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 21382). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p043 RIGHT — 30 lignes

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1 69 page_number
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2 TRANSLATION page_header
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3 mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha- main
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4 śloka).37 How is that (the difference)? The group of svaras that is arranged in main
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5 the ascending and descending order is spoken of as murchana, whereas tana is main
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6 with the ascending order, this is the distinction.58 main
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7 [The Yajña-names of Tānas] section_header
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8 Now the yajña-names 59 of tanas are being spoken of— main
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9 Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and main
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10 (104) annotation_inline
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11 rājasūya is the seventh one. main
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12 Thus are the names of sadava tanas devoid of sadja. main
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13 Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as main
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14 (105) annotation_inline
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15 ртājāpatya. annotation_inline
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16 Thus end the names of şāḍava tānas devoid of ṛṣabha. main
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17 Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit main
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18 (106) annotation_inline
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19 (and) nāgayajāa. annotation_inline
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20 Thus end the names of şādava tānas devoid of pañcama. main
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21 Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi, main
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22 <math display="block">(107)</math> annotation_inline
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23 citra and the seventh one is udbhidyaga. main
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24 Thus end the names of şādava tānas devoid of niṣāda. main
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25 ١ page_number
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26 Thus end the names of twenty-eight şādava tānas in şadjagrāma. main
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27 Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement) editorial_bracket
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28 of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana editorial_bracket
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29 (108) main
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30 of kaunapas (demons) is the seventh one. main
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vol_II_p034 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 51 page_number
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3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
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4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
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5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
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6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
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7 upto the nyāsa or upto the svara next to it. main
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8 [Anu. 153] section_header
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9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
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10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
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11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
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12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
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15 [5. Şadjakaisiki] section_header
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16 [Anu. 154] section_header
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17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
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19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
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24 It has no śuddhā state, there are three amśas in the complete state. main
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25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
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29 with entry in the second scene (or act). main
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30 [6. Şadjodicyava] section_header
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31 [Apu. 156] section_header
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32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
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33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
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34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
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vol_II_p043 LEFT — 50 lignes

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1 BRHADDEŚĪ page_header
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2 68 page_number
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3 रों रों गां सम मा मा पा पा table
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4 (८) table
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5 (8) table
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6 मा पा मा परि गा गा गा गा table
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7 (१०) table
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8 धानी पामा धानी सासा table
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9 (११) table
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10 नी नी नी नी नी नी नी table
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11 (१२) table
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12 मा मा धा नी नी धा पा पा table
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13 (१३) table
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14 मा पा मा परि गा गा गा गा table
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15 (88) table
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16 नी नी पा धनि गा गा गा गा table
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17 सारी गासानी नी नी नी table
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18 (१५) table
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19 (१६) table
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20 नी नी धा पा पा पा पा पा table
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21 ॥ [इति] कार्मारवी ॥ table
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22 1411 page_number
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23 [७. गान्धारपञ्चमी] section_header
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24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
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25 (育) annotation_inline
parent ligne 24
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26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
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27 १८००भूरिभि: annotation_inline
parent ligne 26
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28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
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29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
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30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
via fallback
31 (१) table
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32 मा मा पम धनि धप मा धा नी table
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33 (२) table
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34 सनि धा पा पा पा पा पा पा table
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35 (3) table
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36 धा नी सा सा मा मा पा पा table
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37 नी नी नी नी नी नी नी table
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38 (8) table
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39 (4) table
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40 नी नी धप मा निध निध पा पा table
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41 <b>(६)</b> table
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42 पा पा री री री री पा पा table
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43 (७) table
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44 मा रिग सा सध नी नी नी नी table
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45 (८) table
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46 नी री सा रिस री री री री table
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47 नी गा सा निग सा नी नी नी table
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48 (९) table
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49 (१०) table
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50 नी मां नी मां पा पा गां गां table
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vol_II_p100 LEFT — 29 lignes

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1 4 page_number
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2 BARRION POR annotation_inline
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3 182 page_number
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4 BŖHADDEŚI page_header
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5 [१५. अथ पञ्चमपाडवे] section_header
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6 ऋषभांशा मध्यमान्ता शकभाषा प्रकीर्तिता । main
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7 मध्यमांशा annotation_inline
parent ligne 6
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8 सुसम्पूर्णस्वरा होषा बहुगान्धारपञ्चमा ॥ १४२॥ main
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9 धैवतर्षभबाहुल्यं दृश्यते च मुहुर्मुहु:। main
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10 शकरागे तु सम्भूता [?] भाषा पञ्चमषाडवे<sup>१३४</sup>॥ १४३॥ editorial_bracket
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11 ॰प्पृ annotation_inline
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12 उदाहरणम् - रिरिसानिनि । पानिरिरिरि [००० म] [शकभाषा] editorial_bracket
parent ligne 9
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13 [॥ इति पञ्चमषाडवे ॥] section_header
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14 इत्येताः प्रकटा लोके भाषा बहुमताः स्मृताः। main
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15 यथा यथा प्रयुञ्जीत तथा सा तु विवर्तिता ॥ १४४॥ main
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16 तस्य annotation_inline
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17 तथा सर्वप्रयत्नेन गातव्या लक्षणान्विता । main
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18 गीयते annotation_inline
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19 श्रोतव्या गायकैर्नित्यं परिहासार्थ-कौशले ॥ १४५॥ main
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20 <b>॰कौशिलि</b> annotation_inline
parent ligne 19
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21 यत्किञ्चिदाहवे[दृष्टं] समस्तं दर्शयेच्च सा । editorial_bracket
parent ligne 19
via heuristic_brackets
22 ॰दाह्यये + + annotation_inline
parent ligne 19
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23 नाशयेत्•तत् main
via surya_layout
24 सर्वत्र ग्रामरागेषु भाषाणामुपलभ्यते ॥ १४६॥ main
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25 सर्वन्त्रामरागेषु annotation_inline
parent ligne 24
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26 [इति] सर्वागमसंहितायां याष्टिकप्रमुखभाषालक्षणाध्याय: चतुर्थ:॥ editorial_bracket
parent ligne 24
via heuristic_brackets
27 ॰भाषा(ध्या॰) annotation_inline
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28 [ख. शार्दूलमते भाषालक्षणम्] र section_header
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29 अतः परं प्रवक्ष्यामि शार्दूलमते भाषालक्षणम् - main
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vol_II_p094 RIGHT — 30 lignes

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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
parent ligne 7
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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
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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
parent ligne 17
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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
parent ligne 22
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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
parent ligne 24
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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
parent ligne 29
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174 lignes a valider — change uniquement les roles incorrects.