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 21161). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p040 RIGHT — 35 lignes

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1 TRANSLATION annotation_inline
parent ligne 3
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2 63 page_number
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3 sa X ga ma pa dha ni main
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4 ni sa X ga ma pa dha main
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5 dha ni sa X ga ma pa main
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6 pa dha ni sa X ga ma main
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7 ma pa dha ni sa X ga main
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8 ga ma pa dha ni sa X main
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9 X ga ma pa dha ni sa main
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10 (Tānas) devoid of rṣabha. main
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11 sa ri ga ma X dha ni main
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12 ni sa ri ga ma X dha main
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13 dha ni sa ri ga ma X main
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14 X dha ni sa ri ga ma main
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15 ma X dha ni sa ri ga main
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16 ga ma X dha ni sa ri main
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17 ri ga ma X dha ni sa main
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18 (Tānas) devoid of pañcama. main
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19 sa ri ga ma pa dha X main
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20 X sa ri ga ma pa dha main
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21 dha X sa ri ga ma pa main
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22 pa dha X sa ri ga ma main
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23 ma pa dha X sa ri ga main
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24 ga ma pa dha X sa ri main
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25 ri ga ma pa dha X sa main
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26 (Tānas) devoid of niṣāda. main
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27 Thus end the sadava [ tanas ]. editorial_bracket
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28 X ri ga ma X dha ni main
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29 ni X ri ga ma X dha annotation_inline
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30 dha ni X ri ga ma X main
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31 X dha ni X ri ga ma annotation_inline
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32 ma X dha ni X ri ga main
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33 ga ma X dha ni X ri annotation_inline
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34 ni ga ma X dha ni X main
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35 (Tānas) devoid of sa-pa. main
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vol_II_p063 RIGHT — 35 lignes

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1 . ..... ... ... ....................... annotation_inline
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2 r . annotation_inline
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3 TRANSLATION page_header
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4 109 page_number
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5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
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6 [Anu. 190] editorial_bracket
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7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
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8 account of the statement by the authorities. Similarly has said Kaśyapa - main
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9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
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13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
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15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
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17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
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18 being gratifying to Laksmi.65 That is thus - main
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19 [1. Takkarāga] section_header
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20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
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21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
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22 (320) main
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23 [Anu. 192] section_header
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24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
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25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
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26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
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27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
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28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
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29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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31 caccatputa obtains in the songs comprised of svara and pada. main
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32 [2. Sauvīra] section_header
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33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
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34 and niṣāda also is weak. main
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35 (321) main
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1 TRANSLATION page_header
via surya_layout
2 159 page_number
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3 [4. Bhāṣās in hindolaka] section_header
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4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
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5 is formed with the (profuse) use of gandhara. The to and fro movement main
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6 between şadja and gandhara should be arranged there by the performers. main
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7 (83) unknown
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8 Illustration main
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9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
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10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
parent ligne 9
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11 Having pancama as amśa, şadja as the concluding note, being devoid of main
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12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
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13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
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14 (84) annotation_inline
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15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
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16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
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17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
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18 thus has been described chevāțī and concert between șadja-madhyama and main
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19 similarly şadja-gāndhāra should always be put up. main
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20 (85) annotation_inline
parent ligne 19
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21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
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22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
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23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
parent ligne 22
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24 Having şadja às amśa and madhyama as concluding note, being weak in main
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25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
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26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
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27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
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28 nature. It is sung also by Kinnaras.<sup>33</sup> main
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29 <math>(86-87)</math> main
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vol_I_p030 RIGHT — 28 lignes

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1 , annotation_inline
parent ligne 4
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2 43 page_number
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3 TRANSLATION page_header
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4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
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6 pa annotation_inline
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7 ga unknown
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8 ц unknown
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9 dha unknown
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10 ni annotation_inline
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11 sa annotation_inline
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12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
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13 ārcika] editorial_bracket
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14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
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16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
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19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
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20 should be known as being comprised of two svaras, the (combination of) three main
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21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
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26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
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28 is born of six angas is called sadja.53 main
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vol_II_p035 RIGHT — 37 lignes

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1 53 page_number
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2 TRANSLATION page_header
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3 rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa main
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4 does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state, main
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5 in the auduvita state there is the sparseness of none; there is abundance of main
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6 all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There main
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7 is mutual reaching out among the amsas. main
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8 [Anu. 157] section_header
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9 This is eleven-fold. There are eleven amsas, four in the complete state, main
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10 three in the sādava state, because of the exclusion of the form in which main
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11 dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa). main
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12 The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla. main
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13 With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla) main
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14 in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the main
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15 dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its main
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16 application (viniyoga) is prescribed in the singing of dhruvā (s) in the second main
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17 scene (or act). main
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18 [7.Şadjamadhyamā] section_header
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19 [Anu. 158] section_header
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20 All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra main
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21 extends upto five svaras. The mandra is upto the nyāsa or upto the svara next main
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22 to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid main
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23 of niṣāda-gāndhāra. There is free movement (sancāra) without violating the main
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24 grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra. main
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25 Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas. main
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26 [Anu. 159] section_header
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27 It is seventeen-fold. There are seventeen amsas – out of them seven obtain main
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28 in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There main
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29 is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains. main
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30 Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī main
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31 (gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti). main
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32 With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant main
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33 in all the rasas. Its application (viniyoga) is (prescribed) in the singing of main
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34 dhruvā (s) in the second scene (prekṣaṇaka).71 main
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35 Thus end these seven jātis pertaining to sadjagrāma. main
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36 [Anu. 160] section_header
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37 Now the jātis pertaining to madhyamagrāma are being said - main
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164 lignes a valider — change uniquement les roles incorrects.