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 21747). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p084 RIGHT — 34 lignes

page vol_II_p084 RIGHT
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1 151 page_number
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2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
via heuristic_brackets
7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
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13 (65) annotation_inline
parent ligne 11
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
via heuristic_brackets

vol_II_p107 RIGHT — 29 lignes

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1 197 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā. main
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4 Ninidhādhā. Lalitā [ix] editorial_bracket
parent ligne 3
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5 Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and main
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6 concluding note, is a complete antara-bhāṣā and by others it is sung as being main
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7 devoid of ri (ṛṣabha). main
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8 (29) annotation_inline
parent ligne 7
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9 Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā. main
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10 Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari main
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11 sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x] editorial_bracket
parent ligne 10
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12 Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note, main
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13 is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders main
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14 of Veda<sup>27</sup> main
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15 (30) annotation_inline
parent ligne 14
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16 Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi] editorial_bracket
parent ligne 14
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17 Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the main
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18 concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has main
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19 concert between şadja-dhaivata. main
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20 (31) annotation_inline
parent ligne 19
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21 Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā main
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22 gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii] editorial_bracket
parent ligne 21
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23 ..................... annotation_inline
parent ligne 21
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24 Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā main
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25 rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii] editorial_bracket
parent ligne 24
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26 The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math> main
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27 dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3 main
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28 others in bhinnaṣadja (rāga). main
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29 (32) annotation_inline
parent ligne 28
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vol_II_p056 LEFT — 33 lignes

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1 BŖHADDEŚĪ page_header
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2 94 page_number
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3 संहारे कैशिक: प्रोक्त: पूर्वरङ्गे तु षाडव: । main
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4 चित्रस्याष्टादशाङ्गस्य त्वन्ते कैशिकमध्यमः॥ main
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5 शुद्धानां विनियोगोऽयं ब्रह्मणा समुदाहतः ।'"५० main
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6 [NŚ as quoted in Kalā on SR. II p.32] editorial_bracket
parent ligne 5
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7 [ख. भिन्नरागाः] section_header
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8 इदानीं भिन्नानां लक्षणमाह - main
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9 श्रुतिभिन्नो जातिभिन्नः शुद्धभिन्नः ५१स्वरस्तथा । main
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10 स्वरै॰ annotation_inline
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11 चतुर्धिर्भिद्यते यस्मात् तस्माद् भित्रक उच्यते ॥३०४॥ main
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12 [अनुः १७२] editorial_bracket
parent ligne 11
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13 ५२ननु भित्रशब्देन किमभिधीयते ? किं विदारितोऽर्थः, एतदस्मादयं व्यतिरिक्त इत्यर्थो वा main
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14 भित्रशब्दस्य। एतत्र वाच्यम्। भित्रोऽत्र विकृत उच्यते। विकृतत्वं च पूर्वोक्तश्रुतिभित्रेत्यादिलक्षणात्। main
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15 ५३[स्वरभिन्न:] section_header
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16 [अनु॰ १७३] editorial_bracket
parent ligne 15
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17 इदानीं भिन्नानां प्रागुक्तलक्षणप्रकटनार्थं तत्रादौ स्वरभिन्नस्य लक्षणमुच्यते - main
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18 यदा वादी गृहीत: स्यात् संवादी च विमोक्ष्यते । main
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19 विवादी वानुवादी वा स्वरिभन्न: स उच्यते ॥ ३०५॥ main
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20 ५४चानुवादी च annotation_inline
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21 [अन्॰ १७४] editorial_bracket
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22 अस्यार्थ:-मध्यमग्रामाश्रितस्य शुद्धषाडवस्य योऽसौ मध्यमो ग्रहांश: तत्स्थाने धैवतो main
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23 धैवतोऽपि annotation_inline
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24 योऽसा annotation_inline
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25 ५५विवादित्वेन वा[ऽ]नुवादित्वेन वा गृहीतो भवति। मध्यमस्वरस्य संवादी त्यज्यते न्यस्यते editorial_bracket
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26 नानुवादित्वेन annotation_inline
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27 विवादित्वे (न?) annotation_inline
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28 वा तदासौ स्वरिभन्न उच्यते । भिन्नषड्जेऽत्र वदनाद् वादी धैवतः, पुनर्बहुप्रयोगो भवति [तस्य]। editorial_bracket
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29 व्यह्ज: अत्र annotation_inline
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30 ननु पश्चसु रागेषु मध्ये भित्रषड्जस्य लक्षणमुच्यते इत्यादावेवाभिधानं कृत:? main
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31 सत्यमुक्तम् annotation_inline
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32 मुख्यत्वादस्य । मुख्यत्वं च यथा शुद्धगीतिषु शुद्धषाडवस्य एवं भिन्नगीतिषु भिन्नषड्जस्येति main
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33 तद्भेद[त्व]ादस्येति । editorial_bracket
parent ligne 32
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vol_II_p114 RIGHT — 27 lignes

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1 211 page_number
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2 TRANSLATION page_header
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3 [3. <i>Gadya</i>] section_header
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4 That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of main
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5 description 10 (divine or human) and is sung as such, is said here to be gadya, main
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6 by the proficient ones in music. main
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7 (385) annotation_inline
parent ligne 6
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8 [4. Daṇḍaka] section_header
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9 Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the main
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10 middle (and) again combined with pada, that song is known as daṇḍaka. main
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11 (386) main
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12 [5. Varņa] section_header
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13 Bedecked with birudas12 (eulogistic phrases) related to plenty, main
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14 renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math> main
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15 (387) annotation_inline
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16 ******* annotation_inline
parent ligne 14
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17 [6. Paddhaḍi] section_header
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18 Combined with svara (and) pāṭa and endowed with tāla, composed in any main
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19 language and combined with birudas is that paddhaḍī. main
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20 (388) main
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21 [7. Adilā] section_header
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22 Where there is the brilliant arrangement of svaras at the end of every foot, main
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23 combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name. main
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24 (389) annotation_inline
parent ligne 23
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25 [8. Catușpadi] section_header
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26 Where the song is endowed with meaning in every unit of text (pada) main
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27 (and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m main
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vol_II_p074 RIGHT — 35 lignes

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1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
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4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
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12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
parent ligne 20
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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158 lignes a valider — change uniquement les roles incorrects.