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 21362). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p038 RIGHT — 51 lignes

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1 1 page_number
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2 59 page_number
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3 TRANSLATION page_header
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4 (3) table
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5 mā gā rī gā mā mā sā sā table
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6 <b>(4)</b> table
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7 [mā magama mā mā nidha padha pama gamama] table
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8 (5) table
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9 dhā padha pari riga maga riga sadhasa sā table
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10 (6) table
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11 nidha sā rī magama mā mā mā mā table
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12 (7) table
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13 mā mā magama madha dhapa padha pama gamaga table
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14 (8) table
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15 dhā padha pari riga maga riga sadhasa sā table
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16 (9) table
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17 mā mā dhani dhasa dhapa mapa pā pā table
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18 (10) table
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19 mā magama mā nidha padha pamaga gā mā table
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20 (11) table
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21 dhā padha pari riga maga riga sadhasa sā table
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22 (12) table
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23 nidha sā rī magama mā mā mā mā table
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24 Thus ends <i>şadjamadhyamā</i>. section_header
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25 [2. Gāndhārodīcyavā] section_header
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26 In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic main
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27 is known to be with the omission of rşabha. In the state of completeness there main
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28 is the sparseness of svaras other than those that are anisas. main
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29 (4) annotation_inline
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30 In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to main
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31 be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known main
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32 and the mūrchanā beginning with dhaivata obtains. main
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33 (5) annotation_inline
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34 The tāla should be known as caccatpuța. Sixteen kalās (time units) are said main
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35 to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā main
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36 in the fourth act. annotation_inline
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37 (6) main
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38 Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The main
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39 prastāra is thus - main
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40 (1) table
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41 sā sā pā mā pā dhapa pā mā table
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42 (2) table
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43 dhā pā mā mā sā sā sā sā table
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44 (3) table
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45 dhã nĩ sã sã mã mã pã pã table
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46 (4) table
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47 ករី ករី ករី ករី ករី ករី ករី ករី table
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48 (5) table
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49 mã mã dhã nisa nĩ nĩ nĩ table
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50 (6) table
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51 mā pā mā pari gā gā sā sā table
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1 173 page_number
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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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vol_II_p097 RIGHT — 27 lignes

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1 TRANSLATION page_header
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2 177 page_number
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3 Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā main
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4 pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga main
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5 risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- main
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6 dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] editorial_bracket
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7 Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is main
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8 charming. This is complete in svaras and has to and fro movement between main
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9 sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup> main
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10 (130) annotation_inline
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11 Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā main
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12 māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- main
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13 nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- main
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14 hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. main
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15 Sāsāmadhāpādhānidhā. Viśālā [iv] editorial_bracket
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16 These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. main
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17 [9. Now in Bottaraga] section_header
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18 Having pañcama as amsa, madhyama as the concluding note, being complete main
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19 and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and main
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20 fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all main
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21 auspicious occasions. Since it is auspicious and commendable, it is known main
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22 as mangalā. annotation_inline
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23 <math>(131-132)</math> annotation_inline
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24 Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- main
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25 pāmā. Maṅgalā [i] editorial_bracket
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26 [10. Bhāṣās in mālavapañcama] table
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27 .....[Bhāvinī] table
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1 277 page_number
