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 21179). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_p080 RIGHT — 31 lignes

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1 143 page_number
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2 TRANSLATION page_header
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3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
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4 Gamāgāmāsādhāsārīmāmāmāsā main
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5 Gārimāmāmā. annotation_inline
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6 Dhānisā. annotation_inline
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7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
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8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
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9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
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10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
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11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
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12 <math>(47-48)</math> annotation_inline
parent ligne 11
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13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
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14 Combined with sadja as the initial and concluding note, being devoid of main
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15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
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16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
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17 seen from moment to moment. annotation_inline
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18 <math>(49-50)</math> annotation_inline
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
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21 Having pañcama as amsa and şadja as the concluding note, being main
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22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
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23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
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24 madhyama annotation_inline
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25 (51) annotation_inline
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26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
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27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
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28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
parent ligne 27
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29 Having middle and lower registers (as its range), şadja as its concluding main
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30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
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31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
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vol_II_p126 LEFT — 24 lignes

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1 234 page_number
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2 BRHADDEŚĪ page_header
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3 [७. मोहिनी] section_header
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4 पञ्चपादसमायुक्ता मूर्छनागमकान्विता । main
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5 मोहिनी नाम सा ज्ञेया वर्णेला सप्तमी शुभा ॥ ४६६॥ main
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6 [॥ इति प्रकारान्तरेण वर्णेलासप्तकम् ४४॥] editorial_bracket
parent ligne 5
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7 [ङ. देशैलाप्रकारा:] section_header
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8 लाटकर्णाटगौडान्ध्रद्रविडानां स्वभाषया । main
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9 पृथक् पृथग् भवन्त्येताः मार्गयुक्ता मनोहराः ॥ ४६७॥ main
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10 [१. लाटैला] section_header
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11 <sup>४५</sup>अन्त्यप्राससमायुक्ता मध्यादिप्रासवर्जिता । main
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12 अत: annotation_inline
parent ligne 11
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13 रसैर्भावैश्च संयुक्ता लाटैला परिकीर्तिता ॥४६८॥ main
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14 [२. कणटैला] section_header
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15 प्रासैर्मनोहरैर्दिव्यैरादिमध्यान्तगोचरै:। main
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16 एला कर्णाटिका प्रोक्ता ललितध्वनिसंयुता ॥ ४६९॥ main
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17 [३. गौडेला] section_header
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18 सर्वत्र प्राससहिता गमकैश्च विवर्जिता । main
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19 नादबिन्द्रसोपेता एला सा गौडदेशजार्ध ॥४७०॥ main
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20 नदा० annotation_inline
parent ligne 19
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21 [४. आन्ध्रैला] section_header
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22 अनेकगमकाकीर्णामनेकध्वनिमिश्रिताम् । main
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23 अनेकरागसङ्कीर्णामेलामान्ध्रीं विदुर्बुधाः ॥४७१॥ main
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24 (मन्द्रीं? मान्ध्रीं) annotation_inline
parent ligne 23
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vol_I_p043 LEFT — 32 lignes

