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 21654). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p033 RIGHT — 41 lignes

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1 49 page_number
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2 TRANSLATION page_header
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3 Pañcama is kṛṣṇa (black), dhaivata is yellow-coloured, this niṣāda is multi- main
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4 coloured, (thus) should be known the colours of svaras. main
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5 (74) annotation_inline
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6 (iii) Devatās. main
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7 The daivata 83 (presiding deity) of şadja is Brahmā, ṛṣabha is with the daivata main
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8 vahni (fire), gandhara has Bharati as its deva, madhyama is with Hara as daivata. main
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9 (75) annotation_inline
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10 Pañcama is with Satayajña (Indra is its daivata), dhaivata is with Gaṇa-nāyaka main
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11 (as its daivata), niṣāda, on the other hand, has Bhānu (Sun) as its deva; thus are main
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12 (76) annotation_inline
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13 the devatā84 of svaras. annotation_inline
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14 (iv) Singers (seers). annotation_inline
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15 The svara şadja is sung ('seen')85 by Agni (fire), ṛṣabha is revealed by main
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16 Brahmā, gāndhāra is sung by Soma (moon), madhyama svara (is revealed) by main
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17 Vișnu. annotation_inline
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18 (77) main
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19 On the other hand, the svara pancama is sung by the mahatman (great- main
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20 souled) Nārada, the svaras dhaivata and niṣāda are 'sung' by Tumburu. main
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21 (78) annotation_inline
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22 (v) Rasas annotation_inline
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23 The two svaras madhyama and pañcama should be 'made'86 (used) in the two main
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24 (rasas) hāsya and śṛṅgāra, the two (svaras) şadja and ṛṣabha should be known in main
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25 (79) annotation_inline
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26 vira, raudra and adbhuta rasas. main
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27 Gāndhāra and niṣāda should be 'done' in karuņa rasa. Dhaivata should also main
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28 (80) annotation_inline
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29 be 'done' (used) in bibhatsa and bhayānaka. main
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30 (vi) Sthānas annotation_inline
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31 Ṣadja arises from the throat, 67 rṣabha is known (to arise) from the cerebrum, main
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32 gāndhāra from the nose, madhyama svara from the chest. main
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33 (81) annotation_inline
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34 Pañcama svara is arisen from the throat, O glorious onel dhaivata, on the main
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35 other hand, is born of the palate-region (tālu-deśa). Niṣāda, on the other hand, main
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36 should be known to be born of all the joints (sandhis). main
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37 (82) annotation_inline
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38 Thus one should know the svaras born in the ocean of gita (melody, music), main
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39 arisen out of the mouth of Mahadeva and placed in the 'path' of desi.68 main
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40 (83) annotation_inline
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41 [ Thus ends the section on svara ] editorial_bracket
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vol_I_p031 RIGHT — 38 lignes

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1 45 page_number
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2 TRANSLATION page_header
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3 (That which) reaches the heart quickly from the other (svara) is known as main
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4 rṣabha. Just as the big bull seated (or standing) among the female gos (cows) main
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5 looks splendid, similar is this svara ṛṣabha 54 born in the svara-grāma (gamut). main
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6 (56, 57 ab) annotation_inline
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7 That which holds the ganatmika vak (musical vak) is named as gandhara.55 main
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8 <math>(57 \text{ cd})</math> annotation_inline
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9 Madhyama svara is known to be so because of being the middle one among main
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10 svaras.56 Pañcama is that which measures the elaboration of svaras.57 (58) main
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11 Or, it is pañcama (fifth) in number in the order of pāṭha (lit. reading aloud main
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12 or recitation, here enumeration). Dhīvān is one who has got dhī (buddhi, main
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13 intellect), the one related to him (dhivan) is dhaivata.58 main
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14 (59) annotation_inline
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15 Or annotation_inline
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16 It is known as dhaivata because it is held on the sixth sthana (location). main
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17 (60 ab) annotation_inline
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18 The place of dhaivata is in the lalāţa (forehead), this is the meaning.59 main
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19 Niṣāda is known as such because all the svaras rest upon it.60 main
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20 <math>(60 \text{ cd})</math> annotation_inline
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21 (Anu. 29) annotation_inline
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22 But why is the rule that there are (only) seven svaras? It is being said main
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23 (answered) - (This rule is there) in the same way as (in the human body) seven main
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24 dhātus alone beginning with rasa61 are to be accepted in accordance with their main
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25 being dependent on seven dhātus62 (minerals). Similarly said Suśruta - main
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26 Tvak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen, main
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27 these are dhātus. Similarly, svaras are only seven on account of being dependent main
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28 on or dwelling in seven cakras 63 or seven dvipas 64 (lit. islands). main
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29 [ The castes of sveres ] section_header
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30 The svaras (comprised of) four śrutis are brāhmaņas,65 the ones (comprised main
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31 of) three śrutis are kṣatriyas,66 the ones with two śrutis should be known as main
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32 (61) annotation_inline
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33 vaisyas 67 and the antara-svaras are śūdras.68 main
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34 [ The drawing out of svara signs as contained in agama ] editorial_bracket
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35 Having acquired the eight groups beginning with akara and ending with main
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36 ya-śa, one should draw out70 the heptad of svaras (their abbreviated names i.e. main
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37 solfa-syllables) combined with letters and mātrās (vowel-endings). main
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38 (62) annotation_inline
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vol_II_p129 LEFT — 28 lignes

