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 21209). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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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
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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
via surya_layout
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
parent ligne 14
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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
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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
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1 BRHADDEŚÏ page_header
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2 50 page_number
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3 पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र: । main
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4 <b>(</b>Y) annotation_inline
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5 [अनु॰ १५३] editorial_bracket
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6 गान्धारादिमूर्छना । तालश्चच्चत्पुट: । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] editorial_bracket
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7 चतुष्यष्टिः annotation_inline
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8 चित्रेऽष्टौ । दशविधत्वं चास्या: । दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय editorial_bracket
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9 शुद्धास्त्रयो annotation_inline
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10 औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: । editorial_bracket
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11 [५. षड्जकैशिकी] section_header
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12 [अनु॰ १५४] editorial_bracket
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13 षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तार: । editorial_bracket
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14 न्हाः annotation_inline
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15 न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् । main
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16 - ऋषभस्याल्पतरत्वम्, annotation_inline
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17 थैवतनिषादग्रहा । मध्यमानामल्पत्वम् annotation_inline
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18 शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च । main
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19 (ना ? न्या)सस्तु गा(मागा ? न्या)रः । main
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20 ्याः अष्टधैव annotation_inline
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21 [अनु॰ १५५] editorial_bracket
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22 नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः, main
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23 अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः main
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24 द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुण: । प्रथमप्रवेशगीते main
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25 द्वितीयप्रेक्षणके विनियोग:। main
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26 [६. षड्जोदीच्यवा] section_header
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27 [अनु॰ १५६] editorial_bracket
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28 षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो main
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29 ्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् । main
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30 <sup>१५२</sup>पूर्णावस्थायामृषभ- main
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1 TRANSLATION page_header
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2 29 page_number
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3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
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4 in madhyamā. annotation_inline
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5 (228-229) main
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6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
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17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
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22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
parent ligne 22
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
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28 (235) annotation_inline
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
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30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
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33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
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35 (237) main
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36 , ' , annotation_inline
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37 . . . annotation_inline
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L#Texte OCRRole autoCorriger si incorrect
1 化二溴磺基基 医动物 annotation_inline
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2 20 page_number
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3 BRHADDEŚĪ page_header
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4 [७. अल्पत्व-लक्षणम्] section_header
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5 [अनु॰ १२८] editorial_bracket
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6 इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् main
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7 (ते?त्वे) annotation_inline
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8 बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । main
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9 <sup>५५</sup>अन्तरमार्गस्य main
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10 संन्यासादिगतो भवेत् annotation_inline
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11 ৽হা৽ annotation_inline
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12 लक्षणं यथा जातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्यां गान्धारस्य सर्वस्वरसंगत्या main
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13 अनंशो annotation_inline
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14 विनास्प: annotation_inline
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15 बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- main
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16 ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति main
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17 [ना॰ शा॰ २८.१३६] editorial_bracket
parent ligne 16
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18 [८. बहुत्वलक्षणम्] section_header
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19 [अनु॰ १२९] editorial_bracket
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20 <sup>५६</sup>अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेष:। कथमित्याह editorial_bracket
parent ligne 18
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21 बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- main
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22 न्ते annotation_inline
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23 ५७ जातिस्वरैस्तु नित्यं [स्याज्] जात्यल्पत्वं द्विधा च तत्॥ editorial_bracket
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24 (स्यात्) annotation_inline
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25 जात्यस्प(स्व?त्वं)द्वि(विधं?धा) annotation_inline
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26 सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। main
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27 संचा(रस्य/रोंऽश) annotation_inline
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28 न्यासश्चान्तरमार्गस्तु जातीनां व्यक्तिकारक:॥'' main
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29 द्विविधान्तर • annotation_inline
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30 • कार(कम्?कः) main
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31 [तुल॰ ना॰ शा॰ २८.७४ गघ, ७५] editorial_bracket
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32 [९. न्यासलक्षणम्] section_header
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33 [अनु॰१३०] editorial_bracket
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34 इदानीं न्यासमाह - न्यस्यतें त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास main
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35 ॰ स: स annotation_inline
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1 121 page_number
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2 TRANSLATION page_header
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3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
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4 With this prescription itself the gitis should be sung by the wise. main
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5 (175) annotation_inline
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6 (Anu. 105) annotation_inline
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7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
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8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
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9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
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11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
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12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
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13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
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14 (176) annotation_inline
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15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
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16 (177) annotation_inline
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17 (mārga). main
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18 As - table
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19 Māgadhī [-----] table
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20 Ardhamāgadhī [-----] table
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21 Sambhāvitā [-----] table
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22 Pythulā [-----] table
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23 (Anu. 106) annotation_inline
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24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
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25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
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26 (Anu. 107) annotation_inline
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27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
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28 (are the margas). annotation_inline
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29 The mātrās (to be used in them) are eight, four and two (respectively). As main
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30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
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31 (178) annotation_inline
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32 patitā is known to be the eighth one. main
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164 lignes a valider — change uniquement les roles incorrects.