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1 68 page_number
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2 <b>BRHADDES!</b> page_header
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3 मूर्छनेत्युच्यते, अवतानस्त्वारोहक्रमेण भवतीति भेदः। main
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4 ₀नाऽऽरोह्₀ नोऽयरोहक्रमेण annotation_inline
parent ligne 3
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5 [ तानानां यज्ञनामानि ] section_header
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6 अधुना तानानां यज्ञनामानि कथ्यन्ते— main
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7 अग्निष्टोमोऽत्यग्निष्टोमो वाजपेयोऽथ षोडशी। main
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8 पुण्डरीकोऽश्वमेधश्च राजसूयश्च सप्तमः॥१०४॥ main
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9 ॥ इति षड्जहीनषाडवताननामानि ॥३1 editorial_bracket
parent ligne 8
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10 <sup>32</sup>स्विष्टकृद् <sup>33</sup>बहुसौवर्णो गोसवश्च महाव्रतः। main
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11 —वृद ब्हः सु annotation_inline
parent ligne 10
via heuristic_height
12 विश्वजिद् अब्रह्मयज्ञश्च प्राजापत्यस्तथैव च ॥१०५॥ main
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13 बहु annotation_inline
parent ligne 12
via heuristic_height
14 ॥ इति ऋषभहीनषाडवताननामानि ॥ editorial_bracket
parent ligne 12
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15 अश्वक्रान्तो रथक्रान्तो विष्णुक्रान्तस्तथैव च। main
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16 सूर्यक्रान्तो गजक्रान्तो अबलिभिन्नागयज्ञकः॥१०६॥ main
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17 वलतीनाम वज्रको annotation_inline
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18 ॥ इति पञ्चमहीनषाडवताननामानि ॥ editorial_bracket
parent ligne 16
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19 <sup>36</sup>चातुर्मास्योऽथ <sup>37</sup>संस्थाऽऽख्यः <sup>36</sup>शास्त्रश्चैवोक्थकस्तथा। main
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20 ₄सिक्₀ annotation_inline
parent ligne 19
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21 संज्ञन्च annotation_inline
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22 ०कोत्थ₀ annotation_inline
parent ligne 19
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23 सौत्रामणिश्च चित्रा च उद्भिद्यागश्च सप्तमः॥१०७॥ main
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24 39<sub>0</sub>णी च पि. main
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25 ।। इति निषादहीनषाडवताननामानि ।। list_item
via surya_layout
26 ॥ इति षड्जग्रामे षाडवताननामानि अष्टाविंशतिः ॥ list_item
via surya_layout
27 सावित्री ४०चार्धसावित्री सर्वतोभद्र एव च। list_item
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28 o To annotation_inline
parent ligne 27
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29 [ 41 आदित्यानामयनश्च गवामयननामकः। ] list_item
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30 <b>+</b>य्सर्पाणामयनः षष्ठः सप्तमः कौणपायनः॥१०८॥ list_item
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31 ॰पॉयजनसज्ञष्य तथा वेकुण्ठवायनः list_item
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32 ।। इति मध्यमग्रामे षर्जहीनताननामानि ।। list_item
via surya_layout

vol_II_p129 RIGHT — 25 lignes

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1 241 page_number
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2 TRANSLATION page_header
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3 [43. Varņasvara] section_header
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4 That which is composed with pāṭas of the hand and is again combined with main
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5 tenakas, is combined with svaras, padas, pāṭas and tenakas (and) is sung in main
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6 combination with tāla, that is known as varņasvara. main
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7 (486) annotation_inline
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8 [44. Muktāvalī] section_header
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9 (That which) is sung with charming padas having anuprāsa (and where main
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10 there) is the name of the object of description, that is known as muktāvalī. main
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11 (487) annotation_inline
parent ligne 10
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12 [45. Pratāpavardhana] section_header
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13 Well combined with pāṭas generating enthusiasm and also with svaras, main
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14 tenakas (and) where singing is accomplished with the birudas of the object of main
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15 description, that is said to be the prabandha pratāpavardhana. main
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16 (488) annotation_inline
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17 Thus eight above forty 92 (48) beautiful prabandhas are clearly to be seen. main
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18 (489) annotation_inline
parent ligne 17
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19 [The blemishes of gita] section_header
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20 One should avoid (the song) that is defective by the standard of the people main
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21 (loka),93 defective by śāstraic94 (critical) standard, repetitive, defective in main
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22 metre and vulgar or indecent, embodying deviation from proper order, main
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23 devoid of meaning, 95 having dubious text and meaning, indulging in main
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24 violation of (kalās 96 and) split.97 main
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25 (490) annotation_inline
parent ligne 24
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147 lignes a valider — change uniquement les roles incorrects.