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 21763). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p019 RIGHT — 32 lignes

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1 21 page_number
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2 TRANSLATION page_header
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3 [7. The definition of alpatva] section_header
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4 [Anu. 128] editorial_bracket
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5 Now I speak of alpatva (sparseness) and bahutva (abundance). Out of main
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6 these, alpatva comes into being on account of the sparse use of svaras and main
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7 bahutva is on account of (their) abundant use. Alpatva and bahutva are main
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8 twofold each, one operating in samnyāsa and the like and the other through main
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9 antaramārga. 38 The definition of antaramārga is thus—sometimes in jātis even main
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10 the svara that is not an amsa (anamsa) is not sparse (alpa). Similarly in main
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11 Kārmāravī, gāndhāra (which is not an amśa), is used in antaramārga with main
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12 abundance through concert (saigati) with all the other svaras; thus will be main
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13 said-39 annotation_inline
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14 "Specially gāndhāra has movement towards all (svaras)." main
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15 (NŚ XXVIII.136) main
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16 [8. The definition of bahutva] section_header
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17 [ Anu. 129 ] editorial_bracket
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18 After this he (the author) spoke (speaks) of bahutva. Bahutva is like main
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19 alpatva; it is to be perceived, thus is the special implication of the said main
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20 statement (about bahutva). How is that? Thus spoke (speaks) he (the main
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21 author), the inversion of strong and weak, i.e. the weak one is sparse (by main
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22 rule), in the case of inversion it becomes strong, thus is understood the main
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23 characteristic of strong (svara). Hence it has been said - main
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24 "The sparseness in jātis is always manifested through their svaras. There main
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25 is sañcāra (to and fro movement) among the amsas and the strong svaras. main
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26 Sparseness occurs in those jātis which have weak (svaras). Antaramārga main
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27 (inversion of strength and weakness) and nyāsa brings about the manifestation main
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28 of jātis." annotation_inline
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29 (Cf. NŚ XXVIII 74cd, 75) main
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30 [9. The definition of nyasa] section_header
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31 [ Anu. 130 ] editorial_bracket
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32 Now he (the author) spoke (speaks) of nyāsa - that (svara) on which or main
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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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vol_II_p045 RIGHT — 54 lignes

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1 73 page_number
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2 TRANSLATION page_header
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3 (11) table
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4 ni ni ni ni ri ri ri ri table
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5 (12) table
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6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
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7 (13) table
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8 pā pā mā gari gā gā gā gā table
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9 (14) table
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10 rī rī mā sama mā mā pā pā table
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11 (15) table
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12 mā mā nī nī sā rī gā pā table
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13 riga gã gã gã gã gã gã gã table
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14 (16) table
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15 Thus ends andhri. section_header
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16 [9. Nandayanti] section_header
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17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
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18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
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19 gīta (melody). annotation_inline
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20 (23) main
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21 There is the abundance of the lower rṣabha. The hexatonic form comes main
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22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
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23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
parent ligne 23
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25 (24) main
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26 The application is (prescribed) in the singing of dhruvās in the first act. main
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27 (25) annotation_inline
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28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
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29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
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35 pā pā pā pā pā pā pā pā ` table
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36 (4) table
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37 dhā nī mā pā gā gā gā gā table
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38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
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40 (6) table
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41 mã mã pã pã dhã nidha pã pã table
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42 (7) table
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43 dhã nĩ mã pã gã gã gã gã table
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44 (8) table
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45 gama pā pā pā mā mā gā gā table
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46 (9) table
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47 dhā nī mā pā gā gā gā gā table
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48 (10) table
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49 mā mā mā mā mā mā mā mā table
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50 (11) table
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51 rī gā mā pā pama pā pā nī table
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52 (12) table
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53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 29
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vol_II_p086 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 154 page_number
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3 एता[हि]याष्टिकप्रोक्ता [भाषा मालवकैशिके] ॥ ७१॥ editorial_bracket
parent ligne 4
via heuristic_brackets
4 याष्टिकेन प्रयुक्ताः main
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5 [३. अथ ककुभे] section_header
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6 धैवताद्यन्तसंयुक्ता काम्बोजा पूर्णसुस्वरा । main
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7 षड्जधैवतसंवाद: पञ्चमर्षभयोस्तथा ॥ main
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8 एषा भाषा तु देशाख्या प्रथमा ककुभोद्भवा ॥ ७२॥ main
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9 उदाहरणम् - धासागागा । मागारीसासासनिसासा । धापापा । धामासारिगा मागारीसासा main
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10 सनिधाधा पापामधा निरिसनिधाधा ।[काम्बोजा]।[१] editorial_bracket
parent ligne 9
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11 मध्यमांशा धैवतान्ता पूर्णा मध्यमग्रामिका । main
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12 परस्परं तु दृश्येते सहितावृषभधैवतौ ॥ main
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13 दुश्येत annotation_inline
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14 एषा भाषा च सङ्कीर्णा रम्या ककुभसम्भवा<sup>५८</sup>॥ ७३॥ main
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15 उदाहरणम् - मामा । गरिधासारीसामा । निगरिसनिसानिधा । साधासाधनिरिसा । धनिरिरि । main
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16 मापापमागा । रिरिरिरि । गाम । गाम । धाधामापामागारीसासाधा धधध । मध्यमग्रामिका । [२] editorial_bracket
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17 ऋषभांशा धैवतान्ता विज्ञेया <sup>५९</sup>सातवाहिनी । main
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18 परस्परं तु दृश्येते ६०सङ्गतौ मध्यमर्षभौ ॥ main
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19 दुश्यन्ते मध्यमर्पभसङ्गतौ annotation_inline
parent ligne 18
via heuristic_height
20 सप्तमं बहुमिच्छन्ति केचित् तेनैव दुर्बलम् ॥ ७४॥ main
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21 केचिदिच्छन्ति annotation_inline
parent ligne 20
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22 उदाहरणम् - [रिरि] गधरिरिमा । मामानिमाधाधधाधा पमपममरिममासिर । editorial_bracket
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23 मामपपामपपापा- annotation_inline
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24 पापमरिमरिमामासरि। पापपससानि।धाधारि। सासासासारीमनिधाधाधा पधासाधपाधा main
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25 पमपापामरिमामासारि मापापामासानिधाधा । सातवाहिनी । [३] editorial_bracket
parent ligne 24
via heuristic_brackets
26 <sup>६१</sup>मध्यमांशा निषादान्ता ऋषभेण तु दुर्बला । main
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27 सङ्गतिर्दृश्यते यत्र द्विश्रुत्यो: पञ्चमस्य च ॥ main
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28 भाषेयं षाडवा ज्ञेया ककुभे भोगवर्धनी ॥ ७५॥ main
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29 उदाहरणम् -[मामा] निनी । गगमा । पामापमा । धाधा । सनिसनि । धपधाधपमापाम । गगगग। editorial_bracket
parent ligne 28
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30 मपधाधानी । सससस । मागसानिधाधाधा [नी]। भोगवर्धनी ।[४] editorial_bracket
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vol_II_p121 LEFT — 28 lignes

