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 21601). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p115 LEFT — 32 lignes

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1 212 page_number
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2 BRHADDESI page_header
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3 [९. दोधक:] editorial_bracket
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4 ररअर्धं गीत्वा परार्धं तु तस्योपरि ततस्वरम् ॥३९१॥ main
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5 परार्थ annotation_inline
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6 अर्थ annotation_inline
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7 ततापरि annotation_inline
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8 ॰स्वरा(?) annotation_inline
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9 [१०. तोटक:] editorial_bracket
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10 <sup>1</sup>/<sub>1</sub>[.....] editorial_bracket
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11 [११. वस्तु] editorial_bracket
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12 यत्र पाटाश्च तेत्राश्च शेषं भवेत् ततस्वरम् । main
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13 ततो परी annotation_inline
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14 . . . . annotation_inline
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15 देशीगीतेऽपि वस्तु स्यात्राटकेऽपि प्रयुज्यते<sup>१३</sup> ॥३९२॥ main
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16 [१२. क्रौञ्चपद:] section_header
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17 गीतस्तु प्रतितालेन पदस्वरसमायुत:। main
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18 ॰(ना?ता)॰ annotation_inline
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19 मतः क्रौञ्चपदो नाम स तु गान्धर्ववेदिनाम् १४॥३९३॥ main
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20 [१३.हंसपद:] section_header
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21 संस्कृतं पादमेकं तु द्वितीयं देशसंयुतम्। main
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22 सप्रासं गीयते यत्तद् गीतं हंसपदं विदुः १५॥३९४॥ main
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23 यम annotation_inline
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24 [१४.शुकसारिक:] section_header
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25 यस्तु तालपदोपेत[:] पदपाटविराजित:। editorial_bracket
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26 प्रश्नोत्तरसमायुक्तः स तूक्तः शुकसारिकः ॥३९५॥ main
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27 ॰यु(के:?क:) सदोक: annotation_inline
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28 न्तः annotation_inline
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29 [य: स्यात्] कर्णाटभाषायामथवा मिश्रितो यदि । editorial_bracket
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30 ٠ page_number
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31 + annotation_inline
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32 संवादकपदोपेत: स भवेच्छुकसारिक: १६॥ ३९६॥ main
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vol_II_p041 LEFT — 48 lignes

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1 BRHADDEŚĪ page_header
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2 64 page_number
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3 धा नी सां सा रीं रीं रीं रीं table
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4 (३) table
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5 सां सां सां री गा मा मा मा table
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6 (8) table
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7 मां धां नीं धां मां धां मां पां table
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8 (4) table
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9 गारी साधित रीरीरीरी table
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10 (६) table
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11 गां रीं सां सां पा धा मा मा table
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12 (v) table
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13 गा गा गा मा पा निधनि नी नी table
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14 (८) table
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15 गा गा नी नी गा गा गा गा table
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16 (९) table
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17 गा गा नी नी निध पा पा पा table
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18 (१०) table
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19 मां पो मो पो पो मो मो table
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20 (११) table
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21 सा मा गा निध नी नी गा गा table
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22 (१२) table
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23 ॥ [इति] कैशिकी ॥ table
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24 1 म ॥ annotation_inline
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25 [५. मध्यमोदीच्यवा] section_header
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26 पञ्चमांशा सदा पूर्णा, मध्यमोदीच्यवा मता ॥१४॥ main
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27 ंपञ्च(मा: ? मां) annotation_inline
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28 [मता] editorial_bracket
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29 लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् । main
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30 (म्) annotation_inline
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31 मध्यमादिर्मूर्छना स्यात् तालश्चचत्पुटो मत: ॥१५॥ main
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32 ॰(मंरीन ? मूर्छना) annotation_inline
parent ligne 31
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33 चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् । main
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34 ্ক annotation_inline
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35 <sup>१७६</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । <sup>१७७</sup>प्रस्तार:- main
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36 अस्या annotation_inline
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37 पा धनि नी नी मा मा नी पा table
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38 (१) table
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39 री री री गा सा रिग गा गा table
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40 (२) table
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41 नी नी नी नी नी नी नी table
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42 (3) table
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43 नी नी धप मा निध निध पा पा table
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44 (8) table
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45 पांपारी री री री री री table
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46 (4) table
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47 मा रिग सा सधं नीं नीं नीं नीं table
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48 <b>(६)</b> table
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vol_II_p037 RIGHT — 41 lignes

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1 ¶ Visi annotation_inline
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
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9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
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10 and gändhära. main
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11 [Anu. 163] section_header
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12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
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13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
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15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
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16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
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29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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vol_II_p168 RIGHT — 42 lignes

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1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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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
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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
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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
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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
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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
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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
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193 lignes a valider — change uniquement les roles incorrects.