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 21482). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
parent ligne 11
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
parent ligne 21
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_II_p106 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 195 page_number
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3 ......Mālavī [iii] editorial_bracket
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4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
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6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
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8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
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13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
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14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
parent ligne 14
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
parent ligne 16
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
parent ligne 20
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
parent ligne 30
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
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33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
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34 in due order (?).<sup>24</sup> main
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35 (28) main
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vol_II_p119 LEFT — 36 lignes

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1 property and a property of the second annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĪ page_header
via surya_layout
3 220 page_number
via heuristic_pagenum
4 [३३. द्विपदी] section_header
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5 या स्यात् करणतालेन द्विपदी-वृत्तसंगता । main
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6 (य:?या) annotation_inline
parent ligne 5
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7 सा भवेद् द्विपदी नाम प्रोक्ता वस्तुविचक्षणै:<sup>२८</sup>॥ ४१४॥ main
via surya_layout
8 [३४. वर्तनी] section_header
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9 ग्रहस्त्विभमतो यत्र न्यासश्चांशेन केवलम् । main
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10 वर्णनीयस्य गात्श्च यस्यां नाम प्रवेश्यते (?)॥४१५॥ main
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11 तस्याद्वामप्रप्रवेश्यते main
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12 कङ्कालं प्रतितालं च द्रुतमण्ठं कुडुक्ककम्। main
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13 ∘ल: annotation_inline
parent ligne 12
via heuristic_height
14 °तालध annotation_inline
parent ligne 12
via heuristic_markers
15 ॰मठ: कुटुककम् annotation_inline
parent ligne 12
via heuristic_markers
16 विहाय गीयते या तु स्वरै: सा वर्तनी मता<sup>र९</sup>॥४१६॥ main
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17 [३५. एला] editorial_bracket
parent ligne 16
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18 आद्यं पादद्वयं यत्र स्यादनुप्रासरञ्जितम् । main
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19 <b>व्धर्जितम्</b> annotation_inline
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20 अनुप्रासस्तृतीयेऽपि चतुर्थे वाऽथ गीयते ॥ main
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21 वा(द?ध) annotation_inline
parent ligne 20
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22 त[योर्न वा ह्यनुप्रास:] सानुप्रासश्च पञ्चम:३०॥४१७॥ editorial_bracket
parent ligne 20
via heuristic_brackets
23 ++++ annotation_inline
parent ligne 20
via heuristic_height
24 4 # annotation_inline
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25 चतस्रो गीतयो यत्र पादे पादे भवन्ति च। main
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26 गीत्वा तदीयपादार्धमनुप्रासो विधीयते ॥ ४१८॥ main
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27 त्यागसौभाग्यसौन्दर्यशौर्यधैर्यादिवर्णनम् । main
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28 •नाम् annotation_inline
parent ligne 27
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29 यस्यां भवति गीतज्ञास्तामेलां<sup>३१</sup> सम्प्रचक्षते ॥४१९॥ main
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30 स[दा चै]व हि गातव्या गीतज्ञैर्गीतवस्तुषु । editorial_bracket
parent ligne 29
via heuristic_brackets
31 ++ annotation_inline
parent ligne 29
via heuristic_height
32 मण्ठेनाथ द्वितीयेन कङ्कालेन तथैव च ॥४२०॥ main
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33 मद्रेनाथ annotation_inline
parent ligne 32
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34 (करं?कं) annotation_inline
parent ligne 32
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35 संयुक्ता प्रतितालेन कर्तव्येला मनीषिभि:। main
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36 वर्णनीयस्य गातुश्च सा तु नामाङ्किता भवेत् ॥ ४२१॥ main
via surya_layout

vol_II_p072 RIGHT — 31 lignes

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1 127 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 in yuddha-vīra 92 (rasa). Vīra and the like is the rasa. The mūrchanā beginning main
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4 with ṣaḍjaobtains. Ārohin is the varṇa. Prasannāntais the alaṅkāra. The kalā main
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5 is formed in the dakṣiṇa(mārga), the kalā obtains in the vārtika(mārga) and main
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6 the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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7 comprised of svara and pada. main
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8 [The assignment of grāma to sādhāraņa rāgas] section_header
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9 Now, the assignment of grāma to sādhāraņa (rāgas) is being shown. main
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10 Bhammāṇapañcama should be known to be born of madhyamagrāma and main
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11 so are gāndhārapañcama, narta and ṣaḍjakaiśika. main
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12 (342) annotation_inline
parent ligne 11
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13 The rāgas rūpasādhārita, śaka, kakubha, revagupta and pañcamaṣāḍava main
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14 should be known to be (related to ) the one known as sadja. The seven main
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15 (nine?) sādhāraņa (rāgas) have (thus) been said to be based on the two main
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16 grämas. annotation_inline
parent ligne 15
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17 (343) main
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18 [The basis of the specification of murchanā in respect of grāma-rāgas] section_header
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19 [Anu. 213] editorial_bracket
parent ligne 18
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20 (Contention) How is the specification of particular mūrchanās in respect main
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21 of grāma-rāgas known? It is being answered. The specification of mūrchanās main
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22 is known from the statements of authorities. Similarly has said Kasyapa - main
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23 "The mūrchanā should be specified by the wise after knowing the main
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24 predominance of amsa in a jāti."94 main
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25 [The difference between gita and raga] section_header
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26 [Anu. 214] editorial_bracket
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27 (Contention) What is the difference between gita and raga? It is being main
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28 answered. The gita characterised with ten lakṣaṇas should be named after main
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29 the word rāga. Gīta is comprised of four angas (components).95 It is five- main
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30 fold in combination with dhruva96 From where is this known? From the main
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31 statements of authorities. Similarly has said Kasyapa - main
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vol_II_p080 RIGHT — 31 lignes

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1 143 page_number
via heuristic_pagenum
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
parent ligne 4
via heuristic_height
6 Dhānisā. annotation_inline
parent ligne 4
via heuristic_height
7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
via surya_layout
8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
parent ligne 7
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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
parent ligne 16
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18 <math>(49-50)</math> annotation_inline
parent ligne 16
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
parent ligne 19
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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
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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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166 lignes a valider — change uniquement les roles incorrects.