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 21546). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p086 RIGHT — 38 lignes

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1 TRANSLATION page_header
via surya_layout
2 155 page_number
via heuristic_pagenum
3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
via surya_layout
4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
via surya_layout
6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
via surya_layout
7 complete in svaras, (and) there is the concert of sadja-dhaivata and similarly main
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8 pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first main
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9 one born of kakubha. annotation_inline
parent ligne 8
via heuristic_height
10 (72) main
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11 Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā. main
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12 Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i] editorial_bracket
parent ligne 11
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13 Having madhyama as amśa and dhaivata as the concluding note, main
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14 madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful main
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15 one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual main
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16 concert. annotation_inline
parent ligne 15
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17 (73) annotation_inline
parent ligne 15
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18 ٨. annotation_inline
parent ligne 15
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19 Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā. main
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20 Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā main
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21 dhadhadha. Madhyamagrāmikā [ii] editorial_bracket
parent ligne 20
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22 <math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma main
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23 concluding note. Madhyama and ṛṣabha are seen to be in mutual concert. main
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24 Some people desire the seventh (niṣāda) to be profuse and others (desire) main
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25 the same to be weak. annotation_inline
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26 (74) main
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27 Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama editorial_bracket
parent ligne 26
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28 marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni. main
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29 Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri main
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30 māpāpāmāsānidhādhā. Sātavāhinī [iii] editorial_bracket
parent ligne 29
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31 Having madhyama as amśa, niṣāda as the concluding note, being weak in main
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32 ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in main
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33 kakubha, where there is concert between the two svaras comprised of two main
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34 śrutis<sup>30</sup> each and pañcama. main
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35 <b>(75)</b> annotation_inline
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36 Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani. editorial_bracket
parent ligne 34
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
parent ligne 37
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vol_II_p064 RIGHT — 42 lignes

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1 14.00 annotation_inline
parent ligne 4
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2 TRANSLATION page_header
via surya_layout
3 111 page_number
via heuristic_pagenum
4 [Anu. 193] section_header
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5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
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6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
via surya_layout
7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
via surya_layout
8 the context of entry and the like in the behaviour of those who perform domestic main
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9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
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10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
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11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
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12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
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13 in the songs comprised of svara and pada. main
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14 [3. Mālavapañcama] section_header
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15 Mālavapancamashould be known to have pancamaasits anistand concluding main
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16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
via surya_layout
17 are comprised of two śrutis (gāndhāra and niṣāda). main
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18 (322) main
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19 [Anu. 194] section_header
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20 This means-Mālavapañcamais related to madhyamagrāma on account of main
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21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
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22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
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23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
via surya_layout
24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
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25 female apartments). The mūrchanā beginning with pañcama obtains. main
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26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
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27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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29 like caccatputa obtains in the songs comprised of svara and pada. main
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30 [4. Vesarașādava] section_header
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31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
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32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
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33 (323) main
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34 [Anu. 195] section_header
via surya_layout
35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
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36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
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37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
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38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
via surya_layout
39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
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40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
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41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
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42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
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vol_II_p077 RIGHT — 34 lignes

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1 137 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
via surya_layout
4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
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5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
via surya_layout
6 <math>(30c-31)</math> main
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7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
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8 to be born of <i>bhinnapañcama</i>. main
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9 (32) annotation_inline
parent ligne 8
via heuristic_short
10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
via surya_layout
11 bhāvinī, the one that is beautiful for the people. main
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12 (33) annotation_inline
parent ligne 11
via heuristic_short
13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
via surya_layout
14 and drāvidī is the third bhāṣā there that is described with characteristics main
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15 (lakṣaṇas). annotation_inline
parent ligne 14
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16 (34) main
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17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
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18 Tānodbhavā should be known as being assigned to bhinnatāna. main
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19 (35) annotation_inline
parent ligne 18
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20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
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21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
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22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
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23 spoken of in <i>pañcamaṣāḍav</i>a. main
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24 (36) annotation_inline
parent ligne 23
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25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
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26 to their description alongwith illustration for each one. main
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27 (37) main
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28 [The description of bhāṣās] section_header
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29 [1. Bhāṣās in ṭakka-rāga] section_header
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30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
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31 pañcama and there is to be seen here again and again the mutual main
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32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
via surya_layout
33 be known as hexatonic. Travaņā should bear the name mūlā. main
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34 (38-39) annotation_inline
parent ligne 33
via heuristic_height

