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 21117). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p031 RIGHT — 38 lignes

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1 45 page_number
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2 TRANSLATION page_header
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3 (That which) reaches the heart quickly from the other (svara) is known as main
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4 rṣabha. Just as the big bull seated (or standing) among the female gos (cows) main
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5 looks splendid, similar is this svara ṛṣabha 54 born in the svara-grāma (gamut). main
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6 (56, 57 ab) annotation_inline
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7 That which holds the ganatmika vak (musical vak) is named as gandhara.55 main
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8 <math>(57 \text{ cd})</math> annotation_inline
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9 Madhyama svara is known to be so because of being the middle one among main
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10 svaras.56 Pañcama is that which measures the elaboration of svaras.57 (58) main
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11 Or, it is pañcama (fifth) in number in the order of pāṭha (lit. reading aloud main
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12 or recitation, here enumeration). Dhīvān is one who has got dhī (buddhi, main
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13 intellect), the one related to him (dhivan) is dhaivata.58 main
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14 (59) annotation_inline
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15 Or annotation_inline
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16 It is known as dhaivata because it is held on the sixth sthana (location). main
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17 (60 ab) annotation_inline
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18 The place of dhaivata is in the lalāţa (forehead), this is the meaning.59 main
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19 Niṣāda is known as such because all the svaras rest upon it.60 main
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20 <math>(60 \text{ cd})</math> annotation_inline
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21 (Anu. 29) annotation_inline
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22 But why is the rule that there are (only) seven svaras? It is being said main
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23 (answered) - (This rule is there) in the same way as (in the human body) seven main
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24 dhātus alone beginning with rasa61 are to be accepted in accordance with their main
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25 being dependent on seven dhātus62 (minerals). Similarly said Suśruta - main
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26 Tvak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen, main
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27 these are dhātus. Similarly, svaras are only seven on account of being dependent main
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28 on or dwelling in seven cakras 63 or seven dvipas 64 (lit. islands). main
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29 [ The castes of sveres ] section_header
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30 The svaras (comprised of) four śrutis are brāhmaņas,65 the ones (comprised main
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31 of) three śrutis are kṣatriyas,66 the ones with two śrutis should be known as main
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32 (61) annotation_inline
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33 vaisyas 67 and the antara-svaras are śūdras.68 main
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34 [ The drawing out of svara signs as contained in agama ] editorial_bracket
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35 Having acquired the eight groups beginning with akara and ending with main
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36 ya-śa, one should draw out70 the heptad of svaras (their abbreviated names i.e. main
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37 solfa-syllables) combined with letters and mātrās (vowel-endings). main
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38 (62) annotation_inline
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vol_II_p085 LEFT — 32 lignes

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1 BRHADDEŚI page_header
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2 152 page_number
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3 षड्जाद्यन्तसमायुक्ता सम्पूर्णा देशसम्भवा । main
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4 <sup>५४</sup>ऋषभषड्जसंवादो द्विश्रुती चाल्परूपिणौ ॥ main
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5 +++षड्जासंवादो annotation_inline
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6 िद्विश्रुति चाल्यरूपिणौ(?) main
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7 साधारणकृता होषा त्वाभीरी गीयते जनै: ॥६८॥ main
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8 आभीरी annotation_inline
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9 उदाहरणम् - सासारीरी । सासारीरी । सासारीसारी । सासानीसारीरी। सारीसारीसासानीसरीरीगारीगारी। main
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10 सनिसासा । गारीरी । गामागरी। गपापगारी । सनिसासा । सनीसासा धारीगगमासा । पमागारी। main
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11 सनीसासा । धनीधानी । साधनिसा । रिरिगामा । गामारिरि । गापामापा । मागारीरी । सासारिसारी। main
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12 सासानीसारी । रीरीसासा सानिरीरिगारि । रिगारिरि । सनि । सासागारीरि । गामगारी । सानि । main
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13 गारीरी। मागागारी । गापागारी। सनीसासासनी । सासा । रिगगमासा । पमागारी । सनिससा । main
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14 संधनिसासा । सनिधानिधाधनिसारीरी । गामागमारिरी । गापामापा । मपमा । मगारिरी । मपागारि। main
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15 सनिसासा । आभीरी । [६] editorial_bracket
parent ligne 14
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16 <sup>५५</sup>खञ्जनी पञ्चमांशा तु षड्जान्ता <sup>५६</sup>धैवतोज्झिता । main
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17 खण्डनी annotation_inline
parent ligne 16
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18 षड्जनिषादसंवादो मध्यमर्षभयोस्तथा ॥ main
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19 सङ्कीर्णा षाडवा ज्ञेया सर्वलोकस्य रञ्जिका ॥६९॥ main
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20 उदाहरणम् - पानीमारीसरि । सासासरीरि । सनि । रिरी । सनिसनि । रि । पापापानि । सरिसनि। main
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21 सगसस्। सनिरीसनीरीरी । मागारिगमा । नीपापानीसनीपापामग । पापा । नि । निमनिसरिसगसासा। main
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22 । खञ्जनी ।[७] editorial_bracket
parent ligne 21
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23 खण्डनी annotation_inline
parent ligne 21
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24 निषादांशा तु षड्जान्ता गुर्जरी देशसम्भवा । main
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25 निषादर्षभसंयोगो मध्यमर्षभयोस्तथा ॥ main
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26 सम्पूर्णा चैव विज्ञेया <sup>५७</sup>भाषा वै गेयवेदिभि:॥७०॥ main
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27 पाडवा annotation_inline
parent ligne 26
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28 उदाहरणम् - निधानीनी । रिगानिधा । निसासाधनि । धाग । रि । सागरी । सानीधानी । main
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29 गधासारी । गारीमागारी । सनिधाधानिधासरिगारी । सनीसासा । निधासानीगरी । मगरि । main
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30 मगारि । पापागारीमामा । रिधानिधानिधासरि । गरिसानीसासानीधासरीरि । निधासासा । main
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31 धनीसागा । गारीरि । मगरीमगरि । मापागरि । मगरिसनी धाधानिधासरिगरि । सनिसासा । main
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32 [गुर्जरी]।[८] editorial_bracket
parent ligne 31
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vol_II_p039 RIGHT — 48 lignes