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1 (vide) annotation_inline
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2 BRHADDEŚĪ page_header
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3 224 page_number
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4 क्षत्रियाणां कुलं चैव रसो रौद्र: प्रकीर्तित: । main
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5 यत्रानलगणाः पञ्च षष्ठो वायुगणस्तथा ॥ main
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6 एला हंसावती हन्त सा स्मृता गीतपारगै: ॥४३०॥ main
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7 [३. नन्दावती] section_header
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8 लघुभिर्गमकैर्युक्ता रागे मालवकैशिके । main
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9 एला नन्दावती नाम प्रतितालेन गीयते ॥४३१॥ main
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10 इन्द्राणी देवता, वृत्ति: सात्त्वती तत्र कीर्तिता । main
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11 गौडीया कथ्यते रीति:, पीतो वर्ण: स्मृतो बुधै: ॥ ४३२॥ main
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12 रसो वीर: समाख्यातो, वैश्यानां कुलसम्भवा। main
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13 व्य: annotation_inline
parent ligne 12
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14 नादावत्यामिव सर्वं कर्तव्यं रागपूर्वकम् ॥४३३॥ main
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15 (न?ना) annotation_inline
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16 यत्राम्बरगणाः पञ्च मार्तण्डगणसंयुताः । main
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17 मार्ताण्ड॰ annotation_inline
parent ligne 16
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18 एला नन्दावती सा तु विज्ञेया गीतवेदिभि: ॥४३४॥ main
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19 [४. भद्रावती] section_header
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20 एकैकपदसंयुक्ता मूर्छनाध्वनिसङ्कुला । main
via surya_layout
21 कङ्कालतालसम्बन्धा ककुभेन प्रगीयते ॥४३५॥ main
via surya_layout
22 एला भद्रावती नाम शूद्रजातिसमुद्भवा । main
via surya_layout
23 कृष्णवर्णा च विज्ञेया वैदर्भीरीतिशोभिता ॥४३६॥ main
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24 भारतीवृत्तियुक्ता च बीभत्सरसभूषिता । main
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25 वाराहीदेवतोपेता कथिता गीतकोविदै: ॥४३७॥ main
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26 यत्र भूमिगणाः पञ्च षष्ठो जलगणस्तथा । main
via surya_layout
27 भद्रावतीति विख्याता सा स्मृता मुनिपुङ्गवै: ॥४३८॥ main
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28 पुटपुङ्गवै: (?) annotation_inline
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via heuristic_height
171 lignes a valider — change uniquement les roles incorrects.