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 21683). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 programme. annotation_inline
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2 BRHADDEŠĪ page_header
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3 164 page_number
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4 ऋषभांशा पञ्चमान्ता विज्ञेया षड्जदुर्बला । main
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5 প্লা annotation_inline
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6 निषादकाकलीरूपा कर्तव्या सा तु नित्यशः॥ ९७॥ main
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7 साधारणकृता ह्येषा विभाषा गीतवेदिभि:। main
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8 ८७अन्थाली विश्रुता लोके कित्रराणां च वल्लभा ॥ ९८॥ main
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9 अमाली annotation_inline
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10 उदाहरणम् - रीमापापाधाधाधाधापा धाधासापापापा धानिनिपा। पासापाधापापापा मरिमरि- main
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11 धाधापधपसाधाधापापा धधपधपापाधापा। पामारिरिसाधापापापा मपधममारिरिधाधपपाप। main
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12 मामाधपपापममरिरिमपापा धपापापधपधसासारिगरिधपापापा । अन्धाली। [७] editorial_bracket
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13 अल्पर्षभा मध्यमांशा पञ्चमन्याससंयुता । main
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14 मध्यमांशाल्पऋपभा annotation_inline
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15 मध्यधैवतसंवादो बाहुल्यं पञ्चमस्य तु ॥ main
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16 ॰वादस्तुल्यं स्यात् annotation_inline
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17 मध्यमः annotation_inline
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18 ८८ सम्पूर्णा पञ्चमाच्चेयं भाषा तानोद्भवा भवेत् ॥ ९९॥ main
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19 सम्पूर्णपाड(वा) चेयं annotation_inline
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20 उदाहरणम् - मामामगासारिरिनिसागरि । सानिनिगागागसानिपापा पासानिसासासानिसानि - main
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21 निधधनिनिसा। गरिसासासानिनिसाधानिपापा धानिनिगगसासासासासागासानीधामापापा । main
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22 तानोद्भवा। [८] editorial_bracket
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23 त्रावणी पञ्चमन्यासा पञ्चमर्षभदुर्बला । main
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24 त्रापणी annotation_inline
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25 द्विश्रुतीनां स्वरूपेण गमनं तत्प्रयोक्तृभि: ॥ १००॥ main
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26 तु annotation_inline
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27 षड्जमध्यमबाहुल्यं पञ्चमर्षभयोस्तथा । main
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28 साधारणकृता होषा त्रावणी देशसम्भवा ८९॥१०१॥ main
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29 उदाहरणम् -सासासापापापा धाधाधाधानीनीनीसासानिधानिधाधारिसासा नीधानीधासाममरि main
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30 मारिमागागारिसा सनिपापापा निधानिसासनिसनिमधधसनिधामागामाधानीसासाधानीसामधा - main
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31 मागामाधानीसास। सससनिसासानिगासनिधामामाधारीसासा सधानीधापा । त्रावणी । [९] editorial_bracket
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32 त्रापणी annotation_inline
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1 BRHADDEŚĪ page_header
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2 126 page_number
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3 युद्धवीरेऽस्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नान्तोऽलङ्कारः । main
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4 ॰(र्य?रे) annotation_inline
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5 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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6 [साधारणरागाणां ग्रामविभागः] section_header
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7 इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते - main
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8 भम्माणपञ्चमो ज्ञेयो मध्यमग्रामसम्भव:। main
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9 गान्धारपञ्चमो नर्त: षड्जकैशिक एव च ॥ ३४२॥ main
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10 रूपसाधारितो रागः शकः ककुभ एव च। main
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11 रेवगुप्तस्तु षड्जाख्ये ज्ञेयः पञ्चमषाडवः ॥ main
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12 (뭐) annotation_inline
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13 सप्त[नव ?] साधारणाः प्रोक्ता ग्रामद्वयसमाश्रयाः ॥३४३॥ editorial_bracket
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14 (माश्र) annotation_inline
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15 [ग्रामरागाणां मूर्छना-निर्देशस्य आधार:] section_header
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16 [अनु॰२१३] editorial_bracket
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17 ननु पूर्वोक्तानां[ग्रामरागाणां]<sup>१११</sup> मूर्छनाविशेष-निर्देश: कस्माज्जायत इति [चेत्]<sup>११२</sup> editorial_bracket
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18 उच्यते । आसवचनान्पूर्छनानिर्देशो ज्ञायते । तथा चाह काश्यप: - main
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19 ११३कश्यप: annotation_inline
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20 (आसवचनाद्) annotation_inline
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21 ९१४‘‘ज्ञात्वा जात्यंशबाहुल्यं निर्देश्या मूर्छना बुधै:।” main
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22 [गीतरागयोर्भेद:] section_header
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23 [अनु॰ २१४] . editorial_bracket
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24 नन् गीतरागयो: को भेद:<sup>११५ ।</sup> उच्यते । दशलक्षणलिक्षतं गीतं रागशब्दाभिधेयम् । main
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25 <sup>११६</sup> शब्देनाभिधीयते annotation_inline
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26 ॰(यो:को) annotation_inline
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27 गीतं चतुरङ्गेपेतम् , ध्रुवायोगात् पञ्चविधम् । कुत <sup>११७</sup>एतद् विज्ञायते ? आसवचनात् । main
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28 तथा annotation_inline
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29 एव annotation_inline
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30 चाह काश्यप: - annotation_inline
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31 ११८कश्यप: main
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1 29 page_number
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2 TRANSLATION page_header
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3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
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4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
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5 become their agre-sara 68 (movers in front). main
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6 (52) annotation_inline
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7 Thus I have spoken of the śrutis that are seated in grāma.69 main
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8 Here ends the section on srutis. annotation_inline
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9 IV [The Section on Svaras] section_header
