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 21687). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_I_p026 RIGHT — 24 lignes

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1 35 page_number
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2 TRANSLATION page_header
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3 sa annotation_inline
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4 n annotation_inline
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5 ni annotation_inline
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6 ga annotation_inline
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7 dha annotation_inline
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8 ma annotation_inline
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9 pa annotation_inline
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10 Thus ends the Samvādi-mandala. caption
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11 (Anu. 22) annotation_inline
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12 The use of samvadin is thus- main
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13 The sadja that is accepted as amsa (fundamental note) in a gita (melodic main
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14 structure), in the place of that (if) madhyama (is used) it does not destroy the main
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15 rāga (melodic matrix). The location on which madhyama is used in accordance main
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16 with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy main
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17 the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, main
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18 they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the main
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19 place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly main
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20 niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a main
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21 loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with main
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22 ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha main
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23 as amía, these two (dhaivata and rṣabha) when used as being mutually related, main
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24 do not become the destroyers of jāti or rāga. main
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vol_II_p114 LEFT — 33 lignes

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1 • • annotation_inline
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2 BRHADDEŚĪ page_header
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3 210 page_number
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4 [३. गद्य:] section_header
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5 ५प्रान्ते यस्य भवेत्तालो वर्णनीयस्य संज्ञया । main
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6 म्रातो annotation_inline
parent ligne 5
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7 गीयते यत् तदत्राहुर्गद्यं गीतविशारदा: ॥३८५॥ main
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8 [४.दण्डक:] section_header
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9 तालयुक्तं स्वरोपेतं मध्ये- ६पाटविराजितम् । main
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10 पुन: पदसमायुक्तं गानं तद् दण्डकं विदु: ॥३८६॥ main
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11 दण्डको बुधैः main
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12 [५. वर्णः] section_header
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13 विभूतित्यागसौभाग्यबिरुदै: समलङ्कृत: । main
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14 ॰(तम् ? तः) annotation_inline
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15 •विस्तै: main
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16 विभृत्याग + annotation_inline
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17 तालेनापि च युक्त: स्याद् वर्ण: कर्णाटभाषया ॥३८७॥ main
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18 ٦٧ page_number
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19 [६.पद्धडी] section_header
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20 स्वरपाटसमायुक्ता तालेन च समन्विता । main
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21 <sup>८</sup>कयापि भाषया युक्ता बिरुदै: सा तु पद्धडी ॥३८८॥ main
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22 पाटली annotation_inline
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23 <i>्</i>विभाषया annotation_inline
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24 [७. अडिला] section_header
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25 यत्र स्यात् स्वरिवन्यासः प्रतिपादान्तमुज्ज्वलः । main
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26 ॰पादा (द्ध?मु)॰ annotation_inline
parent ligne 25
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27 तालेन च समायुक्त: <sup>९</sup>अडिला नामतो भवेत् ॥३८९॥ main
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28 अधिला नामशो (?) main
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29 [८.चतुष्पदी] section_header
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30 यत्र प्रतिपदार्थं तु गीतं तालयुतं भवेत्। main
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31 परूप्रतिः annotation_inline
parent ligne 30
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32 <sup>१</sup>॰स्वरतेनकसंयुक्तैः सा चतुष्पदिका भवेत् ॥३९०॥ annotation_inline
parent ligne 30
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33 तातेन्तकैस्वासंयुक्तैः स्वाचतुष्पीटिका भवेत् (?) main
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vol_I_p023 RIGHT — 27 lignes

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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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vol_II_p022 LEFT — 36 lignes

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1 BRHADDEŚĪ page_header
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2 26 page_number
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3 गान्धार्या द्वावनंशौ च हेयावृषभधैवतौ । main
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4 <sup>६८</sup>षु (गेआ?हेपा) main
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5 क्रमात्रित्यं त्वपन्यासौ विज्ञेयौ षड्जपञ्चमौ ॥२२२॥ main
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6 ६९ल्यमफ annotation_inline
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7 धैवतादृषभं गच्छेदेवं भ स्यात् सर्वमेव तत् । main
via surya_layout
8 तुष्ध unknown
via fallback
9 (व?वं) main
via surya_layout
10 प्रायशो रक्तगान्धार्यामपन्यासस्तु मध्यम: ॥२२३॥ main
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11 ७२०यां अ annotation_inline
parent ligne 10
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12 (मा/प:) main
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13 बहुप्रयोग: कर्तव्यो धैवतोऽथ निषादवान् । main
via surya_layout
14 षड्जगान्धारसञ्चार: कार्यश्चास्यां प्रयोक्तभि: ॥२२४॥ main
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15 (जं?ज) annotation_inline
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16 (₹?₹:) main
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17 श्स्याः annotation_inline
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18 गान्धारोदीच्यवा प्राय: षड्जोदीच्यवतीसमा । main
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19 (य?य:) annotation_inline
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20 षड्जश्च मध्यमश्चांशौ न चौडुवितमिष्यते ॥२२५॥ main
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21 0130 page_number
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22 पञ्चांशा मध्यमायास्तु ज्ञेया द्विश्रुतिवर्जिता:। main
via surya_layout
23 क्रमात् ताभ्यां च हीनत्वं बहुलौ षड्जमध्यमौ ॥२२६॥ main
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24 (मी) annotation_inline
parent ligne 23
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25 गान्धारोदीच्यवावतु मध्यमोदीच्यवा भवेत्। main
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26 (तुल्या मध्यमोदीच्यवा) main
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27 साप्तस्वर्यं तु नित्यं स्यादस्यामंशस्तु पञ्चम: ॥२२७॥ main
via surya_layout
28 पञ्चम्यां गुरुभि: प्रोक्तावंशावृषभपञ्चमौ । main
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29 •धेवती<sup>७३</sup> annotation_inline
parent ligne 28
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30 <sup>७४</sup>सनिषादावपन्यासौ मध्यमर्षभसंगति: ॥२२८॥ main
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31 समध्यमाः annotation_inline
parent ligne 30
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32 षड्जमध्यमगान्धारा अल्पाश्च परिकोर्तिता: । main
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33 <b>ल्लु<sup>७५</sup>,</b> main
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34 स्यात्रिषादाच्च गान्धारो मध्यमावच्च हीनता ॥२२९॥ main
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35 अल्पस्य परिकोर्तिता annotation_inline
parent ligne 34
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36 स्यात्रिपादाच्य + + + मध्यमा चच्च होनता(?) । main
via surya_layout
156 lignes a valider — change uniquement les roles incorrects.