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1 BRHADDEŚĪ page_header
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2 240 page_number
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3 [४३. वर्णस्वर:] section_header
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4 निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१। main
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5 संयुतैस्तैर्नकै: annotation_inline
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6 स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥ main
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7 तेन्त्र॰ annotation_inline
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8 गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥ main
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9 वर्णासरक: annotation_inline
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10 [४४. मुक्तावली] section_header
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11 देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते । main
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12 नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥ main
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13 [४५. प्रतापवर्धन:] section_header
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14 उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: । main
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15 ॰कै: पार्द: स्वरैध + annotation_inline
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16 तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥ main
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17 तेन्तकै॰ annotation_inline
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18 प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥ main
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19 (तो?नो) annotation_inline
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20 अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥ main
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21 [गीतदोषाः] section_header
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22 लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्। main
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23 ॰शास्त्र +++ पञ्च annotation_inline
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24 छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥ editorial_bracket
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25 + गोदुष्टं main
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26 पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥ main
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27 काप्यमसन्दिग्धं annotation_inline
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28 चाभ्यशि ॰ annotation_inline
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vol_I_p009 RIGHT — 4 lignes

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1 श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ main
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2 <b>OF</b> annotation_inline
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3 ŚRĪ MATANGA MUNI main
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4 (Volume I) main
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vol_II_p120 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 223 page_number
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3 In the opinion of some, it (elā) is combined with the (name of the) object main
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4 of description (alone). Elā should be made full of charming qualities of main
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5 song, embodying the gaņas (textual units)<sup>31</sup> of metre (and) endowed with main
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6 alankāra and rasa, by the wise. main
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7 (422) annotation_inline
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8 [The types of <i>Elā</i>] editorial_bracket
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9 [A. Out of them the varieties of Gaṇailā] editorial_bracket
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10 First, nādāvatī has been said, then is known hamsāvatī, nandāvatī is the main
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11 third and bhadrāvatī is known as the fourth. main
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12 (423) annotation_inline
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13 Derived out of Rgveda and the like, 'coloured' with variegated sounds, main
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14 thus has elā been said to be fourfold by the wise, in accordance with the main
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15 'path'<math>^{32}</math> (order) of ganas. main
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16 (424) main
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17 [1. Nādāvatī] section_header
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18 The elā (named) nādāvatī is charming, bedecked with varņa (and) main
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19 alankāra, is sung with manthatāla (and) is full of nāda 33 in every foot. There main
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20 takkarāga becomes delightful to all. main
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21 (425) annotation_inline
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22 (Its) colour should be known to be white and śṛṅgāra has been said to be main
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23 the rasa; kaišikī vṛtti<sup>34</sup> has been spoken of (and) pañcālī rīti<sup>35</sup> is accepted. main
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24 (426) annotation_inline
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25 Bhāratī is its devatā (presiding deity) and the lineage of brāhmaņas prevails. main
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26 Where five candraganas 36 combined with one svargana 37 are there, that cla main
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27 is known to be nādāvatī, by the foregoing learned ones. main
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28 (427) main
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29 [2. Hamsāvatī] section_header
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30 Making movement like a swan, with nāda and pada, it is known as main
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31 hamsāvatī, because it proceeds smoothly. Dvitīyaka is the tāla there and (it) main
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32 is sung in <i>hindola (rāga</i>). main
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33 (428) annotation_inline
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34 Red colour has been said to prevail. Caṇḍikā is the devatā (presiding main
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35 deity), ārabhaţī is the vṛtti<sup>38</sup> (and) lāṭīyā rīti<sup>39</sup> is accepted. main
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36 (429) main
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147 lignes a valider — change uniquement les roles incorrects.