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10 [The laksana of svaras] section_header
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11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
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12 (53) annotation_inline
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13 etymology of the word 'svara' is being spoken about. main
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14 From the root raje, meaning brilliance, to which is prefixed the word sva main
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15 (the word 'svara' is derived); because (the meaning is) that which shines by main
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16 (54) annotation_inline
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17 itself, hence it is known as svara. main
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18 [ Anu. 15 ] editorial_bracket
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19 But what is meant by svara? It is being answered - the dhvani (sound) which main
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20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
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21 Kohala. annotation_inline
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22 "By the will of the atman, the vayu (that is) moving upward from the base of main
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23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
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24 space, is known as svara, the delightful<sup>5</sup> sound." main
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25 (Anu. 16) annotation_inline
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26 But svara in this way is one or many, pervasive or non-pervasive or is it main
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27 eternal or non-eternal? annotation_inline
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1 (vide) annotation_inline
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2 BRHADDEŚĪ page_header
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3 194 page_number
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4 .....मालवी । [३]<sup>२४</sup> editorial_bracket
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5 .....गुर्जरी । [४]<sup>२५</sup> editorial_bracket
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6 मध्यामांशा २६धैवतान्ता षाडवा ऋषभोज्झिता । main
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7 ऋषभान्विता annotation_inline
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8 गीयते यज्ञकाले या सा ख्याता बाह्यषाडवा ॥ २४॥ main
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9 उदाहरणम् - माधा । मानिनि पामापाधाधा । माधामागा गागागामा ममनिधा मापापानिधा- main
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10 धाधा । बाह्यषाडवा । [५] editorial_bracket
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11 निषादांशा धैवतान्ता षाडवा स्याद्रिवर्जिता<sup>२७</sup>। main
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12 षद्द्जवर्जिता annotation_inline
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13 कौसली देशसम्भूता प्रतीहारेषु गीयते ॥ २५॥ main
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14 कौसलदेश॰ annotation_inline
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15 उदाहरणम् – निनिधा । पामामा । मागमा । सासासासासा । मागमानिधाधा । कौसली । [६] editorial_bracket
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16 गान्धारांशा मध्यमान्ता गान्धारी मध्यमाश्रिता<sup>२८</sup>। main
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17 (श?शा) annotation_inline
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18 एकान्तवासिभिर्गीता मूलभाषा तु षड्जगा ॥ २६॥ main
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19 उदाहरणम् - गामापानीसासा । निधाधामा मामागामाधा । निसारी । सापामामा । धानीसारी । main
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20 गारीसानी । धामामा । गान्धारी । [७] editorial_bracket
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21 २९धैवताद्यन्तसंयुक्ता रिहीना षाडवस्वरा । main
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22 ॰ पह्जर्पभहीना annotation_inline
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23 स्वरविवितका एषा गीयते दृढमानसै: ॥ २७॥ main
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24 + + बलितगा annotation_inline
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25 उदाहरणम् - धाधामापा । गागामाधा निसानिधाधा पापागामा धासनिधानिसासागामा पापा- main
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26 धाधा । मधापामामा गधगामधानिसासा। निसानिगागा मासानीधा धापमामागाधा । सामाधा- main
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27 नी ससाधापामाधाधा । स्वरवलिता । [८] editorial_bracket
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28 धैवताद्यन्तललिता पञ्चमर्षभवर्जिता । main
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29 षह्जपश्चम ॰ annotation_inline
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30 ३॰पञ्चस्वरा तु गीयेत प्रकृष्टा सा मता क्रमात् ॥ २८॥ annotation_inline
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31 - Paragraphy (Fig. 25) Apply (Head Co. 19) Apply (The Section 25) (25) annotation_inline
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32 All the second second second second second second second second second second second second second second second second annotation_inline
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33 والمراجع والمراكب والمراكب والمراجع والمراجع والمراجع والمراجع والمناكب annotation_inline
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1 TRANSLATION page_header
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2 155 page_number
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3 These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika. main
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4 (71) main
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5 [3. Bhāṣās in kakubha] section_header
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6 Combined with dhaivata as the initial and concluding note, kāmbojā is main
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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
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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
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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
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17 (73) annotation_inline
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18 ٨. annotation_inline
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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
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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
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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
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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
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37 Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa. main
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38 Māgasānidhādhādhā [nī.] Bhogavardhanī [iv] editorial_bracket
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161 lignes a valider — change uniquement les roles incorrects.