 thus it becomes distinct on account of difference in form. Its application is main
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28 prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. main
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29 The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is main
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30 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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31 vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains main
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32 in the songs comprised of svara and pada. main
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33 (Śruti-bhinna) section_header
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34 Now he (the author) has spoken of the definition of śruti-bhinna - main
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35 Where the svara comprised of four śrutis is modified by the one comprised of two main
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36 śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. main
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37 (312) annotation_inline
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164 lignes a valider — change uniquement les roles incorrects.