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 21095). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p045 LEFT — 51 lignes

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1 BRHADDEŚĪ page_header
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2 72 page_number
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3 नी नी नी नी री री री री table
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4 (११) table
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5 री री मा नी सा सा नी नी table
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6 (१२) table
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7 पा पा मा गरि गा गा गा गा table
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8 (१३) table
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9 री री गा सम मा मा पा पा table
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10 (१४) table
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11 मा मा नी नी सा री गा पा table
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12 (१५) table
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13 (१६) table
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14 रिग मा मा मा मा मा मा मा table
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15 [॥ इत्यान्ध्री॥] section_header
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16 अन्ध्री । म॥ section_header
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17 [९. नन्दयन्ती] section_header
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18 नन्दयन्त्यां पञ्चमोंऽशो गान्धारस्तु ग्रह: स्मृत: । main
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19 कैश्चितु पञ्चम: प्रोक्तो ग्रहोऽस्यां गीतवेदिभि: ॥ २३॥ main
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20 मन्द्रर्षभस्य बाहुल्यं षाडवं षड्जलोपत:। main
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21 (मन्द्र) annotation_inline
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22 हृष्यका मूर्छना ताल: पूर्ववद् द्विगुणा: कला: ॥ २४॥ main
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23 <sup>१८८</sup>पूर्वावद् main
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24 <b>॰</b>ना annotation_inline
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25 विनियोगो ध्रुवागाने प्रथमप्रेक्षणे भवेत् ॥ २५॥ main
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26 <sup>१८९</sup>अस्यां गान्धारो न्यास: । मध्यमपञ्चमावपन्यासौ । <sup>१९०</sup>प्रस्तार: - main
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27 गा गा गा पा पा धप मा main
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28 <b>(१)</b> unknown
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29 धा धा धा धा नी सनि धा table
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30 (२) table
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31 पा पा पा पा पा पा पा table
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32 (3) table
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33 धा नी मा पा गां गां गां गां table
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34 (8) table
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35 मारी गा गा गा गा गा गा table
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36 (4) table
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37 मा पा मा पा धा धनि पा पा table
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38 <b>(६)</b> table
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39 धा नी मा पा गा गा गा गा table
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40 (৩) table
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41 (८) table
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42 गम पा पा पा मा मा गा गा table
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43 धा नी मा पा गा गा गा गा table
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44 (9) table
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45 (१०) table
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46 मा मा मा मा मा मा मा table
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47 री गा मा पा पम पा पा नी table
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48 (११) table
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49 री री री री पा पा मा मा table
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50 (१२) table
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51 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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vol_II_p074 RIGHT — 35 lignes

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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
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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
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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
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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
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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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vol_II_p115 LEFT — 32 lignes

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1 212 page_number
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2 BRHADDESI page_header
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3 [९. दोधक:] editorial_bracket
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4 ररअर्धं गीत्वा परार्धं तु तस्योपरि ततस्वरम् ॥३९१॥ main
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5 परार्थ annotation_inline
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6 अर्थ annotation_inline
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7 ततापरि annotation_inline
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8 ॰स्वरा(?) annotation_inline
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9 [१०. तोटक:] editorial_bracket
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10 <sup>1</sup>/<sub>1</sub>[.....] editorial_bracket
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11 [११. वस्तु] editorial_bracket
parent ligne 4
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12 यत्र पाटाश्च तेत्राश्च शेषं भवेत् ततस्वरम् । main
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13 ततो परी annotation_inline
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14 . . . . annotation_inline
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15 देशीगीतेऽपि वस्तु स्यात्राटकेऽपि प्रयुज्यते<sup>१३</sup> ॥३९२॥ main
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16 [१२. क्रौञ्चपद:] section_header
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17 गीतस्तु प्रतितालेन पदस्वरसमायुत:। main
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18 ॰(ना?ता)॰ annotation_inline
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19 मतः क्रौञ्चपदो नाम स तु गान्धर्ववेदिनाम् १४॥३९३॥ main
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20 [१३.हंसपद:] section_header
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21 संस्कृतं पादमेकं तु द्वितीयं देशसंयुतम्। main
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22 सप्रासं गीयते यत्तद् गीतं हंसपदं विदुः १५॥३९४॥ main
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23 यम annotation_inline
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24 [१४.शुकसारिक:] section_header
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25 यस्तु तालपदोपेत[:] पदपाटविराजित:। editorial_bracket
parent ligne 24
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26 प्रश्नोत्तरसमायुक्तः स तूक्तः शुकसारिकः ॥३९५॥ main
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27 ॰यु(के:?क:) सदोक: annotation_inline
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28 न्तः annotation_inline
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29 [य: स्यात्] कर्णाटभाषायामथवा मिश्रितो यदि । editorial_bracket
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30 ٠ page_number
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31 + annotation_inline
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32 संवादकपदोपेत: स भवेच्छुकसारिक: १६॥ ३९६॥ main
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vol_II_p037 RIGHT — 41 lignes

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1 ¶ Visi annotation_inline
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
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9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
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10 and gändhära. main
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11 [Anu. 163] section_header
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12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
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13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
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15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
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16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
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29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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vol_II_p083 RIGHT — 33 lignes

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1 4 - 1 annotation_inline
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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
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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
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24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
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25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
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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
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
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33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
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192 lignes a valider — change uniquement les roles incorrects.