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2 PĂTHAVIMARŚA page_header
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3 पांशग्रहान्ता सम्पूर्णा भाषा मालवपञ्चमे । main
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4 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै:॥ main
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5 विभावनीति तामेवाचष्ट याष्टिकसत्तमः॥ main
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6 122. The name of this bhāṣā is read as mālavā at the end of the main
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7 illustration and so it is in S Rāj II.2.1.905. main
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8 123,124. cf. सञ्चार: सधयोर्यस्यां रिधयोधैव दृश्यते । main
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9 Kalā (appendix) on SR II, p. 137. main
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10 125. In spite of this adjective indicating the completeness of this main
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11 bhāṣā, the illustration omits ṣaḍja. main
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12 126. SR II. 1. 30 cd reads this name as bhinnavalitā and so does S Rāj main
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13 II.2.1.131 c; ibid 88a reads bhinnalalitā and ibid 907c reads bhinnavallikā. main
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14 Our text seems to change bhinnavalikā to bhinnavālikā in verse 34 c in order main
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15 to meet the demand of metre, the sixth syllable being required to be long. main
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16 At this point of our text the change to bhinnalālikā or bhinnalālitā seems to main
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17 involve an error of deciphering or copying. main
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18 127. Kalā (appendix) on SR II, p.137 reads 'magrahāmśā' describing main
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19 madhyama as graha and aṁśa. main
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20 128. cf. पञ्चमांशग्रहा धान्ता पूर्णा मध्यमभूयसी । main
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21 मध्यमग्रामगा भाषा धनिसङ्गतिराजिता ॥ main
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22 द्राविडी देशनाम्रेयं विख्याता याष्ट्रिकोदिता ॥ main
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23 S Rāj II.2.1.912. annotation_inline
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24 The illustration in our text is not in accordance with any of the three main
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25 divergent descriptions viz. those in our text, Kalā and S Rāj. main
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26 129. The dual number of the instrumental case has been changed to main
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27 the same number of the genitive case, because the instrumental case would main
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28 require reference to some other svara with which the two svaras composed main
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29 of two śrutis each are supposed to have to and fro movement. Kalā (appen- main
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30 dix) on SRII, p. 141 reads 'nigayo rigayoryuktā'. main
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31 ्सम्पूर्णा, यं विना बाह्मपाडवा कैधिदिप्यते । main
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32 130. cf. annotation_inline
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33 S Rāj II.2.1.107 cf. main
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34 131. Corresponding to this, S Rāj II.2.1.1081 gives a bhāṣā named main
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35 națță, which is described as being complete. main
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36 पञ्चमांशान्तिमा ताना भिन्नताने रिवर्जिता । main
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37 132. cf. annotation_inline
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38 सकाकलिका शृङ्गारे विनियुक्ता पुरातनै: ॥ main
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39 ताना भाषैकिका भिन्नताने याष्ट्रिकसम्मता ॥ main
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40 S Rāj 11.2.1.1097,1099. main
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41 The illustration of this bhāṣā is not available in our text; the illustration main
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42 contained in p.t. at this point as follows seems to be out of place, since rşabha main
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43 -------------------------------------- annotation_inline
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vol_II_p098 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 178 page_number
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3 [११. अथ टककैशिके] section_header
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4 धैवताद्यन्तसंयुक्ता ज्ञेया <sup>१२२</sup>मालवपञ्चमी । main
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5 <sup>१२३</sup>षड्जर्षभसंवाद: स्यात् <sup>१२४</sup>षड्जधैवतयोस्तथा ॥ main
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6 बहुधैव तयोस्तथा annotation_inline
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7 <sup>१२५</sup>सम्पूर्णा सुस्वरा ह्येषा देशभाषा मनोहरा ॥ १३३॥ main
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8 उदाहरणम्-धैवत धापाधैवत धाधाधारिमामाधा । पामधाधापामागरिमाधापाधा। मालवा [१] editorial_bracket
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9 षड्जांशा धैवतन्यासा विज्ञेया <sup>१२६</sup>भित्रवालिका । main
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10 भित्रलालिका annotation_inline
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11 धैवतनिषादबाहुल्यं दृश्यते च परस्परम् ॥ १३४॥ main
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12 •बाहु<del>ल्</del>या annotation_inline
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13 क्वचिद् दृष्टं न दृष्टं च भित्रपञ्चमसंज्ञिता[?]। editorial_bracket
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14 किशिद् प्रष्टं annotation_inline
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15 एषा तु कथिता लोके भाषा सङ्कीर्णशोभना ॥ १३५॥ main
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16 उदाहरणम् - सासासागासाधा नीसासाधानीमधा निधाधाधा निधामाधा निमधापाधाधाधा main
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17 भित्रवालिका।[२] editorial_bracket
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18 भित्रलालिता annotation_inline
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19 <sup>१२७</sup>गान्धारांशा धैवतान्ता द्राविडी सम्प्रकीर्तिता । main
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20 द्विश्रुतीनां च गमनं षड्जधैवतयोस्तथा ॥ main
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21 द्राविडविषये होषा देशाख्या सुमनोहरा<sup>१२८</sup> ॥ १३६॥ main
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22 उदाहरणम्-[गा]धानिमधानिधाधाधानिधामधापाधाधा पामाधाधागामाधाधा सागासानि- editorial_bracket
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23 धाधा पामागाममनि[धा] । द्राविडी । [३] editorial_bracket
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24 ॥ एताष्ट्रक्ककैशिकभाषास्तिस्र: ॥ main
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25 [१२. अथ वेसरपाडवे ] editorial_bracket
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26 मध्यमाद्यन्तसंयुक्ता विज्ञेया बाह्यषाडवा । main
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27 ॰पाडवं annotation_inline
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28 १२९द्विश्रुत्यो: स्याच्च संवादो मध्यमर्पभयोस्तथा ॥ १३७॥ main
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29 वि? द्वित्र्तिभ्यां च annotation_inline
parent ligne 28
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177 lignes a valider — change uniquement les roles incorrects.