vol_II_p020 LEFT — 33 lignes

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1 別は必要であった。 annotation_inline
parent ligne 6
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2 BRHADDEŚĪ page_header
via surya_layout
3 · 22 page_header
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4 एकविंशतिसंख्य इति । तद्यथा - षड्जाया एक[:] षड्जो नाम न्यास: । एवमादि बोद्धव्या editorial_bracket
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5 बोद्धव्यम् annotation_inline
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6 अष्टादशजातिषु च न्यासा:। ५८अङ्गसमाप्तौ कार्य इत्यर्थ:। main
via surya_layout
7 अंश: annotation_inline
parent ligne 6
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8 ५९[१०. अपन्यासलक्षणम्] section_header
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9 [अनु॰ १३१] editorial_bracket
parent ligne 8
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10 इदानीमपन्यासमाह - ६०अपन्यासोऽन्ते [न] । प्रयोग[ा]समाप्तौ अपन्यास: । स च editorial_bracket
parent ligne 8
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11 षट्पञ्चाशद्भेदभिन्नो भवति, गीतानां मध्ये बोद्धव्यः । यथा यत्र समाप्तमिव गीतं प्रतिभासते main
via surya_layout
12 सोऽपन्यासः । स च विदारीमध्ये भवति । गीतशरीरमध्य<sup>६१</sup> इत्यर्थः । यथा – main
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13 ॰ मध्यम annotation_inline
parent ligne 12
via heuristic_markers
14 षड्जग्रामे षड्जमध्याया: सप्तापन्यासा भवन्ति । षड्जोदीच्यवायाश्च द्वौ , पञ्चानां प्रत्येकं main
via surya_layout
15 (ति ? नित) annotation_inline
parent ligne 14
via heuristic_height
16 त्रयं त्रयमिति चतुर्विंशति:।शेषास्तु मध्यमग्रामे।तथा चाह भरत: - main
via surya_layout
17 ‘‘न्यासो ह्यङ्गसमाप्तौ स चैकविंशतिविधो विधातव्य:। main
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18 ह्यंश annotation_inline
parent ligne 17
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19 षट्पञ्चाशत्संख्यो भवेदपन्याससंज्ञोऽसौ ॥'' main
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20 [तुल॰ ना॰ शा॰ २८.७२] editorial_bracket
parent ligne 19
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21 ॥ दशविधजातिलक्षणमिति ॥ main
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22 [५. जातीनामंशादिविकल्पनम्] section_header
via surya_layout
23 ६२ अंशा: स्यु: पञ्च षड्जायां निषादर्षभवर्जिता: । main
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24 •या<sup>६</sup>३ annotation_inline
parent ligne 23
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25 अपन्यासस्तु गान्धार: पञ्चमश्चाथ सङ्गति: ॥२११॥ main
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26 स(ङ्गी?ङ्ग) annotation_inline
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27 (रा?रः) annotation_inline
parent ligne 25
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28 षड्जगान्धारयोस्तु स्यात् षड्जधैवतयोस्तथा । main
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29 स्याद् annotation_inline
parent ligne 28
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30 षाडवं च निषादे स्यात्रास्यामौडुवितं भवेत् ॥२१२॥ main
via surya_layout
31 •क्स्वं<sup>६४</sup> main
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32 °दौ• annotation_inline
parent ligne 31
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33 প্ৰ annotation_inline
parent ligne 31
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vol_II_p115 RIGHT — 27 lignes

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1 213 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [9. Dodhaka] table
via surya_layout
4 Having sung the (first) half, the latter half is comprised of a stretching of svaras. table
via surya_layout
5 (391) table
via surya_layout
6 [10. <i>Totaka</i>] table
via surya_layout
7 [11. <i>Vastu</i>] section_header
via surya_layout
8 Where there are pāṭas and tennas 16 and the rest is comprised of a main
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9 stretching (elaboration) of svaras, that is vastu<sup>17</sup> used in desī gītas as well as main
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10 in drama. annotation_inline
parent ligne 9
via heuristic_short
11 (392) main
via surya_layout
12 [12. Krauńcapada] section_header
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13 Krauñcapada is known to those proficient in gandharva as that which is main
via surya_layout
14 sung in pratitāla, being comprised of pada and svara. main
via surya_layout
15 (393) main
via surya_layout
16 [13. Haṁsapada] section_header
via surya_layout
17 Where there is one foot in Sainskṛta and the second (foot) is composed in main
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18 a regional (language) (and) which is sung with rhyme, that song is known main
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19 as hamsapada. annotation_inline
parent ligne 18
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20 (394) main
via surya_layout
21 [14. Śukasārika] section_header
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22 That which is combined with <i>tāla</i> (and) <i>pada</i>, bedecked with <i>pada</i> (and) main
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23 pāṭa (and) comprised of question and answer, is said to be śukaśārika. 19. main
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24 (395) annotation_inline
parent ligne 23
via heuristic_short
25 That which is composed in the Karnāta language or is mixed (with other main
via surya_layout
26 languages) (and) is comprised of pada (text) embodying dialogue, is śukasārika. main
via surya_layout
27 (396) main
via surya_layout
174 lignes a valider — change uniquement les roles incorrects.