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 21280). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p103 RIGHT — 32 lignes

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1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
parent ligne 3
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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vol_II_p106 LEFT — 33 lignes

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1 (vide) annotation_inline
parent ligne 6
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2 BRHADDEŚĪ page_header
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3 194 page_number
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4 .....मालवी । [३]<sup>२४</sup> editorial_bracket
parent ligne 6
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5 .....गुर्जरी । [४]<sup>२५</sup> editorial_bracket
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6 मध्यामांशा २६धैवतान्ता षाडवा ऋषभोज्झिता । main
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7 ऋषभान्विता annotation_inline
parent ligne 6
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8 गीयते यज्ञकाले या सा ख्याता बाह्यषाडवा ॥ २४॥ main
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9 उदाहरणम् - माधा । मानिनि पामापाधाधा । माधामागा गागागामा ममनिधा मापापानिधा- main
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10 धाधा । बाह्यषाडवा । [५] editorial_bracket
parent ligne 9
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11 निषादांशा धैवतान्ता षाडवा स्याद्रिवर्जिता<sup>२७</sup>। main
via surya_layout
12 षद्द्जवर्जिता annotation_inline
parent ligne 11
via heuristic_short
13 कौसली देशसम्भूता प्रतीहारेषु गीयते ॥ २५॥ main
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14 कौसलदेश॰ annotation_inline
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15 उदाहरणम् – निनिधा । पामामा । मागमा । सासासासासा । मागमानिधाधा । कौसली । [६] editorial_bracket
parent ligne 13
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16 गान्धारांशा मध्यमान्ता गान्धारी मध्यमाश्रिता<sup>२८</sup>। main
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17 (श?शा) annotation_inline
parent ligne 16
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18 एकान्तवासिभिर्गीता मूलभाषा तु षड्जगा ॥ २६॥ main
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19 उदाहरणम् - गामापानीसासा । निधाधामा मामागामाधा । निसारी । सापामामा । धानीसारी । main
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20 गारीसानी । धामामा । गान्धारी । [७] editorial_bracket
parent ligne 19
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21 २९धैवताद्यन्तसंयुक्ता रिहीना षाडवस्वरा । main
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22 ॰ पह्जर्पभहीना annotation_inline
parent ligne 21
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23 स्वरविवितका एषा गीयते दृढमानसै: ॥ २७॥ main
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24 + + बलितगा annotation_inline
parent ligne 23
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25 उदाहरणम् - धाधामापा । गागामाधा निसानिधाधा पापागामा धासनिधानिसासागामा पापा- main
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26 धाधा । मधापामामा गधगामधानिसासा। निसानिगागा मासानीधा धापमामागाधा । सामाधा- main
via surya_layout
27 नी ससाधापामाधाधा । स्वरवलिता । [८] editorial_bracket
parent ligne 26
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28 धैवताद्यन्तललिता पञ्चमर्षभवर्जिता । main
via surya_layout
29 षह्जपश्चम ॰ annotation_inline
parent ligne 28
via heuristic_markers
30 ३॰पञ्चस्वरा तु गीयेत प्रकृष्टा सा मता क्रमात् ॥ २८॥ annotation_inline
parent ligne 28
via heuristic_markers
31 - Paragraphy (Fig. 25) Apply (Head Co. 19) Apply (The Section 25) (25) annotation_inline
parent ligne 28
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32 All the second second second second second second second second second second second second second second second second annotation_inline
parent ligne 28
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33 والمراجع والمراكب والمراكب والمراجع والمراجع والمراجع والمراجع والمناكب annotation_inline
parent ligne 28
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vol_II_p110 LEFT — 25 lignes

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1 BRHADDEŚĪ page_header
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2 202 page_number
via heuristic_pagenum
3 [२. माङ्गाली] section_header
via surya_layout
4 गान्धारग्रहन्यासा च षड्जांशा तारवर्जिता । main
via surya_layout
5 समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥ editorial_bracket
parent ligne 4
via heuristic_brackets
6 सिका annotation_inline
parent ligne 4
via heuristic_height
7 षड्जांशा धग्रहन्यासा धमन्द्रा तारतत्परा । main
via surya_layout
8 समस्वरा च सम्पूर्णा माङ्गाली गीयते जनै:८॥ ३५५॥ main
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9 (पी?गी)॰ annotation_inline
parent ligne 8
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10 [३. भम्माणिका] section_header
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11 पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका । main
via surya_layout
12 रिहीना च धगस्वल्पा ज्ञेया भम्माणिका बुधै: १॥ ३५६॥ main
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13 [४. पुलिन्दिका] section_header
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14 षड्जांशा धैवतन्यासा गपहीना पुलिन्दिका । main
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15 +ग्रहन्यासा annotation_inline
parent ligne 14
via heuristic_height
16 षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥ main
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17 ॰संघादा annotation_inline
parent ligne 16
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18 [५. गान्धारसिन्धुः ] section_header
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19 १९गान्धारसिन्धुः .....॥ ३५८॥ main
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20 [६. कार्णाटी] section_header
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21 १२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा । main
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22 समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥ main
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23 नामत(द्भ?भ)वेत् annotation_inline
parent ligne 22
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24 ॥ इति मतङ्गमुनिविरचितबृहद्देश्यां देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥ editorial_bracket
parent ligne 22
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25 भाषालक्ष(णो?णा) main
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vol_II_p012 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 7 page_number
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3 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling main
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4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
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5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
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6 a vikṛtā state."7 annotation_inline
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7 (NŚ XXVIII.46) main
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8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
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9 are formulated or accomplished through ainsa svaras, omission (of one or main
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10 two notes) and the like. main
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11 (192) annotation_inline
parent ligne 10
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12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
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13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
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14 into being from the above two (ṣaḍjā and gāndhārī) with the addition of main
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15 dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī main
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16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
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17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
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18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
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19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
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20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
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21 of pañcami; these (three) go to make kārmāravī, with the omission of main
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22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
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23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
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24 and dhaivati, thus are the blendings or mixtures. main
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25 <math>(193-198)</math> main
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26 Now they (honorific for the author) have spoken of the classification (of main
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27 jātis) – annotation_inline
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28 Four jātis should be known by the wise to be always composed of seven main
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29 svaras, four are composed of six svaras and the other ten are known as being main
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30 composed of five svaras each. main
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31 (199) annotation_inline
parent ligne 30
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32 This itself becomes clear - main
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33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
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34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
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35 (200) main
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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152 lignes a valider — change uniquement les roles incorrects.