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1 1 page_number
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2 61 page_number
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3 TRANSLATION page_header
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4 gā gama pā padha mā dhani pā pā table
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5 <b>(7)</b> table
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6 rī gā sā sadha nī nī dhā dhā table
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7 (8) table
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8 gā riga sā sani gā riga sā sā table
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9 (9) table
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10 sã sã sã mã mani dhani nĩ nĩ table
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11 (10) table
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12 (11) table
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13 mā pā mā pariga gā gā sā sā table
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14 gã sã gã sã mã pã mã pariga table
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15 (12) table
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16 gã gã gã gã gã gã sã table
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17 (13) table
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18 ni ni pā dhā ni gā gā gā table
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19 (14) table
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20 ni ni dhā pā dhā pā mā pā table
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21 (15) table
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22 (16) table
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23 dhã pã mã mã mã mã mã mã table
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24 Thus ends gändhärodīcyavatī. section_header
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25 [3. Raktagāndhārī] section_header
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26 Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The main
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27 proximity and combination of șadja and gāndhāra is brought about by main
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28 leaping over rşabha. main
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29 (7) annotation_inline
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30 The hexatonic and pentatonic forms are said to come into being with the main
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31 omission of rşabha and rşabha-dhaivata respectively. There is the abundance main
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32 of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. main
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33 (8) annotation_inline
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34 Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. main
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35 Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as main
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36 in şādjī. The mūrchanā beginning with rṣabha obtains. main
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37 (9) annotation_inline
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38 The application is (prescribed) in the dhruvā pertaining to the third main
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39 act. annotation_inline
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40 (10) main
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41 Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra main
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42 is thus – main
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43 pā nī sā sā gā sā pā nī table
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44 (1) table
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45 sã sã pã pã mã mã gã gã table
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46 (2) table
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47 mã pã dhã pã mã pã dhapa maga table
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48 (3) table
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vol_II_p104 RIGHT — 32 lignes

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1 ŀ annotation_inline
parent ligne 4
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2 TRANSLATION page_header
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3 191 page_number
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4 [3. Now in mālavapancama] section_header
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5 Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the main
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6 six (bhāṣās) in mālavapañcama. main
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7 (14) annotation_inline
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8 Having pañcama as the initial and concluding note vibhāvinī is born of a main
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9 region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained main
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10 union with an amorous woman.<sup>12</sup> main
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11 (15) annotation_inline
parent ligne 10
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12 Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini main
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13 dhānīnīdhāmāpāpā. Vibhāvinī [i] editorial_bracket
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14 .....Paurālī [ii] editorial_bracket
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15 The auspicious vegavatī should be known to have pañcama as amsa, being main
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16 complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression main
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17 or affliction) is profuse. main
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18 (16) annotation_inline
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19 Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā main
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20 dhāmā. annotation_inline
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21 Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] editorial_bracket
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22 Having pañcama as amsa and concluding note (and) being complete, main
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23 pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context main
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24 of) the song of (one with) a mature mind. 14 main
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25 (17) annotation_inline
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26 Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā main
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27 pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī main
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28 [iv] editorial_bracket
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29 Having madhyama as amśa (and) pañcama as the concluding note, andhri main
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30 is a bhāṣā born in the Āndhra region, well-known among the people (and) main
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31 is sung in (the context of) those who are corrupted by disease. 15 main
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32 (18) main
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vol_II_p094 RIGHT — 30 lignes

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1 171 page_number
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2 TRANSLATION page_header
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3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
parent ligne 7
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
parent ligne 22
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
parent ligne 29
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180 lignes a valider — change uniquement les roles incorrects.